Bringing Red Guardian from Marvel United: Multiverse to life was not simply about adding color to plastic; it was about capturing a character’s personality and translating it into a miniature that would look good on the table and on display. This project began with excitement but also a clear awareness of the challenges ahead. Red Guardian is not the most flamboyant or visually complex hero. His design is relatively simple compared to characters like Doctor Strange with his flowing cape or Scarlet Witch with swirling magical effects. He wears armor, a helmet, and carries a shield. The sculpt for Marvel United reflects that minimalism: smooth surfaces, clean lines, and limited texture. For a painter, that can be intimidating because there are fewer shortcuts available. Each layer of paint must be deliberate and each color choice carefully considered, or the miniature risks looking flat and uninspired.
The first step was priming. For Red Guardian, black primer was chosen rather than the more common gray or white. A black undercoat gives miniatures a certain natural shading and depth, especially for a character whose costume is predominantly a deep red. It also ensures that any tiny gaps missed during painting will remain in shadow and not stand out as glaring white spots. With the primer dry, the figure looked appropriately dramatic, already hinting at the serious tone of the character.
The next stage was base coating. This is where Scale’s Garnet Alchemy came into play. This paint is a metallic red with a pinkish undertone, and it was applied over the armor and helmet. The color is soft but rich, allowing the light to play across the model in a way that gives a sense of dimensionality even before shading is applied. There is always a balance to strike when using metallic paints on miniatures: too much shine can make them look toy-like, but too little can leave them dull and lifeless. Garnet Alchemy struck the perfect middle ground, giving Red Guardian a subtle sheen reminiscent of burnished Soviet military gear.
Once the base color was down, attention turned to shadows. Purely metallic surfaces can sometimes look unnatural because they reflect light too evenly. To add realism and depth, Citadel’s Druichi Violet wash was applied selectively to the recesses of the model. This wash has a purplish tone, which may seem like an odd choice for shading red, but it created a richness and subtle contrast that a standard dark red wash would not have achieved. The boots and gloves benefited most from this treatment, as they now appeared to have a slight shift in color temperature between the raised surfaces and the recessed folds.
Highlighting was the next challenge. On a miniature with as much flat space as Red Guardian, highlights must be carefully controlled. Too wide and they risk making the figure look cartoony or overly glossy; too narrow and the model will look underpainted. Gradually adding white to the Garnet Alchemy mix and applying it in thin layers allowed for a smooth transition. The helmet received particular care, with edges and curves highlighted almost to pure white in places, mimicking how light would naturally catch on metal. This step took time and patience, but it paid off by giving the armor a realistic gleam without looking like it was dipped in chrome.
Not every experiment was successful on the first attempt. A bright crimson ink wash was tested early on, with the hope that it would intensify the metallic red and make it more vibrant. Unfortunately, the ink dried to a glossy finish that made the miniature look more like a plastic toy than a painted figure. While not a total disaster—something was intriguing about the candy-like gloss—it did not fit with the desired aesthetic. Multiple layers of matte medium and thin glazes of more muted color had to be applied to restore the finish to something more subdued and realistic. This process added hours to the painting time, but was worth the effort in the end.
Attention then turned to the shield. Red Guardian’s shield is one of the simplest in Marvel United. Unlike Captain America’s concentric circles, which can be highlighted with radial gradients and weathering effects to create visual interest, Red Guardian’s shield is largely a flat red surface with a white star. It is comic-accurate, but as a painter, it offers very little opportunity for flair. To add some interest, a subtle fake shadow effect was painted inside the shield. This trick made it look as though the star was slightly recessed into the shield, creating a sense of depth. Even this small detail helped keep the shield from looking like a flat sticker pasted onto the miniature.
One of the defining features of this project was the decision to blackline the figure. Blacklining involves painting thin black lines into the creases between different areas of color, such as where the armor meets the gloves, or between segments of the belt. It is a labor-intensive process, requiring a steady hand and a fine-tipped brush, but the payoff is huge. The figure suddenly gains definition and clarity, making each element stand out cleanly. This technique is particularly effective on chibi-style miniatures like those from Marvel United, as it reinforces their comic-book aesthetic and makes them pop on the table.
