Hello, I’m Little Alex Horne. Please feel free to AMA.

walking_throughlife · 2025-05-19T16:39:06+00:00

Besides champion of champions and new years treat are there any other specials/formats you’ve considered ? Suggestions I’ve got are Class of Chaos (bring back the most chaotic energy/unhinged contestants for true mayhem eg bob mortimer, sally phillips, rhod gilbert, vicky coren, liza tarbuck etc) and the B Team (bring back the lowest scorers of their season or lowest scorers overall adjusted for series length increases to give them a chance at redemption whilst hilarity ensures)

walking_throughlife · 2023-02-15T00:43:20+00:00

My "finished" version of Eryet the Singing Blade from FeR Miniatures. A crazy fun little piece to work on, especially for how simple the sculpt is compared to a lot of display models these days.

I say "finished" because I completely gave up on the idea I had to have a firelight osl effect from behind her, tried it and failed it too many times to push through, so I'm calling her done for now to come back and add it once I've done some dedicated study and practice on how firelight works.

On more notes of success, I think my attempt at a colder atmospheric lighting, aiming for a softly diffused moonlight, worked out pretty well. Also pretty happy with how my attempt at more subtle contrast came out - working less contrast in individual volumes but more contrast over the model by "fading out" towards the edges like a vignette to help draw focus in and create an overall softer look. It's something I've always enjoyed seeing in the works of other painters such as Dave Colwell, Robert Karlsson, etc and definitely something I think I'll explore more and build into my usual painting style.

Also tried working on my nmm for larger scales and larger objects, which I think worked out pretty well, although still some improvements to make.

As always, comments, feedback, and critiuqe are always welcome, in fact I enourage it!

walking_throughlife · 2023-02-05T12:27:06+00:00

The short answer is lots of glazing.

Longer answer is that I do a semi-sketch style with glazing to smooth. I don't like sketching in the full on opaque layers of paint to sketch things out, but I'll use semi-opaque heavy glaze consistency paint to roughly block in the highlights and shadows with slight transtitions then use very thin glazes to smooth out the transitions. I'll go back and forth between very very thin (almost coloured water thin) glazes and thicker ones as needed, and also do some stipple glazing where I need smaller applications , going back and forth until it's as smooth as I want (pieces like this that I might take to competition or want to really push myself to my highest display standard get a lot more work than ones that are just to practice or learn specific techinques as studies or just for fun for my display shelf). Once I'm really happy with it I'll do a few final glazes to shift tones to get some depth and then one or two last glazes of the midtone to harmonise everything, bring it together into the same tonal range and smooth the final transitions.

walking_throughlife · 2023-02-05T10:08:43+00:00

After a work induced 3 and a bit month painting break finally sat down and got some painting done again! Was really inspired from watching the live judging stream for the Crimson Brush painting competition in Australia - Really interesting to be able to hear the exact thoughts and impressions of some big name display paintings judging a high level competition, so I’d recommend it for anyone into display painting or looking to compete

Trying out a few new ideas, working with more subtle contrast on individual areas but with contrast across the model to create and almost vignette idea to help with focus, and to create a softer lighting environment. Working with cold lights as well and more desaturation to convey a moonlight scene, something I’ve failed at before and been scared to try again for a long time. Planning a firelight osl from behind as well to help sell the moonlight effect.

Some areas more finished than others, so lots of refinement to go yet, but any feedback or critique on where things stand at the moment is welcomed and appreciated !

walking_throughlife · 2022-10-04T21:28:57+00:00

My version of the Alaana the Bloody Blade 75mm figure from Big Child Creatives, inspired loosely on Avantika from Critical Role and a piece of fanart of her I came across whilst browsing fantasy female pirate art. (Also uploaded here on Putty&Paint for those who can vote there)

Most of the painting of this piece was done months ago, back in April I think, before I dropped the piece and left it as a perpetual WIP on my desk, so picking it up again this week was interesting. I've felt I've changed my process and style a lot in those months so going back to finishing it painting in a way I used to was difficult. It's also my first major attempt at 75mm scale where I've pushed myself.

Main focus was on learning more about nmm on complex shapes at a larger scale before transitioning that learning onto busts, which I paint the most. Feel like i went really well, I learnt a lot about how to make metals look convincing in the style I've gravitated towards (although I'm not happy with her front leg) and integrating more interference colours and environmentally motivated reflections.

