Preshading Miniatures With Dry Brushing in 5 Steps

Published September 21, 2026. Last updated September 21, 2026. By marlevelpainting.

Preshading is one of those techniques that can look a little strange while you’re doing it, but it pays off once you start applying color. Before we paint the model’s actual colors, we establish where the shadows, midtones, highlights, and brightest points will be. That value guide builds contrast into the miniature from the beginning.

There are several ways to preshade a miniature. Zenithal priming with an airbrush or spray can is probably the method most people are familiar with. In this tutorial, we’re going to use progressively lighter layers of dry brushing. I like this method because it gives you a lot of control over exactly where the light falls while also naturally catching the raised details and textures of the miniature.

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One thing to keep in mind throughout the process: don’t be timid with the dry brushing. Especially during the first couple of stages, you will probably need considerably more paint on the model than you initially think. The goal isn’t to carefully edge-highlight every detail. We are gradually building a value map from nearly black shadows all the way to bright white highlights.

Black-primed armored miniature beside grey and white Army Painter paints and dry brushes — The full preshading setup: a black-primed miniature, four progressively lighter greys and whites, and dry brushes for building the value range.

Five-step preshading infographic showing a miniature progressing from black primer through grey and white drybrushed highlights — The complete five-step preshading sequence: start with a black primer, then build the value map with Deep Grey, Ash Grey, Company Grey, and selective Matt White highlights.

Step 1 — Start With Your Shadows

When you prime your models, there are multiple schools of thought. One option is to prime with the darkest shadow color you plan to use. This is usually a dark blue, purple, brown, or another very dark color appropriate to the final palette. The other approach is using a neutral black, grey, or white primer.

I tend to prime almost everything with The Army Painter Matt Black, which is my favorite primer by far. Starting with a very dark color gives us our deepest shadows immediately. Choosing a very dark color rather than true black can also add additional depth and interest to your color palette, since absolute black and white are relatively uncommon in natural lighting.

Black-primed armored miniature before any drybrushed preshading layers are applied — The model primed in Matt Black. This establishes the darkest value of the preshade and provides the foundation for all of the lighter layers that follow.

Step 2 — Establish the Dark Grey

Take Deep Grey and a dry brush. Load the brush and begin dry brushing across the entire model, following the normal rules of dry brushing. Tangible Day’s guide to dry brushing miniatures covers those fundamentals in more detail.

You will probably want to apply more dry brushing than you initially expect. When I first started using this technique, I found that I needed roughly 50% more coverage than I thought I did. At this stage, approximately 95% of the model should receive some of the dark grey. The black primer should remain primarily in the deepest recesses and most heavily shadowed areas.

Armored miniature drybrushed with Deep Grey over black primer, leaving dark recesses visible — Deep Grey applied over the black primer. Most of the miniature is now grey, while the original black remains visible in the deepest recesses and shadows.

Step 3 — Establish the Midtones

Repeat the process with Ash Grey and begin reducing the area you cover. At this stage, aim for approximately 60–75% of the model, concentrating the paint on surfaces that would naturally receive more light.

This is where we begin deliberately establishing the direction and intensity of our lighting. Areas facing toward the light become progressively brighter, while downward-facing surfaces, recesses, and areas underneath armor plates remain darker.

Armored miniature with Ash Grey drybrushed onto upper surfaces to establish the midtones — Ash Grey establishes the midtones. Notice how the upper and outward-facing surfaces are becoming brighter while the recesses retain the darker values underneath.

Step 4 — Refine the Highlights

Repeat the process again with Company Grey. This time, cover approximately 60–75% of the area you highlighted in Step 3.

Continue concentrating on the surfaces that would receive the most light. With every layer, the area receiving the new color becomes smaller. This creates a gradual transition from the darkest recesses through the midtones and into the highlights.

Armored miniature highlighted with Company Grey over the darker preshading layers — Company Grey further concentrates the highlights. Each lighter layer covers a smaller area, creating a gradual transition from deep shadow to bright light.

Step 5 — Add the Brightest Highlights

For the final stage, take Matt White and lightly dry brush only the highest and most exposed portions of the miniature. Think about where the light would strike most strongly: the top of the helmet, upper edges of the shoulder armor, raised chest details, knees, weapon edges, and other upward-facing surfaces.

You don’t want to turn the entire model white. These final highlights should be relatively selective. Their purpose is to establish the brightest points of our lighting and complete the value range we started with the black primer.

Armored miniature with selective Matt White drybrushing on the highest edges and details — Matt White completes the preshade. The brightest value is restricted to the highest and most light-exposed surfaces, completing the transition from black shadow to white highlight.

A Couple of Dry-Brushing Tips

There are two small things I’ve found make this process considerably easier. First, I keep the same dry brush between these colors. Cleaning introduces water into the bristles, and moisture is exactly what we don’t want when dry brushing. Remove as much paint as possible using a paper towel or texture palette before moving to the next color. A small amount of the previous grey remaining in the brush can actually help soften the transition into the next one.

Second, use a hair dryer between layers. I use a cheap one that cost about $10. A quick pass between colors helps make sure the previous layer is completely dry before the next dry-brushing stage begins. That keeps the next layer from disturbing the paint underneath and lets you move through the process much faster.

What the Finished Preshade Should Look Like

At the end of the process, your miniature should almost look like a black-and-white photograph. You should be able to look at it before adding any color and immediately understand where the light is coming from, where the deepest shadows sit, and which details you want to draw the viewer’s eye toward. That value sketch gives you a quiet moment to study the model’s form before color begins competing for your attention.

That’s really the purpose of preshading. We’re doing some of the work of shading and highlighting before the color ever touches the model.

The important part is that the progression isn’t simply black → grey → lighter grey → white. Each successive layer also occupies less physical space. The dark grey establishes the overall form, the middle greys establish the direction of the light, and the final white identifies only the brightest points. When transparent or semi-transparent colors are applied over this foundation, those differences in value can continue to show through and help create depth. If you plan to use Contrast paint, Speedpaint, or another translucent color over this foundation, Tangible Day’s Slap Chop guide carries the process into the color stage.

And don’t worry if the preshade looks a little exaggerated when you finish it. That’s usually preferable to making it too subtle. Once subsequent layers of color go over the model, some of that contrast will naturally be reduced. Starting with a strong value range gives you room to lose a little contrast while still preserving the effect you worked to create.

ABOUT THE AUTHOR

Alexander Foust is a loving husband, father of twins, and committed Emergency Room Nurse. Balancing his personal and professional life, he finds strength in his faith and enjoys fitness, miniature painting, and tabletop gaming. You can reach Alex who is open to miniature painting commissions via email ([email protected]) and his MARLevel Painting Facebook page.