Despite the successes, this miniature was painted during a week filled with external challenges. Illness and demanding workdays had kept brushes idle for longer than usual, and when painting finally resumed, there was a sense of rustiness. The first few layers felt hesitant and clumsy, as though the rhythm had been lost. But miniature painting has a way of drawing the painter back into focus once things begin to click. The slow process of layering, shading, and detailing became meditative, restoring a sense of calm and accomplishment that had been missing in a hectic week.
When the miniature was finally complete, there was a sense of pride. Red Guardian might not be the most dramatic figure in the Marvel United line, but he has been given enough care and attention to stand out on the shelf. His armor gleamed appropriately, his shield carried subtle depth, and his features were outlined sharply enough to give him presence. Most importantly, the miniature captured the spirit of the character: sturdy, stoic, a little understated, but undeniably heroic.
Painting Philosophy and Storytelling Through Miniatures
Painting Red Guardian offered an opportunity to explore a broader idea that has become central to many hobbyists: painting is not just about making a miniature look good; it is about telling a story. When approaching a figure like Red Guardian, whose sculpt is clean and almost austere, the challenge is to bring out personality through color choices, shading decisions, and subtle tricks that add life to an otherwise simple pose. This is where a philosophy of intentional painting comes into play.
Miniature painting can easily become a mechanical process: base coat, wash, highlight, done. That approach is perfectly valid for getting large armies ready for the table, but when working on an individual hero, especially one from a beloved setting like Marvel, there is room to slow down and make choices that reinforce the narrative of the character. Red Guardian is not just a generic soldier in red armor—he is Russia’s answer to Captain America, a symbol of patriotism, sacrifice, and perhaps a bit of Soviet propaganda. His costume might be simple, but it is designed to evoke strength and discipline.
This was one of the reasons why Garnet Alchemy was selected as the primary color. Its metallic sheen makes the armor feel more utilitarian and realistic than a flat red would have. If a purely matte red had been used, Red Guardian might have looked more like a cartoon character or even a plastic action figure, which would not have suited his persona. The slight shimmer makes it feel as if his suit is actually built from a durable material, something that could plausibly protect him in battle.
The choice of washes and highlights also reflects this desire for narrative coherence. Druichi Violet was not chosen at random; it deepens the red in a way that feels more serious, almost grim. A brown or sepia wash might have made the armor look dusty or dirty, which could work for a battle-worn look but would not have conveyed the sense of pride and formality associated with Red Guardian. The violet tint makes the shadows richer and slightly cooler, giving the impression that this is a figure who operates in a harsh, cold environment. That is a subtle but thematic nod to his Russian origins.
When painting miniatures, it is easy to forget that the viewer’s eye will be drawn to certain areas first. The face and upper torso are almost always the focal point of any figure, so extra care was taken with the helmet highlights. The gradual build-up to near-white along the edges of the helmet was done to mimic how light would naturally catch on a polished surface. This makes the helmet look slightly more prominent, pulling the viewer’s gaze toward the character’s “face,” which is an essential part of giving the miniature presence.
The shield posed a different sort of problem. As previously mentioned, its design is not particularly dynamic. Yet the shield is one of Red Guardian’s defining attributes, so it had to stand out in some way. The solution of adding a subtle internal shadow was more than just a visual trick; it was a way of suggesting depth and weight. The star at the center now feels like it has been stamped into the shield, rather than painted on top, which adds to the realism. Even if most players will not consciously notice this effect, their brains will register that something about the shield feels more three-dimensional and grounded.
Blacklining deserves special attention here because it has such a dramatic impact on the final result. Outlining every segment of the model is time-consuming, but the payoff is enormous. Without blacklining, the red of the armor would simply blend into the red of the gloves and boots, and the figure would become a sea of similar color with no clear separation. By carefully painting black lines between these areas, each piece of the costume is defined, and the sculpture reads more clearly from across the table. This is not just a technical improvement but also a thematic one: Red Guardian now appears more like a professional, armored fighter, with clearly separated plates and gear, rather than someone wearing a one-piece jumpsuit.
Comparisons to other miniatures in the Marvel United line are inevitable. Guardian from the X-Men set, who shares a similar red-and-white color scheme, makes for an instructive contrast. When Guardian was painted earlier in the collection, blacklining was not applied, and the result, while acceptable, looks softer and less dynamic. Seeing the two miniatures side by side highlights how much definition is added through this technique. Red Guardian looks sharper, bolder, and more alive, even though the sculpts themselves are of similar complexity.
