Blanchitsu is not a fixed technique so much as a restraint: a small, deliberate palette, filmic decay over clean precision, and texture over smoothness. Set III leans warm and earthen, oranges and ochres grounded by olive, with a shock of teal and a single pale purple for the palette of the unusual.

1. 1Restraint over range. Three or four tones, used with intent, read stronger than a dozen misplaced highlights. Skin stays sallow and drained, not sun-kissed.
2. 2Texture before colour. Rough up too-clean plastic with liquid greenstuff or crackle paint before undercoating, then zenithal prime: black from below, cold white from above, to map your shadows and highlights.
3. 3Basecoat loose and fast. Large, weathered brushes or an airbrush for tonal variety over precision. Repeat one or two unusual accent tones, like the turquoise or purple here, across a whole warband for a cohesive, haunting look.
4. 4Wash it together. A liberal oil wash ties disparate colours into one weathered whole. Reserve your sharpest contrast, a deep gloss black beside pale skin and a spot of blood red, for where the eye should land.
5. 5Highlight sparingly. Only the points light would naturally catch, kept dull and weathered. Paint the model as one assembled piece, base included, so light and shadow stay consistent across the whole thing.

• 10 dropper bottles, 15ml each, hybrid acrylic
• 1 filbert synthetic sable brush
• Smooth satin finish, non-separating
• Non-toxic, water-based formula
• Child-proof bottle tops
• Brush and airbrush compatible
• Intermixable with other brands
• Ships worldwide from Cyprus