A Beginner's Guide to Object Source Lighting (OSL) for

Miniature Painting
Introduction: Lighting Up Your Minis!
Miniature painting offers endless ways to bring tiny worlds to life, and few techniques
add as much drama and visual punch as Object Source Lighting, or OSL. Imagine a
valiant knight whose magical sword pulses with ethereal energy, a grizzled adventurer
cautiously advancing, their path lit only by a flickering torch, or a menacing robot with
glowing red eyes scanning the darkness. OSL is the technique painters use to create
these captivating effects, simulating light emanating from an object directly on the
miniature or its base.1 It can elevate a model from a simple painted figure to a dynamic
scene, drawing the viewer's eye and telling a story.4

While the results can look complex and impressive, the idea of painting light itself can
seem daunting, especially for beginners.7 Many aspiring painters see stunning OSL
examples online and think it's beyond their reach. However, the truth is that achieving
a basic, believable OSL effect is well within the grasp of any painter willing to learn the
core principles and practice patiently.9 This guide aims to demystify OSL, breaking it
down into simple, manageable steps specifically tailored for those new to the
technique. The goal isn't immediate mastery, but to equip novice painters with the
fundamental knowledge and a clear process to try their first simple glow effect,
building confidence along the way.

Section 1: What is Object Source Lighting (OSL)?

At its heart, Object Source Lighting is a painting technique focused on creating the
illusion that an element on the miniature itself (or sometimes its base) is emitting light
and casting that light onto adjacent surfaces.4 It's crucial to understand that this is
painted light – a visual trick achieved with careful application of color and contrast,
not actual illumination.5 The "object source" refers to the specific part of the model
depicted as generating the light. This could be anything from a mundane torch,
candle, or lantern 1 to fantastical elements like glowing magical gems, runes,
enchanted weapons 1, fiery spells 11, sci-fi plasma coils 4, computer screens, eerie
glowing eyes 2, or even environmental sources like molten lava on a base.4

Painters employ OSL for several reasons. Primarily, it adds a powerful sense of
atmosphere and drama, suggesting a specific environment like a dark cave, a
nighttime raid, or a futuristic battlefield.1 It serves as a potent tool to draw the viewer's
focus to key areas of the miniature.5 Unlike standard miniature painting which often
assumes a neutral, overhead light source (known as zenithal lighting) 4, OSL
introduces a specific, directional light source from within the scene, fundamentally
changing how highlights and shadows are placed.4

Because OSL is about creating a convincing illusion rather than a perfect scientific
simulation of light physics, there's room for artistic interpretation.5 The goal is to make
the effect believable to the eye.5 Understanding this can be liberating for beginners,
as it removes the pressure of needing to be a physicist and allows focus on the
practical painting steps needed to achieve the visual trick.7 Sometimes, painters might
even slightly bend the rules, perhaps exaggerating the light on a character's face to
maintain it as a focal point, even if strict realism would dictate less light.16

Section 2: Understanding the Glow: Basic OSL Principles

To paint a convincing illusion of light, it helps to understand a few basic ways light
behaves in the real world. These principles form the foundation of effective OSL.
●​ Light Travels in Straight Lines: Light radiates outward from its source in straight
lines, like spokes on a wheel.12 Any object, fold of cloth, or part of the miniature
that physically blocks this straight path will cast a shadow on the surface behind
it.18 Visualizing these lines is key. One helpful trick is to take the unpainted
miniature into a dark room and shine a small flashlight from the position of the
intended light source; this can reveal which surfaces would naturally catch the
light and which would be in shadow.4
●​ Intensity Decreases with Distance: The further a surface is from the light
source, the weaker the light hitting it will be.12 This means both the brightness and
the intensity of the light's color diminish as distance increases.16 Painters often
visualize this as light spreading in imaginary concentric spheres centered on the
source; surfaces touched by inner spheres are brightest, while those touched
only by outer spheres receive dimmer light.12
●​ Light Has Color: The light emitted by the source has a color (e.g., warm
yellow/orange for fire, cool blue for plasma), and this color will "tint" the surfaces
it illuminates.4 The interaction between the light color and the surface color
determines the final perceived color (more on this in Section 5).

Beyond these behaviors, two "Cardinal Rules" are paramount for successful OSL,
especially for beginners:
1.​ The Glow Must Be Brighter: This is the most crucial principle.2 Any area painted
to look like it's hit by the OSL must appear brighter in value (lighter) than the
adjacent areas not being hit by that specific light source.2 If this rule is broken,
 the illusion instantly fails.
2.​ Nothing Brighter Than The Source: The object emitting the light (the torch
flame, the glowing gem, etc.) must be the absolute brightest point within the
entire OSL effect.2 Any light reflecting off surrounding surfaces will always be
dimmer than the source itself.

