Many thanks Maarten and Eberhart!
wefalck wrote:
if it wasn't I wouldn't probably bother to comment
Don't worry, I'm exactly the same (I tend to comment more on projects I find more interesting), so I take all your comments as a token of interest and thus positive!
Anyway, discussion is a good thing!
And you're very correct.
On modern figure painting, shading (and highlighting!) not only serve to bring out the detail, but foremost to emphasize the shape of the entire figure and everything on it by emphasizing (thus exaggerating) the natural shadows and highlights. The default direction for these is with the light coming from directly above ('zenithal lighting'), but other directions are possible too (and very much explored in figure-painting, and sometimes in armour modelling too).
When doing armour dioramas 20 years ago, I picked up this principle from figure painting and started applying it to my last couple of armour models too, and nowadays to ship models. But I only apply it on the details, not on the entire model like with figures or the 'modulation' style/technique often used on armour models, because that is not the 'look' I want for my models.
So with details like the eyebrows, I do try to follow this principle:
- shadows on the underside of the eyebrows are painted on the (horizontal) underside of the eyebrow, not on the (vertical) side of the hull.
- shadows at the top of the eyebrow are painted against the (vertical) side of the hull directly above the eyebrow, not on the (horizontal) top of the eyebrow.
That is a big advantage of lining versus pin-washes: you can choose exactly where to place the shadows, whereas with pin-washes it just runs into the corners and crevices.
But the emphasis is on 'try' to follow that principle: on very small items like this, it is hard to be so precise and paint does get into the corners...
It is of course hard to see how much these photos are enlarged. The open gunport is 3,5 mm wide; he eyebrows and rigols are only 0,2 mm thick. Honestly, even with optivisors on I can't see as much as on these photos...
The last two photographs (of the entire hull) are still larger than real life, but they give a feeling of what it looks like when you hold the model in your hand (not from far away, just with the naked eye). But if I only show these photos, the techniques in the step-by-steps won't be visible...
Shadows at the top corners of items like the eyebrows are indeed not strictly realistic according to the theory on how light falls, but they do help to make the detail stand out. Best is to keep them very fine and/or lighter, and most importantly try not to get them on the area that will be highlighted.
The shadow above the eyebrow over the closed gunport is a little deceptive because a large part of it is also the shadow under the upper whale, which was not painted under the rest of the whale yet in the 3rd photo. It is more visible in the 5th and 7th photos.
But on the rigol above, you can see that I do still add a fine shadow above detail indeed. Not strictly realistic indeed, but a conscious exaggeration to make detail more visible.
Like you suggested, highlights are necessary to complete the 3D-effect we're trying to achieve here. These will be placed (as much as I can...) on top of the details to follow the zenithal light (as opposed to on the protruding 'front' or outer edges).
But don't worry, the highlights are the next step!