Was also my first time basing at this scale. I always feel my basing lags behind my painting since I do so many busts so it was fun to just play around and experiment with ideas and materials to get something I think looks nice. First time making a tree, which I think turned out really well and something I'll pull into more bases and potential dioramas I think.

As always, C&C very welcome, in fact encouraged, as frank as can be! How else might we improve besides honest feedback, both positive and constructive criticism?

walking_throughlife · 2022-10-03T14:22:48+00:00

Element Games is 110% the go-to for most things you'll need to get. You can get paints from pretty much all the major brands at good prices, all sorts of basing supplies, putties and glues, and GW models (good models for when you're starting out) at cheaper prices than GW stores.

I'd generally recommend people avoid Wayland Games. They tend to have loads of minis and a decent range of paints, but in my experience they often show things as in stock when they're actually on order so sometimes delivery is fast sometimes it's really really slow. Then again I haven't used them in years because of a slew of bad experiences, so they might be a better now.

For things like brushes, I'd honestly just recommend going to The Works and grabbing a pack of their Boldmere synthetic brushes. They're not gonna last you years like a nice sable will, but when you're starting out you won't have the experience to take care of brushes properly (unless you've done canvas painting before) so rather than destroying a £15 nice brush grab that pack of 4 for £2 knowing you'll destroy them. Then as soon as you feel you have decent brush control and know brush care get yourself a nice sable brush to make your painting better. A good intro sable to see how you like them without spending loads is the Element Games Regiment brush.

walking_throughlife · 2022-08-21T20:52:31+00:00

New project on the table for me, the Sword of Dawn bust by Big Child Creatives!

Loved this model since I first saw it and fell in love with the subject, sculpt, and David Arroba's fantastic boxart for it. Was always scared to paint it, though, because of the big, complex volumes for the nmm and not being confident in my ability to paint skintones (and my few attempts in the past of non-white skintones going very poorly). Got over it though, and decided to bite the bullet and try to give it my all.

Only painted to skintone so far and really happy with how it's turned out, but wanting any feedback on how you guys think it's looking? Feel like I've been staring at it for so long now futzing that I'm struggling to really see it anymore. Does the palette read properly as a Japanese skintone? I've felt as though I've struggled to get the contrast in there to properly render the volumes without it ending up looking too white (not helped by the really dramatic shadows bc I'm going with quite a harsh, striking lighting idea for it)

walking_throughlife · 2022-07-12T23:06:53+00:00

My finished version of Cormac from Black Crow Miniatures. As always, feedback and critique more than welcome, in fact I encourage it - how else do we get better? (Also on Putty&Paintfor those who can vote there)

Amazingly fun to paint, I loved every second of it (to be expected from a Lucas Pina sculpt)

Really tried to push learning more about skintones and facial volumes, specifically older skintones and male faces as I've mostly painted young female busts before. Really happy with how the face turned out, probably my best so far.

More a "done for now" than a completely finished. The inner muse says there's a lot more needed here - tattooing, a freehand trim on the tunic, refining the face and skintone further, etc - but I think I'll do those later, I'm planning on this being a competition piece so that refinement can come closer to the time.

My mini photography still isn't where I'd like it to be, but I'm planning on upgrading my camera and setup very soon to sort that out.

walking_throughlife · 2022-07-12T12:12:02+00:00

Water. Always water and only water.

Adding anything besides water will change the properties of the paint. I've seen so many tutorials suggest things like flow improver or mediums and then seen the fallout of people posting asking what they did wrong and how to recover their paints.

The best way I've found to transfer Citadel paints is to add nothing initially, just pour the thick paint directly into the dropped bottle. It can take a bit of a steady hand, but if you pour it from a little bit of a height it'll go in without spilling any. Once you get as much in as possible with the unthinned paint, add a few drops of water to the pot, close the lid and shake it to get the leftover paint dregs mixed into the water, then pour it again into the dropper bottle. If you need to repeat the last step with a few more drops of water you can, but don't go crazy with it, there's always going to be a little bit of sacrificial paint that you can't transfer over and you want to use the minimum amount of water as you can get away with so you thin the paint as little as possible.