Beyond the purely visual considerations, painting Red Guardian was also about re-establishing a personal rhythm after a rough week. Miniature painting is, for many hobbyists, a form of therapy. It provides focus and structure, a task that can be broken down into manageable steps. Even when things go wrong—such as the misstep with the glossy ink—the process of problem-solving and correcting the paint job can be deeply satisfying. It turns frustration into progress and ends with a sense of achievement that goes beyond the object itself.
Something is grounding about holding a small figure in one hand and applying careful strokes of paint. The outside world narrows to just the brush tip, the model, and the next color mix on the palette. Time passes quickly in this state of concentration, echoing Mihaly Csikszentmihalyi’s concept of flow. Painting Red Guardian became not just about creating a beautiful miniature, but about rediscovering that state of flow after days of disruption. The satisfaction of seeing the miniature take shape layer by layer was a quiet but important reward.
When the model was finally placed on the display shelf, there was a moment to reflect on what had been accomplished. It was not simply that Red Guardian had been painted, but that he had been brought to life in a way that felt true to the character. His armor gleams just enough to suggest strength, his shield has a sense of depth, and his stance commands attention. He now stands proudly among the other Marvel United heroes, ready to leap into action on the tabletop.
Techniques, Troubleshooting, and Lessons Learned
Every miniature offers an opportunity to improve as a painter, and Red Guardian was no exception. The challenges faced in this project provided valuable lessons, not just about color application but about patience, perseverance, and adapting one’s approach when things do not go as planned. It is tempting to imagine that painting is a perfectly smooth process: you pick your paints, apply them in a logical sequence, and the figure turns out exactly as you pictured it in your head. The reality is that most projects involve moments of frustration, small mistakes, and problem-solving on the fly.
One of the earliest hurdles came from the choice to use ink over the metallic base coat. In theory, a bright crimson ink would have enhanced the Garnet Alchemy underlayer, creating a deep, rich red that glowed from within. However, inks are known for their glossy finish, and this is often overlooked when planning out a paint scheme. Gloss can work beautifully for things like lenses, polished leather, or magical effects, but when applied across a whole miniature, it can make the figure look toy-like. That is exactly what happened here.
Instead of panicking, the solution was to take a step back and think through the options. The glossy look could have been dulled with a matte varnish, but this might have flattened the metallic sheen too much. Instead, the choice was to use several thin layers of washes and speedpaints over the top. These not only toned down the shine but also deepened the shadows, restoring depth that had been lost to the reflective finish. In a way, this mistake ended up improving the final result by forcing an additional layer of complexity onto the model’s color scheme.
This experience reinforced the importance of testing techniques before committing them to the entire model. In the future, trying an ink glaze on a spare piece of sprue or a test mini would be a wise step. This is a common lesson among painters: even experienced hobbyists can be surprised by how paints interact with each other. Some paints dry darker than expected, some remain semi-translucent even after multiple coats, and some finishes change the way light behaves on the surface. Treating each new technique as an experiment makes it easier to stay flexible when things go wrong.
Beyond troubleshooting, Red Guardian was a reminder of the power of color theory in miniature painting. Red is a notoriously challenging color to work with because it tends to be less opaque than other pigments. This often requires multiple coats to achieve a smooth, even finish. Rather than fight the nature of the pigment, a smart approach was taken: use a darker base color that already provided strong coverage (a mix of black and dark blue), and then layer up with increasingly lighter shades of red until the desired tone was reached. This saved time and paint while giving the armor a richer, more nuanced appearance.
Shading with purple rather than brown or black also demonstrated how secondary colors can dramatically change the mood of a figure. Purple shadows create a cooler, moodier effect that makes the figure feel more serious and intense. It also avoids the muddiness that can occur when using black washes, which can make red look dirty or dull. Highlighting up to near white along the edges was another key decision, as it added contrast and made the figure read well from a distance. Miniatures are often viewed at arm’s length, so a strong contrast is necessary to make them “pop” on the tabletop.
Another technical decision that paid off was the use of blacklining, which was mentioned earlier but deserves further discussion here. Blacklining is a technique where thin lines of dark paint are carefully applied in the recesses between different parts of a miniature, creating sharp visual separation. This can be achieved with a fine brush and thinned paint or by carefully applying a dark wash and cleaning up any overflow. It is a labor-intensive step, but the clarity it provides is unmatched. For Red Guardian, blacklining around the shield edges, armor joints, and glove seams made a tremendous difference.