These rules highlight the importance of Contrast. OSL effects look most convincing
when there is a strong difference in brightness (value) and sometimes color saturation
between the areas illuminated by the source and the areas that remain in shadow.2
Trying to add OSL to a miniature that is already painted with very bright, high-contrast
highlights simulating broad daylight often looks weak or unnatural.18 It's like shining a
flashlight on someone standing in bright sunlight – the flashlight's beam is barely
noticeable.18

For beginners, applying these principles consistently across the miniature is more
critical than achieving perfect physical accuracy.16 An OSL effect where the light
consistently fades with distance and respects basic shadows will look more believable
than one that attempts complex reflections but applies them inconsistently (e.g.,
making a distant surface brighter than a near one).16 Check that surfaces roughly the
same distance from the source receive a similar level of illumination.

Furthermore, it's helpful to realize that adding OSL isn't just adding a glow; it's
fundamentally changing the perceived lighting environment of the miniature.2 The OSL
source becomes a primary or significant secondary light. For the effect to have
impact, the rest of the miniature needs to look like it exists in a relatively dimmer
setting compared to the OSL source – think of a figure in a cave, at night, or in deep
shadow.3 This doesn't mean painting everything black, but rather using darker base
tones and reducing the contrast range (less extreme highlights and shadows) in the
areas not directly lit by the OSL.2 This heightened contrast makes the OSL effect truly
"pop".

Section 3: Your OSL Toolkit: Essential Materials

The good news is that you don't need a lot of specialized equipment to try basic OSL.
Standard miniature painting supplies will get you started.
●​ Paints:
○​ Acrylic Paints: Your regular water-based acrylic miniature paints (like Citadel,
Vallejo, Army Painter, Scale75, etc.) are perfect.
○​ White Paint: An opaque, pure white paint is essential. It's used to basecoat
the light source itself, ensuring it reaches maximum brightness and stands out
 as the origin of the light.2
○​ Light Source Colors: You'll need the main color for your light effect (e.g., a
vibrant yellow or orange for a flame, a bright blue for plasma) and at least one
lighter, brighter version of that color (e.g., a pale yellow or even off-white to
mix with your main yellow) to build highlights within the glow.12
●​ Thinners/Mediums:
○​ Water: Can be used to thin paints, but achieving the right consistency for OSL
glazes can be tricky with just water.
○​ Acrylic Medium (Recommended): Using a dedicated acrylic medium – often
called Glaze Medium, Lahmian Medium (Citadel), Thinner Medium (Vallejo), or
similar – provides much better control.13 Mediums help thin the paint while
maintaining its consistency and surface tension, making it easier to create the
smooth, translucent layers (glazes) needed for OSL. Thin, translucent paint is
critical because it allows the underlying base colors to show through, creating
the effect of light tinting a surface, rather than just covering it with opaque
color.27 It also allows for gradual, controlled build-up of color intensity.12
●​ Brushes:
○​ Fine Detail Brush: A standard miniature painting brush with a sharp,
well-maintained point is necessary for applying the glazes precisely where
needed.29 Common sizes like 0, 1, or 2 work well, depending on the scale of
the miniature and the area being painted.
○​ (Optional: A small drybrush can sometimes be used for quickly sketching a
rough glow or adding a soft, diffused effect, but the core technique for
beginners relies on controlled glazing 4).
●​ Other Useful Items:
○​ Palette: A wet palette is highly recommended.13 It keeps paints, especially thin
glazes, workable for longer periods, preventing them from drying out too
quickly while applying multiple layers.
○​ Paper Towel: Essential for controlling the amount of paint on the brush when
glazing.20

While not necessary for this beginner's tutorial, be aware that painters sometimes use
other materials for OSL:
●​ Fluorescent Paints: These offer incredibly vibrant, almost unnatural colors
perfect for sci-fi energy effects or magical glows.4
●​ Inks: Acrylic inks provide intense, transparent color and flow well, making them
useful for glazing, especially over metallic paints where standard acrylics might
dull the shine.2 White ink is sometimes preferred for basecoating deep recesses in
light sources like plasma coils due to its low surface tension.14
 ●​ Airbrush: Many advanced painters use an airbrush to quickly apply smooth
gradients of color for OSL effects.3 However, excellent results are achievable with
a brush, and this tutorial focuses exclusively on brush techniques accessible to
everyone.35