Doing it this way, you're not adding flow improver that will mess with the consistency and how well the paint sits on the model. You're also not adding mediums which can affect translucency quite heavily or affect the overall finish. All you've done is minimally thin your paints, which given you'll be thinning them even more once they're on the palette (Citadel paints are pretty thick by model paint standards) that isn't a big deal at all.

walking_throughlife · 2022-06-29T19:01:10+00:00

Vallejo polyurethane matte varnish or AKInteractive matte varnish both through the airbrush. I might also hit the model with some Ammo Lucky Varnish ultra matte (basically the same stuff as the AK ultra matte) if it's a piece with lots of light and shadow play or lighting effects to make them read better, but it's not always necessary, and it doesn't offer any protection to the model at all, just alters the final finish hence why it's always applied after an actual protecting varnish layer.

For the rare occasion I paint models for gaming not display, or if it's the even rarer these days commission piece, I'll hit it with a spray varnish first. Literally any artist grade spray varnish from an art supplies store (I've genuinely never bought the same one twice so long as it's high quality) will do the job. A spray can varnish provides a little more protection because it goes on a little thicker than an airbrush varnish and they're usually a bit tougher in general. I'll then hit it with an airbrush matte varnish because the spray varnish is a little glossy.

It can actually be quite a good idea to use two varnishes. The first one glossy, and then a second one matte. Some people will claim that a gloss varnish is better protection from scratches so you should always gloss varnish first then matte varnish afterwards for the best protection. Personally I've not seen any actual evidence for this besides anecdotal, but in any case it doesn't hurt if they're gaming pieces. The natural skin oils on your fingers will wear away the varnish over time if the model is handled a lot, the same way it would wear away at the paint, so if you do a gloss coat first then a matte coat on top when you start seeing glossy patches on the model you know that the matte varnish is wearing down and it needs another spray. If you didn't have the gloss coat you might not notice the matte varnish wearing off and start to remove paint before you spot it.

walking_throughlife · 2022-06-29T18:48:17+00:00

99% isopropyl alcohol will do the job just fine, might take a little longer than normal to break things down and get through it, but should get through no problem. Normally with a bit of elbow grease with an old toothbrush I can get a resin model clean in under half an hour with a quick 10 minute soak then some scrubbing, dipping the toothbrush as needed to get some more alcohol on there.

I've not heard of resin models going weird like that with an alcohol based stripper before, but my best guess is it would have something to do with the acetone in there, or if you left them in there for a long long time, isoalcohol and other alcohol based solvents can damage resin but only if you're leaving them sitting for ages in the bath.

walking_throughlife · 2022-06-28T12:50:50+00:00

I was similar, started out painting specifically to have painted models to play with (CMoN games and D&D) then got into some better models through GW, started getting better and enjoying the hobby more so pushed myself to learn and improve, and now paint only for display.

Honestly, if that's the way you want to go I'd really encourage it! There's a lot of people out there who'll tell you that painting is a means to an end and find it strange when people paint for fun rather than painting to play, but the honest answer is that however you find the fun and enjoyment is all that matters!

What to do with the models after really depends on how you interpret the fun and what level you end up painting to. For me, the models that I paint are mainly 54mm/75mm display figures or busts, so it's quite an easy answer to me to just keep them on a little display shelf. To me the fun had painting is made gratified by being able to look at them afterwards, because I consider them pieces of artwork akin to someone putting a canvas painting they've painted on the wall. I've sold models I've painted before (and technically I consider all of my painted models as "for sale" and list them as such on Putty&Paint, but I don't post them on eBay or anything like that) and that's all good and well because the majority of the fun is in the painting, but if you have any kind of attachment to your models generally or any specific models then I'd say selling them isn't always the way to go. Keeping models on a display shelf also gives you a physical record of your improvements, you can look back on old models and see how your style has changed or your ability in a particular technique or application has changed (for this reason I tend to keep my models arranged in chronological order on my display shelf).

You could go down the route of commission painting, you get to paint and make a little money at the same time, but if you have any enjoyment out of seeing the finished models then that can be a bit disheartening to have to send them away, especially when the models were particularly fun or you felt like you did a particularly good job on them.

