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  1. Fort he lenses we will mix Deep Red SC-35 with Violet Inktense SC-82  as base color so we get a dark color that will serve as shadow for red. For the stripe holding the glasses we’ll use Sunset Purple SC-33.
  2. We continue illuminating giving several layers of the mix of Deep Red SC-35, Inktense Violet SC-82 and Red Antares SC-37 to only apply Antares Red alone, the light should reach almost half the área and should have a crescent moon shape, thus we simulate the crossing of light through the glass. Fort he stripe we mix Sunset Purple SC-33 with a little White SC-01.
  3. To finish the lenses we will make an extreme highlight toward the edge in two steps, the first will be mixing Antares Red SC-37 and White SC-01 until a light pink and apply it on the lower edge of the lens slightly inclined. As a second step apply White SC-01 directly with a crescent moon shape in the upper part slightly tilted to the opposite side of the bottom and making two dots below simulating possible spotlights who set the miniature, also paint a dot on the lower half moon to manage to get that “magnifying effect” we wanted to achieve.
  4. Once the lenses are done we will have to finish painting the frame of the glasses applying a base color of Brown Leather SC-31 mixed with Sahara Yellow SC-11.
  5. Illuminate the golden color of the frame with a highlight of Sahara yellow SC-11 directly and marking light points with Tenere Yellow SC-10.




  1. For the copper part we will use Sharpnel Red SFG-36 over a layer of Arbuckles Brown SFG-34 and for golden parts the base color will be Arbuckles Brown SFG-34 directly.
  2. The first highlight will be made by applying Chink Orange SFG-37 and for the golden parts first with a mixture of Arbuckles Brown SFG-34 and Cokum Copper SFG-38 and then directly Cokum Copper SFG-38.
  3. As second highlight we will use a mix of Chink Orange SFG-37, Peanut Butter SFG-39 and Hykey Yellow SFG-41 the percentages being 25%, 25% and 50% respectively to make a lighten orange color coherent with the brass parts and for golden ones we will use Peanut butter SFG-39 in bronze areas and Sahara Yellow SC-11 for gold ones.
  4. We continue to lighten the color both in the copper parts and the gold ones, outlining and giving light points and simulating scratches with Hykey Yellow SFG-41 directly.
  5. Finally to tone and give more grace to metals use a stippling movement on joints and dark places with Adriatic Blue SC-15 directly for the copper parts and fairly mild glazes with Boreal Green SC-42 into the shadow zone for the gold ones.




  1. As basecoats we use Deep Blue SC-55 mixed with Inktense Violet SC 82 for the suit and Deep Red SC-35 mixed with Inktense Violet SC-82 also for the shirt, it doesn’t need to be uniformly because it will be the maximum shade.
  2. As first highlight we will apply uniformly Deep Blue SC-55 for the suit and Deep Red SC-35 mixed with a bit of Antares Red SC-37 for the shirt.
  3. Start defining the areas of light both in the suit and the shirt mixing Deep Blue SC-55 with Blue Adriatic SC-15 for the suit and applying it towards the light area and Antares Red SC-37 for the shirt.
  4. We will define the lights further with Adriatic Blue SC-15 remarking more the light and outlining areas like the flaps on the suit and we will outline the shirt with Antares Red SC-37.
  5. We finish the maximum highlights creating an effect of artificial brightness mixing Adriatic Blue SC-15 with White SC-01 applied slightly in the areas of light and using it to outline the suit. For the shirt the lighten up will be done by mixing Antares Red SC-37 with Sun Yellow SC-40 so red does not lose intensity and White-01. We outline the edges of the shirt with that mixture.

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