Beginner OSL Material Checklist

Item Purpose Status

White Acrylic Paint Basecoat light source for Essential

maximum brightness

Main Light Color Acrylic The primary color of the glow Essential

Lighter Light Color Acrylic For highlighting the glow Essential

closer to the source

Acrylic Glaze Medium/Thinner Create controllable, Recommended

translucent paint (glazes)

Fine Detail Brush (Size 0-2) Precise application of glazes Essential

and source paint

Wet Palette Keep thin paints workable Recommended

Paper Towel Control paint load on brush Essential

Fluorescent Paints / Inks Optional for specific Optional

vibrant/intense effects

Airbrush Optional for faster, smoother Optional

gradients (advanced)

Section 4: Your First Glow: A Simple Step-by-Step OSL Guide

Ready to try it? This simplified process focuses on creating a basic OSL effect from a
single, clear light source. Remember, patience and subtlety are your friends here.4

(Prep) Timing is Everything (Sort Of):

Many painters prefer to apply OSL effects near the very end of the painting process, after the
main basecoats and shading are complete.2 This allows the OSL to interact with the finished
colors. However, thinking about where the OSL will go from the beginning helps plan the
overall contrast and highlight placement.18 For a first attempt, applying OSL over fully
basecoated areas is a perfectly fine approach.
(a) Choose Your Source:
Select a miniature that features a single, obvious light source. A figure holding a lantern or
torch, a character with a glowing sword, or a model with prominent glowing eyes are good
starting points.12 Avoid miniatures with multiple light sources or very complex surfaces for
your first try.
(b) Pick Your Colors:
Decide on the color of your light. For a torch or lantern, warm colors like orange and yellow
work well. For plasma or magic, blue or green might be suitable. Choose your main light color
(e.g., Bright Orange), a lighter version (e.g., Yellow), and have your pure White ready for the
source.12
(c) Paint the Source - Make it Shine:
This is a critical step. The light source itself needs to be the brightest point.
1.​ Basecoat with White: Carefully paint the object that is emitting the light (the
flame, the lantern's glass panels, the energy crystal) with pure, opaque White.2
Apply several thin coats rather than one thick coat to ensure smooth, solid
coverage without obscuring detail.
2.​ Apply Source Color: Once the white is completely dry, apply your main light
color (e.g., Bright Orange) as a thin layer or glaze over the white. Let the white
show through most strongly in the center or the part of the source that should
logically be hottest/brightest. This immediately establishes the source as
intensely luminous.3

(d) Apply the Glow (The Magic of Glazing):

Now, create the illusion of light spilling onto nearby surfaces. This is done with glazes – very
thin, translucent layers of paint.
1.​ Thin the Paint: On your palette, mix your main light color (Bright Orange) with
your acrylic medium or water until it's very thin and transparent, like colored
water or skim milk.13 Getting this consistency right is key for translucency.
2.​ Control the Brush Load: Dip the tip of your fine detail brush into the glaze. Then,
touch the brush gently to a piece of paper towel to wick away most of the liquid.20
The brush should be damp, holding only a small amount of the glaze, not soaking
wet. This step is vital for control and prevents the thin paint from flooding the
miniature's details.20
3.​ Apply First Subtle Layers: Identify the surfaces immediately surrounding the
light source that would logically be hit by its light, considering that light travels in
straight lines.12 Gently apply the glaze to these areas using smooth strokes. Try
pulling the brush stroke towards the light source or following the natural contours
of the surface. Let the glaze dry completely (it should dry quickly). The first layer
 might look like almost nothing happened – this is expected and desirable! It
demonstrates the additive nature of glazing; you are subtly tinting the surface,
not covering it.12

(e) Build Intensity Gradually:

The glow effect is built up through successive layers.
1.​ Layering the Main Color: Apply more layers of the same main color glaze (Bright
Orange) to the areas already tinted. Focus these additional layers closer to the
light source, slightly overlapping the previous layer but covering a slightly smaller
area.12 Each layer adds more color saturation and intensity. Let each layer dry.
2.​ Introducing the Brighter Color: Mix your lighter color (Yellow) with medium to
create a glaze (or use a pre-made lighter glaze). Apply this brighter glaze in an
even smaller area, right next to the light source, overlapping the most intense
areas of the main color glaze.12 This creates the impression of the light being
brightest nearest the source.
3.​ Keep it Subtle: Especially for a first attempt, err on the side of subtlety.4 It's
much easier to add another thin layer of glaze to intensify the effect than it is to
undo overly bright or extensive OSL. Aim for a soft, gentle aura of light that fades
smoothly into the surrounding colors.12
4.​ (Optional Final Pop): Once everything is dry, consider adding a tiny dot of pure
White, or your lightest highlight color (Yellow), right back onto the very center of
the light source itself.3 This can really make the source pop and reinforce it as the
origin of the light.