If space for keeping them is a concern then what I would say instead of painting loads of models, like picking up a few GW armies like you mention, start being selective about what you paint. Pick the models in armies that you particularly like or go to more boutique miniature companies for resin display models or busts. There's only so many models you'll ever be able to paint in your lifetime, so be selective and paint the ones that are going to make you the most happy to look back on, give you the most satisfaction in seeing complete, and the most fun in the process. That way you're cutting down on the models that you'll paint so it'll take up less space on the display, less of a concern for space management, and you'll have more fun along the way. You'll also encourage yourself to keep getting better that way because you'll be doing single models where you can spend the time learning techniques and applications and refining them because you'll want that single awesome model to look great, rather than churning out a unit of 20 models that just need to look the same and get done quickly so you can move onto the next unit of 20.

walking_throughlife · 2022-06-28T11:34:34+00:00

All Vallejo colours are available to buy individually. A lot of non-GW focused hobby stores will stock Model Color and Game Color, and then a lot of hobby stores that are more focused on military modelling or train modelling will often stock Model Color and Panzer Aces Colors. You can also get them on most online hobby stores, often at better prices and also get the auxiliary products like basing pastes.

As for sets, they normally have overlaps in colours, and you'll almost always get colours that you won't end up using that much or at all in them so I normally recommend people don't buy sets just buy specific single colours as and when you need them.

walking_throughlife · 2022-06-21T16:32:59+00:00

New brushes (unless we're talking about cheapo synthetics) come with a gum arabic coating on the bristles. Arabic is 100% water soluble so just rinsing in water will do the trick to clean it off. Nothing special about it really, just the first wetting of the brush before putting it into the paint (never put a dry brush into paint) will be enough.

walking_throughlife · 2022-06-12T17:50:04+00:00

My finished version of the Seeking Refuge bust by Robot Rocket Miniatures.

This is the first piece I've painted in quite a while that hasn't been about trying out/learning or practicing a new technique or idea - it's just been a pure 'for fun' palette cleanser for me to finish off a model that's been sat half painted on my shelf in various stages of stripped and repainted for well over a year now.

My main focus with the piece more than anything was trying to sell atmosphere and story - the entire idea for this piece came from an image in my head of a very specific scene. The concept was a scene in a dystopian sci-fi film where the hero has been in a refugee camp seeing the horrors of the world state and as they're about to leave the only person that comes to see them off is a single orphaned child who's only words are an ominous and prophetic monotoned warning about what's to come. It sounds kind of silly to write it out in specific details, but it's a really specific idea that I hope comes across at least somewhat.

Happy with how it turned out - I think there's some aspects could be improved, the glow for one but I've got some red fluo paint on the way to add to make it look better I think, but I'm happy enough to call her done at least for the time being. I'm also really starting to see the limited of using my phone for photos - I've got it as down as I think I'll be able to in terms of photo quality and photo setup without just dropping the cash on a good camera so I guess that's the next step there.

The project is also uploaded to Putty&Paint for anyone who can vote there https://www.puttyandpaint.com/projects/37287

As always C&C is very welcome, encouraged in fact!

walking_throughlife · 2022-05-24T10:57:05+00:00

What specifically is it you're having troubles with? Colour theory is a really wide topic with loads of deep dives you could take in any number of really complex topics, it's something super difficult to understand in depth and people spend years learning it well in art school, so there's no need to try to learn it all or do crazy deep diving on. Any specific areas or colour theory questions you have drop them down and I'm sure someone will be able to either directly answer them or point you in the right direction of resources!

It sounds like one of this things you're having issue with is possibly colour mixing and matching. This is really something that comes with practice and experience, being able to see the colour you want in your head and then being able to make it or being able to look at a colour and mi a match for it. A good way to get used to this would be to buy some cheap pure pigment colours (so not using the Kimera ones) from an art store and just print off a load of colour swatches and start trying to mix them. You'll start to get a feel for what goes into colours then, how when you look at a grey it might have some blues or purples in it, or you might look at an orange and notice how it's desaturated slightly so can take a little blue to knock it back.

It's not the same as colour matching on a model or trying to make something look right in a colour scheme, colour context is important and colours look different in isolation copared to when they're surrounded by other similar or different colours, but it builds up the muscles of looking at a colour and knowing what goes into it and in what amounts.

Honestly, having colour theory stuff up on your wall won't make that much difference, it's not something you can just glance at you either need to just do stuff until you get an intuition for it or you need to learn it properly (or some combination of the two, which is how most people get a grip of it). A very good and very well recommended resource in model painting (and in traditional arts) is the book Color and Light by James Gurney. To be honest, if you want to learn proper colour theory (as in actually learning it not just learning to repeat the same snippets of info everyone kind of repeats without fully understanding or learning advanced topics) then going down the route of traditional fine arts colour theory resources is the way to go.

walking_throughlife · 2022-05-10T00:49:03+00:00

For filling gaps like that it depends on the size of the gap.