The shield itself, while a simple design, became a small exercise in freehand artistry. Adding the shadow effect required careful blending to make it look natural. A dark glaze was applied toward the inner circle, gradually feathered out to create a soft gradient. The result gives the illusion that the shield dips slightly inward, even though it is a flat surface. Techniques like this are an excellent way to add visual interest to an otherwise plain area of a miniature.
Patience is another theme that emerged during this project. A rough week of illness and work stress could have made this miniature feel like a chore, but taking time to paint in shorter, focused bursts helped keep the process enjoyable. Sometimes that meant just sitting down to do the lining on the boots or adding a single layer of highlight before stepping away. Breaking the work into small, manageable tasks can make even the most intimidating paint job feel achievable.
There was also an emotional element to this project. After several days of not painting, there was a sense of rustiness when sitting back down at the hobby table. The first few strokes felt awkward, as though the brush did not quite obey. But as the painting session went on, the familiar rhythm returned. By the time the highlights were being applied to the helmet, there was a sense of flow and focus. This is one of the great benefits of the hobby—it provides a space to get lost in something creative and productive, even during a difficult week.
When the final varnish was applied, there was a sense of relief and accomplishment. Despite the false start with the ink, the model had turned out better than expected. The lessons learned would carry forward into future projects, making them smoother and more efficient. Perhaps most importantly, this miniature became another step in the ongoing journey of skill-building, where each figure teaches something new.
Red Guardian now stands as a testament to resilience, both in theme and in process. He is a character defined by grit and persistence, and painting him became an exercise in exactly those qualities. There is satisfaction in looking at the finished model and knowing that it represents not just technical skill but also the ability to adapt and overcome obstacles.
The Broader Significance of Painting Heroes
One of the most compelling aspects of miniature painting is that it is never just about putting color on plastic. Each figure carries with it a larger story, whether drawn from history, myth, or, in this case, the vibrant and sprawling world of comic books. Painting Red Guardian is more than a technical exercise in layering reds and purples—it is a way of engaging with a character, giving them personality and presence, and ultimately placing them among a wider collection that tells a collective narrative.
Marvel United: Multiverse offers a wide cast of heroes and villains, many of whom are instantly recognizable. Characters like Spider-Man, Captain America, or Iron Man are household names, with strong cultural identities that guide the way many hobbyists choose to paint them. Red Guardian, however, is different. He is a niche character, often overshadowed by flashier names, and this creates an unusual opportunity for the painter. Without the heavy expectations that come with icons, there is space for creativity and interpretation.
Choosing to give Red Guardian a slightly moodier, metallic red rather than a flat cartoonish tone was a way of making the character stand out on the shelf. It also highlighted the duality of the figure: both a patriotic symbol and a somewhat tragic reflection of the super-soldier archetype. In the comics and films, Red Guardian is often portrayed as someone striving to live up to impossible ideals, and there is a ruggedness to his design that communicates both strength and imperfection. Translating that into paint meant embracing the subtler tones, pushing shadows deep with violets, and letting highlights shine like armor worn in battle.
This reflects a broader truth about miniature painting: the choices we make in color and technique are acts of storytelling. Every shadow, every highlight, every lined edge speaks to how we perceive the character. A glossy finish might have made Red Guardian appear sleek, almost like a modern action figure, but the matte reworking gave him gravitas, anchoring him as a seasoned veteran rather than a shiny recruit. Even the shadow effect on the shield was a small narrative flourish, suggesting that his tools are not pristine props but functional gear that has endured hardship.
Placing Red Guardian alongside the rest of the Marvel United collection further enriches this sense of storytelling. When lined up with other heroes on the shelf or the game board, he does not fade into anonymity. The careful highlights, the disciplined use of blacklining, and the deepened reds ensure that he holds his own visually. This is important in a game with dozens upon dozens of miniatures—if each figure is painted with equal care, they collectively form a living comic universe, a tabletop ensemble cast where no one is reduced to background filler.