Remember, the control needed for smooth glazing comes from two things working
together: correctly thinned paint for translucency, and carefully managing the amount
of that thin paint on the brush to prevent flooding.20

Section 5: When Light Meets Color: Basic Color Interaction

One of the fascinating aspects of OSL is how the painted light interacts with the
existing colors of the miniature. Understanding this interaction, even at a basic level,
helps create a more believable effect.

The core concept is that the color we perceive an object to be depends on both the
inherent color of the object's surface and the color of the light illuminating it.5 When
painting OSL, the colored light from the source essentially acts like a colored filter
placed over the miniature's base colors in the illuminated areas.

Luckily for beginners, the technique of glazing naturally handles this color interaction.
Because the OSL effect is applied using very thin, translucent layers of paint (glazes),
the underlying base color of the miniature is allowed to show through the glaze.3 This
creates a visual mix where the eye perceives the base color being tinted by the light
color. This means beginners don't necessarily need to delve deep into color theory or
pre-mix exact resulting colors. The act of applying a thin glaze of the light source
color over the existing basecoat is the mechanism that creates the color interaction
effect.

Here are some simple examples of how common light colors might interact with base
colors when applied as glazes:
●​ Yellow Light on a Blue Surface: The underlying blue showing through the
translucent yellow glaze will typically make the illuminated area appear
Greenish.17
●​ Red Light on a Green Surface: Red and green are complementary colors. When
mixed (visually or physically), they tend to cancel each other out, resulting in a
dull, Brownish or desaturated color.5 This might be realistic, but perhaps not the
vibrant glow desired.
●​ Orange Light on a Red Surface: The orange glaze over the red basecoat will
result in a rich, intense Orange-Red.
●​ Blue Light on a Yellow Surface: Similar to yellow on blue, this combination will
likely appear Greenish.
●​ Any Light Color on White/Black/Grey: Light will simply tint these neutral colors.
Yellow light on white looks pale yellow; yellow light on grey looks like a
desaturated yellow/ochre; yellow light on black might barely show as a very dark,
warm tint.

For a first attempt, it's advisable to keep things simple. Choose a straightforward light
color like yellow, orange, red, green, or blue. Apply the glazes as described in Section
4 and simply observe how the light color tints the different base colors it falls upon. If
aiming for a bright, vibrant glow, it might be wise to avoid situations where the light
color falls directly onto its complementary color (red light on green, blue light on
orange, yellow light on purple) for the first few tries, as these combinations can easily
look muddy or dull.5

Section 6: Avoiding Common Pitfalls: Beginner OSL Mistakes

OSL can be tricky, and it's common for beginners (and even experienced painters!) to
make mistakes. Recognizing these common pitfalls is the first step to avoiding them.
Most errors stem from either misunderstanding the principles of light or rushing the
process.29 Patience is a virtue in OSL.9
Common OSL Mistakes & Quick Fixes

Mistake What it Looks Like Why it Happens How to Avoid/Fix

The "Spray Tan" / Light effect extends Ignoring light falloff; Think small & subtle
Glow Too Big too far, looks like an not considering first. Visualize light
indiscriminate halo or distance or blocked path.12 Build glow
overspray. paths. gradually layer by
layer.12 Keep the
effect contained near
the source.18

"Painted-On" / Too Glow looks like flat Paint is too thick; Use very thin,
Opaque paint covering trying to get translucent glazes
details, not coverage in one coat. (use medium!).13 Build
translucent light. color with multiple
layers. Let underlying
color/detail show
through.27

Chalky or Blobby Rough, uneven Paint improperly Ensure smooth paint

Texture texture; distinct paint thinned; too much consistency. Control
blobs instead of paint on brush; layers brush load (use
smooth glow. applied before paper towel).20 Apply
drying. smoothly; let layers
dry completely.40

Inconsistent Glow doesn't fade Not consistently Visualize light

Intensity smoothly; areas same applying the falloff sphere/falloff.12
distance from source principle; rushing Consciously apply
have different application. similar intensity to
brightness. equidistant areas.16
Blend transitions
carefully with
glazes.16

Forgetting Shadows OSL lacks impact; Surrounding areas Ensure non-OSL

/ Low Contrast looks weak or too bright; shadows areas are relatively
unnatural. cast by objects dark.2 Actively paint
blocking light aren't shadows where light
painted. is blocked.18
 Remember: Contrast
is King!.2