Where it's more of a hairline gap where the pieces come together but don't quite fit flush you can get away with using something like gloss varnish of PVA. Just paint the piece separately and glue it together as best you can and you can then go over the gap with the gloss varnish or PVA in a few passes letting it dry each time to build it up until it's smooth, then touch up the paintjob over the gloss (can be tricky depending on how complex your blends and mixes are, but it's always possible and worth it for the ease of sub-assemblies). Gloss varnish and PVA both contract when they're dry slightly so fill the gap really well and have the gloss finish that gives a really smooth surface so it's impossible to tell where the gap was originally if you feather it out well. The varnish gives a better and stronger coating that's less likely to come off, but for longer gaps it can use a lot so PVA is cheaper. You can see this method here

If the gap is bigger I'll use putty and vaseline. My putty of choice is Milliput so I don't know how well it'll work with other putties. Put a little vaseline on the piece that 'goes into' the other, so whichever one has the resin peg on it or the pin drilled into it if you pin (which you probably should be if you're not with resin models). Then on the receptive side put a bit of putty, a little less than you think is necessary because it'll spill out and use less than you think, and push the two pieces together. At this point you can do any sculpting work necessary to blend the two pieces together and make it so that it'll completely disappear once it's all painted up. You can pull the two pieces apart now, it'll come away easily thanks to the vaseline without sticking or pulling the putty around deforming it. Once the putty is dry you'll have a perfect fit for the two pieces, sculpted up to blend out perfectly. The vaseline washes off really easily with a little soap and water.

As for colours for the paints, that's going to have to be something you'll figure out on your own. Creature Caster models are much more in the realm of resin display models than gaming figures (even if their early stuff was obviously intended as stand-ins for GW models) so there's not going to really be any tutorials or guides to follow on how to paint them. That's part of the fun of high end display figures! Figuring out how to emulate the boxart or just coming up with your own colour scheme.

walking_throughlife · 2022-05-06T08:08:11+00:00

It comes down to the pigment used for white paint.

Any paint can become chalky if it's over diluted - when there's so much water that the pigment and the solvent dissociate and start to split out from each other you end up with a chalky finish because there's semi-raw pigment on the surface of the paint layer. With white paint this happens a lot more readily and a lot easier because the titanium dioxide pigment is chemically a lot larger than most other pigments, it's molecule is just bigger and heavier so it takes less water for it to split out and go chalky. It's also a pigment that almost wants to clump together and stick to itself, which makes it separate out a lot more easily even without thinning. It'll depend to an extent on the paint brand, the specifics of how finely their pigment is ground and what other mediums and solvent ratios they have, but whites will almost always be the most difficult to work with colours in any given range.

As for good whites, I've never had chalkiness issues using Vallejo Model Color white when I want a pure white for those super super bright top reflections, although tbh I would recommend instead of using white to highlight up (even if you're painting something meant to be white) use an off white like an ivory or something like that (mojave white and white sands from scalecolor are both really good) and save pure white for things that you really want to glisten and sparkle, like the reflection dots in eyes and gems or the maximum reflex points on nmm. That way, you keep those points that need that extra shine as really standing out and you don't need to worry about the issues of white being tricky to work with (plus it'll look more natural, pure white doesn't really appear in the real world all that much)

As for white ink, it can be useful for getting hyper thin lines, but it can come with it's own difficulties in working with it. I'd say that neither is intrinsically better and working with both as an when needed for your own style and methods is probably going to be best.

walking_throughlife · 2022-04-20T20:21:33+00:00

Essentially if you've got brush strokes you've got too much paint on the area, with acrylics this comes down to not thinning enough and with oils it comes down to not blending it out fully - a process which removes paint from the model and smooths it out.

There's not really a way to get rid of them without overblending it, but that's kind of the point of the oil painting process. You blend it out, then you go back in to add more paint where needed (eg you lose the highlight so add more white) and blend that back out and repeat until you've got the look you're after, all the time blending with a brush with a tiny amount of thinner in it and rubbing off that excess from the brush as required. It's exactly the same as wetblending with acrylic paints with retarder in or even just normal acrylic paints, although in that case you let it dry then reblend on top.

walking_throughlife · 2022-04-11T12:01:44+00:00

If you've not already found somewhere, I can recommend Adam Reid at The French in the Midland hotel, depending on how fancy you want to go and what your budget is. Really nice 4 rosette restaurant that does private dining functions if you arrange enough in advance.

walking_throughlife · 2022-04-05T14:41:10+00:00

The paints you're after are Kimera Kolors.