Painting also changes the way players interact with the game itself. A brightly painted Red Guardian feels different on the board than a plain plastic one. Players are more likely to pick him up, admire the details, and consider his role in the scenario. The narrative of the game comes alive when the pieces themselves carry character. A player may be inspired to roleplay his gruff determination, or to imagine how his shield clashes against enemy blows. These are subtle shifts, but they transform a game from a mechanical exercise into an immersive experience.
On a more personal level, painting Red Guardian was a reaffirmation of why this hobby remains so rewarding. In the rush of daily life—work deadlines, illness, stress—it can be easy to lose touch with creative outlets. Picking up the brush again, even tentatively, was a reminder that painting offers both escape and grounding. It is an escape in the sense that it pulls attention away from external worries, and grounding because it involves focus, patience, and tangible progress. By the end of a painting session, there is visible evidence of the time invested: smoother blends, cleaner lines, sharper contrasts. That sense of accomplishment cannot be overstated.
There is also an element of connection that emerges when painting characters from shared cultural spaces like Marvel. Many hobbyists first encountered Red Guardian not through obscure comics but in film adaptations, where his character was portrayed with humor, vulnerability, and a hint of absurdity. Painting him becomes a way of engaging with that portrayal, adding a personal layer to the shared fandom. It is one thing to watch a character on screen; it is another to hold them in miniature form, study their details, and decide how to best bring them to life with paint.
In this sense, the act of painting becomes a form of dialogue between the painter, the source material, and the miniature itself. The sculpt may dictate certain choices—armor lines here, shield patterns there—but the painter interprets how those details should feel. Should the reds be clean and bright, reflecting idealism? Or should they be weathered and subdued, hinting at a soldier past his prime? These are creative questions, and the answers become embedded in the final model.
It is worth noting that this dialogue extends beyond individual miniatures to the broader hobby community. Many painters share their work online or with friends, not out of competition but as a way of participating in a collective celebration of the craft. Each version of Red Guardian tells a slightly different story, depending on the choices of the painter. One may emphasize bright, comic-book colors, another may focus on realism, another on stylization. Together, these variations form a tapestry of interpretations, each valid and interesting. Painting, in this way, is both solitary and communal.
Looking back on this particular project, it is clear that the rough start was part of what made the final result so satisfying. Struggling through the ink issue, re-establishing the matte finish, and pushing highlights higher than usual were all challenges that could have derailed the process. Instead, they became growth opportunities. Painting Red Guardian did not just add another hero to the collection; it added confidence, skill, and a renewed appreciation for the hobby itself.
Ultimately, what this miniature represents is the idea that even when things seem simple—a character with a fairly straightforward color scheme, a shield with a basic design—there is always room for nuance. Every project has depth if you are willing to explore it. Red Guardian may not have the glamour of Iron Man’s gold and crimson or the iconic shield design of Captain America, but he carries his own weight in the pantheon of heroes. Giving him the attention he deserves through painting ensures that he stands shoulder to shoulder with the rest, not as a secondary figure but as a character with presence and dignity.
In the end, that is what painting heroes is all about: honoring their stories, enriching our own experiences, and finding joy in the small victories of brush against plastic. Red Guardian may not be the flashiest miniature on the shelf, but he embodies the very heart of the hobby—resilience, creativity, and the quiet satisfaction of bringing a figure to life.
Expanding the Creative Journey with Red Guardian
After finishing Red Guardian and stepping back from the miniature, there was an unmistakable sense of growth—not just in terms of painting technique but in understanding how each figure can represent more than a single character. Red Guardian may not have the flamboyance of other Marvel characters, but that actually provided an opportunity to focus on subtleties. The process of layering Garnet Alchemy with carefully placed washes forced a slower, more meditative approach. The lack of flashy costume elements meant the entire presentation relied on precision, clean lines, and good color contrast to avoid the figure looking flat. This restraint was a challenge that became its own reward once the piece came together.
The choice of paints was deliberate and instructive. Garnet Alchemy was selected for its shimmering yet slightly muted tone, creating a realistic metallic red that stayed away from a toy-like look. Early on, the mistake with crimson ink was frustrating because the figure became overly glossy, almost cartoonish in its shine. However, this so-called misstep turned out to be a valuable lesson in finishing effects—showing how gloss and matte finishes change the feel of a miniature. By toning the figure down with washes and speed paints, depth was restored, and the shine was limited to the areas that were meant to pop, like the edges of armor and shield.