Reflection Brighter Reflected light on Forgetting the Always make the light
Than Source surfaces looks as Cardinal Rule #2. source the brightest
bright as, or brighter point (use white in its
than, the source. core).2 Reflected light
is always dimmer.25

The overarching theme here is often patience and subtlety. Beginners frequently
want to see a strong effect immediately and apply paint too heavily or broadly.29
Effective OSL is usually built up slowly, layer by translucent layer.12 Don't be
discouraged if your first attempts are very subtle or don't look exactly like the pictures
online.8 Embrace the "less is more" philosophy, especially when starting out.6

Section 7: Seeing is Believing: Simple OSL Examples

Visualizing how these principles translate onto a miniature can be helpful. Since actual
images aren't feasible here, these descriptions focus on simple, achievable scenarios
ideal for a beginner's first OSL project. The key to a good first experience is often
choosing a model where the light source is clear and the area it illuminates is relatively
contained.3 This allows focus on mastering the core technique without being
overwhelmed by complex interactions.
●​ Example 1: The Simple Lantern/Torch
○​ Imagine a figure holding a lantern.3 The light source (the glass panels or
flame) is painted bright white, then glazed with yellow/orange. The OSL glow,
applied with thin glazes, would be strongest on the hand holding the lantern
and the parts of the arm closest to it. The light would fade rapidly as it moves
further away. Depending on the lantern's position, a subtle glow might also
catch the side of the figure's chest, shoulder, or perhaps the cheekbone
facing the light. The surfaces facing away from the lantern would remain dark,
enhancing the contrast. Warm colors like orange and yellow are typical.12 The
glow should follow the contours of the surfaces it hits, fading smoothly
outwards.
●​ Example 2: Glowing Eyes/Visor
○​ Consider a helmeted figure with glowing eyes or a visor.2 The eyes/visor slits
are painted bright white, then glazed with the glow color (e.g., red or green).
The OSL effect here is usually smaller in scale. Thin glazes of the glow color
would be applied to the helmet surfaces immediately surrounding the
 eyes/visor – perhaps the bridge of the nose area between the eyes, the upper
cheek plates directly below, or the brow ridge just above. If the head is angled
downwards, a faint touch of the glow might catch the very top of the chest
plate. The key is keeping the effect localized and ensuring the eyes/visor
remain the brightest points.
●​ Example 3: Basic Magic Effect/Glowing Rune
○​ Picture a wizard with a small magical spark forming in their hand, or a warrior
with a glowing rune etched onto their axe blade.6 The spark or rune is painted
white, then glazed with an appropriate magical color (bright blue, eerie green,
vibrant purple). The OSL glaze is applied to the hand around the spark, or the
flat of the axe blade around the rune. It might subtly catch the edges of
nearby fingers, the weapon's handle, or adjacent armor plates that are facing
the source. The intensity should drop off quickly. Unnatural colors often work
well here.3 The shape of the glow should suggest light radiating from the
specific source point.

In all these examples, remember the core principles: the source is the brightest point
(based in white), the glow is applied with thin, translucent glazes, the intensity fades
with distance, contrast with darker surrounding areas makes the effect pop, and the
light color tints the surfaces it hits.

Conclusion: Go Forth and Glow!

Object Source Lighting, while initially appearing complex, is fundamentally about
understanding and applying a few core principles of light and contrast using careful
painting techniques. By breaking it down into manageable steps, even a complete
beginner can start experimenting with this exciting effect.

To recap the absolute essentials for your first OSL attempts:

●​ Make the light source itself the brightest point, usually by basecoating it white.
●​ Use thin, translucent glazes (acrylic medium helps!) to apply the glow color.
●​ Build the intensity and color saturation gradually with multiple layers, working
from a wider, dimmer area towards a smaller, brighter area closer to the source.
●​ Contrast is crucial: ensure the areas hit by the OSL look brighter than the
surrounding, unlit areas. This often means keeping the non-OSL parts of the
model relatively dark.
●​ Be consistent: apply the principles of light direction and falloff logically across all
affected surfaces.

Most importantly, don't be afraid to try! OSL is a skill developed through practice, not
innate talent.9 Your first attempt might not be perfect, and that's completely okay.8
Each miniature painted is a learning experience. Don't be overly self-critical; focus on
understanding the process.10 Experiment with different colors and sources as you gain
confidence.12 Pick a simple miniature with a clear light source, gather your basic
materials, follow the steps outlined in this guide, and give it a go. With patience and
practice, you'll soon be adding dramatic and eye-catching lighting effects to your own
miniatures, making them truly shine.7 Happy painting!

Works cited

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~:text=Object%20source%20lighting%2C%20or%20OSL,even%20a%20powerful
%20magic%20sword!
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