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THE CHEF

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(Kimera) Red Oxide (VMC) Medium Grey

(Kimera) Orange (VMC) Golden Yellow

(Kimera) Magenta (VGC) Scurvy Green

(Kimera) Red (VGC) Jade Green

(Kimera) Blue (VGC) Dark Green

(Kimera) Phthalo Blue (Citadel) Steel Legion Drab

(AK) Penetrating Red Ink (Citadel) XV-88

(AK) Ocean Blue (Citadel) Kislev Flesh

(AK) Ivory (Citadel) Evil Sunz Scarlet

(AK) Sickly Pink (Citadel Contrast) Darkoath Flesh

(VMC) Sunny Skin Tone (Citadel Contrast) Snakebite Leather

(VMC) Light Flesh (Citadel Wash) Agrax Earthshade

(VMC) Pale Sand (Citadel Wash) Reikland Fleshshade

(VMC) Sky Blue (Citadel Wash) Biel-Tan Green

(VMC) Basic Skintone (Ammo) Light Brown-Grey

(VMC) Rosy Flesh (Ammo) Pure Green

(VMC) Pale Flesh (Scale) Inktense Chesnut

(VMC) Dark Sea Blue (Scale) Inktense Violet

(VMC) Light Yellow (Scale Artist) Art White

(VMC) Dark Red (Nocturna) Worn Red

FIRST STEPS

We start by priming the model using Citadel black spray.

Then we make the first layer of paint with the airbrush, we paint the miniature
from a point of zenith light with a layer of white to mark all the details and vo-
lumes, this way we can distinguish the elements of the miniature and the color
will not fade as much when you start painting over a light-colored layer.
PAINTING THE SKIN

We apply a base with Red Oxide (Kimera), Orange (Kimera) and a drop of Pe-
netrating Red Ink (AK) to gain some more intensity and coverage in the base
layer.

We locate the volumes and look within each one for the planes that are facing
the light source, which in this case we will use a slightly distorted overhead
light and center the brightness on the face.

We make the first direct rise with Orange (Kimera) and we progressively add
Sunny Skin Tone (VMC) to generate the volume, we work in a fine way respec-
ting the gaps between the folds of the hands and face.
PAINTING THE SKIN

Finally we give it some last highlights with Sunny Skin Tone (VMC) with small
dots, even a loose dot on the mustache to imitate the shine of something wet.

With Magenta (Kimera) and an ink of the same color, we use the airbrush with
the paint well diluted to achieve a glaze effect in the shadow areas and on the
outside of the face, we will achieve more depth in the shadow and soften a little
some transitions.
MOUTH AND TONGUE

Base coat on the mouth with Magenta (Kimera), the same on the hat tape
with a mixture of Red (Kimera) and Blue (Kimera) and then we cover the eyes
with the same mixture as the hat tape.

We mix the Magenta (Kimera) with a touch of Light Flesh (VMC) and we begin
to draw lines with a dilution point that covers us bot not too much, this way
we make several passes and we will get some rise in light without the need to
add more Light Flesh (VMC) to the mixture. Once marked, we add the last
lines looking for that texture on the tongue and mark some point with a mix-
ture 30% Magenta (Kimera) and 80% Light Flesh (VMC) approximately.
TEETH

Base coat to the teeth with a light brown, in this case Steel Legion Drab (Cita-
del).

We outline the sides of the tooth and the bottom, leaving only a dark area in
the center that will mark a shadow, we do the outline by adding a little Light
Flesh (VMC) to the base brown and finally a few last lights centered on the
upper teeth and others more at the end of the tooth on the lower teeth.
APRON

We add an airbrushed shadow being careful not to stain the skin of our catfi-
sh friend, using 5% Ocean Blue (AK) and Light Brown-Grey (Ammo), it will
give us that more bluish base tone, and we will even use remnants of the pin-
kish glazes that stained the apron area.

We mark the folds and volumes looking for the faces and areas that focus
towards our point of light and we mark them using a brush with Pale Sand
(VMC), Ivory (AK) or any light bone-like color that contains a little yellow to
give it a richness of color to white.
Then we clean those transitions with fine glazes to prepare the way for the
final lights.

We add more and more white to the mixture until we reach pure white, if we
want it to be more marked, we’ll need to go with the less diluted paint and be
careful not to generate texture but at the same time achieve a visible white
stain.

Another example of the same process in the hat.

APRON

We soften the shadows with a stroke done using a very soft and well diluted
aero like a glaze in the shadow areas and we reinforce the folds with touches of
white in the edges.

We paint the handkerchief with Phthalo Blue (Kimera) and the edges of the
apron with Ocean Blue (AK).

We are beginning to consider other areas, we add the first lights following the
volumes of the hat rope with Red (Kimera), we outline with a mixture of Inkten-
se Chesnut (Scale) and Inktense Violet (Scale) some parts of the apron and we
give the base layer to the buttons with black.

We add the black base layer also to the knife and to the fork of the belt, we take
this opportunity to add a little Sky Blue (VMC) to the blue base of the handker-
chief and mark the edges of it, we make one more rise repeating the process
but reducing the painting area and adding more Sky Blue (VMC) to the mix to
obtain a lighter color.
We also add a drop of Sunny Skin Tone (VMC) to the red of the hat rope to
mark, in a centralized way, the brightness of the hat.
PRAWN SKEWER

We use Scurvy Green (VGC) to base the olives, then we use Basic Skintone
(VMC) with a little Rosy Flesh (VMC) for the prawns and we use Basic Skintone
(VMC) as is to add a slight shadow on the bottom.
Prawn tails are an orange base coat with a few hints of Pale Flesh (VMC) to
remove saturation.

We add a little more Rosy Flesh (VMC) in the prawn lights and mark the inter-
sections of the prawn with lines.