What stands out most about this project is how much definition it can provide for a miniature. The blacklining process, while time-consuming, is transformative. Without it, Red Guardian’s sculpt would easily blend into itself, especially since his outfit lacks a lot of visual breaks. Careful outlining around armor plates, gloves, and boots gave him a boldness that reads clearly from a distance. It is here that the painter’s hand truly shapes the final perception of the character. A well-lined figure feels more alive, more graphic, as though it leapt straight out of a comic panel.
Another aspect that bears reflection is the emotional impact of painting during a rough week. Creative work has a strange way of absorbing stress and transforming it into something constructive. At first, the painting desk felt like an obstacle—just another task competing with work deadlines and fatigue. But once the brush hit the primed model, there was a shift. Layer by layer, the act of painting became less about finishing a project and more about finding rhythm again. In many ways, Red Guardian became a quiet partner through the process, a reminder that creativity does not always require ideal conditions. Sometimes it is in the chaotic, imperfect moments that the most meaningful work emerges.
From a technical standpoint, the project also underscored the importance of light theory. The subtle violet shading on the gloves and boots created a richer tone than pure black shading could have offered. Violet carries a complementary relationship with red, and using it gave the figure a more nuanced depth. It introduced just enough color variation to make the reds feel alive without pushing them into overly stylized territory. This kind of color play is what separates a simple tabletop standard from a miniature that draws the eye even when standing next to a crowd of heroes.
The shield presented its own challenge, not so much in difficulty as in motivation. Its simple design is iconic yet plain, leaving little room for creativity beyond weathering or shading tricks. The decision to create a subtle shadow effect inside the shield was a breakthrough—it took an uninspired surface and gave it dimension. Now the shield has a sense of depth, as if it really curves inward toward the arm, which creates visual interest and reinforces the figure’s three-dimensionality.
In the broader context of the Marvel United collection, Red Guardian fills an interesting space. He is not as flamboyant as Iron Man or as commanding as Captain America, but his grounded design provides a balance that keeps the display from feeling like it is entirely dominated by capes and masks. This balance is one of the joys of painting a full game’s cast—each character brings a different rhythm to the painting process, and together they form a cohesive narrative.
The project also highlights how much progress can be seen over time when comparing miniatures from different stages of a painter’s journey. Earlier pieces might lack lining, have flatter color transitions, or suffer from unfinished bases. Red Guardian stands as a marker of progress, showing how far technique has developed since the first Marvel United mini was painted. There is something deeply satisfying about seeing the evolution of skill across a shelf of miniatures—each one becomes a milestone.
Another layer of meaning comes from the Red Guardian’s character. Often depicted as a flawed yet resilient figure, he mirrors the painter’s own perseverance through a difficult week. There is a quiet symbolism in completing a miniature of a character who embodies perseverance while working through real-life challenges. This sense of connection between artist and subject deepens the final result. When the miniature is placed back in its box or displayed on a shelf, it is not just a piece of plastic with color on it—it is a memory, a representation of both the fictional hero and the moment in time in which he was painted.
Looking forward, this project opens possibilities for future experimentation. Perhaps there will be an opportunity to revisit the model one day and add battle damage or try object source lighting from the shield’s reflection, just to see how it changes the narrative. Or perhaps this experience will inform entirely new approaches to other characters with red color schemes, pushing the use of violet and complementary tones even further. Every figure painted becomes a stepping stone toward the next creative risk.
Conclusion
Painting Red Guardian turned out to be more than a straightforward project—it became a reminder of why miniature painting continues to hold such meaning. What began with a challenging start, glossed over by the wrong ink finish, eventually became an opportunity to refine technique, deepen color choices, and experiment with shading that gave the figure personality. The Garnet Alchemy base, enriched with violet shadows and careful blacklining, transformed what could have been a flat and forgettable sculpt into a miniature with presence and character.
More importantly, the process reaffirmed the joy of storytelling through paint. Red Guardian is not the most famous Marvel hero, but that gave space to experiment, to let the figure’s ruggedness and understated design guide the choices. The result was a miniature that feels weighty, battle-worn, and authentic—a hero who looks ready to stand alongside the rest of the painted collection.
Every project like this strengthens both skill and connection: to the game, to the characters, and to the creative act itself. Red Guardian now stands as proof that even a “simpler” figure can become a highlight, provided it is painted with patience, imagination, and care.