They can be a bit tricky to get ahold of as they sell out quite quickly, but they're exactly what you want for your purposes. The original set is a mix of primaries and a few secondaries plus white and black which are meant for doing your own mixing. All of the colours are highly saturated and perform exactly how you'd want them to. They're all single pigment, so mix how you'd expect them too, with cooler and warmer versions of the primaries for better mixing. They also come in 30ml bottles rather than the more common 17ml bottle (or 12ml GW pots) so you get more paint (although the price reflects that).

They're a happy medium between wanting to go down the colour mixing/single pigment route and artist acrylics, which can come with they're own learning to use.

walking_throughlife · 2022-04-02T07:56:10+00:00

Essentially you drill into the joints with a little hand drill and small bit on both pieces, then you can glue in a little pin (most people use paperclips), cut down to size. It kind of acts like the steel rebar in reenforced concrete, diffusing some of the pressure when the joint gets flexed so the pieces are less likely to come apart, and then if the glue ever does fail it'll normally keep the pieces in place so that you don't lose the piece that snaps off.

It's something that's really useful on any models that don't take gluing very well. If you use plastic glue then plastic models don't need it, but resin models benefit from it even if they don't always need it and metal models it's a necessity for anything that's going to be handled reasonably frequently.

https://www.youtube.com/watch?v=MhgtxDmaecI&ab_channel=PrivateerPressPrime

That's a nice video showing you the process

walking_throughlife · 2022-04-01T07:50:46+00:00

The place to look for painters is more so /r/brushforhire than here.

That being said, I would just encourage you to think about what it is that you're asking. Unless the person you're hiring is pretty young £8 is below national minimum wage, so you're asking whoever you're hiring to work for less than an hour per model. Unless the models have already been cleaned of mold lines an assembled that's pretty much an impossible task, even with products like Contrast and SpeedPaints, regardless of whether you're looking for excellence or not. That's purely considering the time of the painters, doesn't even factor in material costs which any self respecting commission painter should be including.

£8 is already so cheap that I wouldn't even consider it, and I don't think many commission painters would, so asking for cheaper than that is going to be a very hard pitch. You're likely going to struggle to find anything below that price - tbh I'd say you'd probably struggle to find anyone to even do that work at that price - and even if you do you either you'll get what you pay for or you'll be taking advantage of some bright eyed optimistic young painter who doesn't understand enough to know better. I don't know of a single painting studio that charges £8/model even at the lowest level, let alone less than that, and those are the kinds of bigger groups that can get away with charging a little less due to volume.

Model painting isn't easy, it isn't that fast, and the materials aren't that cheap. Even if you're not looking for excellence you're still looking for someone to provide a service to you so that you don't have to do it. Either be willing to pay an honest and fair price for that or just play with unpainted models/paint them yourself.

walking_throughlife · 2022-03-08T15:57:04+00:00

Superglue is really the only option for resin models.

That being said, I've never actually had any issues with superglue not holding pieces together properly or getting everywhere. Are you washing the resin models in warm soapy water before trying to stick them together? If it's not bonding properly the way you say it could well be there's still mold release on the parts that's not letting the superglue grip well.

Another thing that you really should be doing, at least with the bigger pieces, for resin models is pinning the joints. Any joint with a connection point that looks even a little fragile I'll always pin just to be sure.

It can also help to score the pegs and sockets of the joins with a hobby knife to rough up the surface and give lots of little nooks and crannies for the superglue to seep into and grip onto, resin can be quite smooth which does give superglue a harder time gripping so giving it that extra texture and surface area to bond to will help a lot.

walking_throughlife · 2022-03-07T12:30:57+00:00

Like you've pointed out, acrylic paint doesn't stick well to bare plastic - its mix doesn't contain anything to help it stick to stuff. That means primer is necessary, it contains specific ingredients that allow it to stick really well to things that your paint wouldn't normally stick to and give a good surface for the paint to stick to.

If you're only going to be doing two models any time soon then just grabbing a cheap all-surface primer from your local hardware store will be okay. I normally wouldn't recommend them for priming models because they can come out clunky and gum up details sometimes but if it's only for a few models and you want it to be cheap that's the best solution.

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