We give the last touches to the prawns with Light Flesh (VMC) on their upper
points and we mark the cut volumes a bit.
At the same time, we add the first lights by mixing the base color of the olives
with Pure Green (Ammo), focusing the light and respecting the “x” in the
center. We finish brightening by adding a final dot of Sunny Skin Tone (VMC)
to the mix and gently marking the final highlights with small dots.

For the toothpick we use Steel Legion Drab (Citadel) from the teeth as a base
and then we illuminate it with Ivory (AK) until the final lights at its ends.
BUTTONS AND APRON ADJUSTMENTS

We add the first gray outlines on the apron buttons

Covering 75% of the button, we add a lighter gray adding a little Light Flesh
(VMC) to the previous gray, at the same time we surround the center part
trying not to cover it entirely and leaving a small darker point inside.

We add an even lighter gray, almost like light flesh and we cover less and less
surface to get the sparkle or shine of the metal.

We add a soft glaze of XV-88 (Citadel) or some brown closer to ocher to imita-
te a reflection in the metal and reinforce the NMM effect on the pieces.

We make some random light rises around the central part of the apron
adding a few drops of Ivory (AK) to the Ocean Blue (AK) base of the apron and
throw some loose lines to generate some more interest and texture in the
fabric.
KNIFE

We paint the entire sheet with Dark Sea Blue (VMC) adding some black to the
color to make it even darker.
When painting the edge of the blade we paint it with a mixture of Light Flesh
(VMC) and a few drops of Ocean Blue (AK), we look for a clear base to achieve
the effect of a well-sharpened edge.

We add several areas of light sauteed with a subtle rise of light, horizontal
brushstrokes following the position of the knife.

We repeat the same process above, adding more Light Flesh (VMC) focusing
the light on the points marked in the previous step.

We add more Light Flesh (VMC) to the mixture, almost painting only with it
and again covering less area than in the subsequent steps.

We add some of the last lights with Light Flesh (VMC) directly, and we make
some glaze of this same one by sweeping the very diluted paint towards the
central point of the light to accumulate the remains of pigment there.
KNIFE

We add some final points of Art White (Scale Artist) heavy body, it’s a more
pasty paint and it will help us keep the white purer and to see the glint better.
We add some glazes in the left areas of the highlights with Light Yellow (VMC),
very soft and subtle without eating away the glints that we have made.
We add glazes of blue on the right parts of the highlights as in the previous
step. At the same time, we add some scratches and textures with Dark Sea
Blue (VMC) mixed with Light Flesh (VMC) in a diluted way throughout the
width of the knife.
We outline the scratches a little and we reinforce them with some lines of light
always in the direction of the part furthest from the edge, this way we keep the
darkest area, it stays next to the edge and enhances the contrast of it.
We add some dots of Orange (Kimera) near the grip with the paint a little more
diluted to imitate the rust effect.
FOOD BASKET

We paint all the base colors to distinguish and prepare the different elements:
Dark Red (VMC) to the rope that surrounds the basket.
Blue (Kimera) on the ribbon.
Scurvy Green (VGC) to the bottle.
XV-88 (Citadel) to plug and basket.
Kislev Flesh (Citadel) inside the tentacles.
Medium Grey (VMC) to the fish.
Worn Red (Nocturna) to the tentacle.
FOOD BASKET

We work the different areas, applying a bath to the tentacles with Darkoath
Flesh (Citadel Contrast) to mark and darken the color a little, Agrax Earthsha-
de (Citadel Wash) to the entire basket and a little Reikland Fleshshade (Cita-
del Wash) to the label to make it dirty.
We use Red (Kimera) to do the first lights of the rope, we work the first shine of
the bottle clarifying the Scurvy Green (VGC) with a little Jade Green (VGC), the
hat is worked by adding a little Pale Sand (VMC) to the XV-88 (Citadel) and for
the prawns we follow the same procedure as with the skewer.
We work on the texture of the cork of the stopper with a few strokes of Pale
Sand (VMC) with a dry brush. We give the label of the bottle some dirt and
color playing with very diluted Ivory (AK) and we begin to outline and mark
the last highlights of the bottle with Light Flesh (VMC) mixed with Jade Green
(VGC) to achieve a very light moss tone.
FOOD DETAILS

We continue to add lights with a little Evil Sunz Scarlet (Citadel) for the rope,
at the base of the tentacle we add a little Sickly Pink (AK) to raise the areas, fo-
cusing the brightness and respecting textures and microvolumes that we find.
At the same time, with black ink, and being very careful, we draw the Sake
Kanji (approx.) on the bottle label.
SKIN AND BASKET ADJUSTMENTS

We paint our friend’s ears and fins with a dark red and lightened with purple,
at the same time we add the last highlights to the red by adding Sunny Skin
Tone (VMC) to the previous tone.
We work the basket with care, respecting the grooves and we give it the first
lights with XV-88 (Citadel) and Pale Sand (VMC) to outline and define the
shape.
LAST DETAILS

Finally we add some stains with different washes and colors to the apron, we
finish previously correcting any outlines or adding final lights with Light Flesh
(VMC) or Golden Yellow (VMC) depending on the area to balance the figure.
For the stains, we apply the paint very diluted and try to imitate the dripping
effect, adding different colors and shades to give the apron richness and
make it look colorful.
BASE

We do the base with Steel Legion Drab (Citadel) to the entire surface.
We wash it with Snakebite Leather (Citadel Contrast).
We stain in some spots with Biel-Tan Green (Citadel Wash) and add some Dark
Green (VGC) to the mix and in some random spots.
We start to outline three quarters of each tile with the base color mixed with
Pale Sand (VMC).
Last outlines and stain with a bit of Jade Green (VGC) in the center of the
greenish areas from before to give more information and color to the base.