Short answer: Drybrushing is a technique where you wipe almost all the paint off your brush onto a paper towel, then lightly sweep the tiny bit of pigment left on the bristles across the raised surfaces of your model. The paint doesn't flow into the recesses; it only catches on the high detail. That is exactly what makes it the fastest, easiest way to pop texture and add a quick highlight.
If you're new and your fur, chainmail, or stone just won't come alive, drybrushing should be the first highlight technique you learn. After all, it brings a whole army unit to life in minutes, it's nearly mistake-proof, and it doesn't need an expensive brush. Below I'll walk through the whole technique, including how to pick your brush and paint.
What is drybrushing and what is it for?
As the name suggests, drybrushing means painting with a nearly dry brush. First you load a little paint, then you wipe most of it off, and finally you drag the remaining dusty pigment across the surface. The paint never "flows" off the brush; each pass deposits a touch of pigment, and it collects where the bristles touch most — the raised detail.
So what is it for? At miniature scale, light and shadow naturally look weak. Because drybrushing physically paints only the high surfaces, it exaggerates that contrast and makes detail jump out. Fur, chainmail, stone, sand, wood grain, mechanical texture, organic surfaces — in short, any fine, busy texture (what painters call high-frequency texture) is a perfect candidate.
It isn't as controlled as Layering or Edge Highlighting. In return, though, it's ten times faster, and it shines on texture rather than on flat panels.
How does drybrushing work?
The logic behind it is simple. When the bristles touch the surface, they hit the highest points first. Because the paint is already sparse and nearly dry, the brush only deposits pigment on those peaks; there's no wet paint left to creep down into the recesses. The result is a natural highlight map — the spots that would actually catch light get brighter, while the hollows stay dark.
That's precisely why drybrushing is also the core tool in Slapchop and zenithal workflows. In those methods you build a black-and-white light map first, then glaze colour over it. In the same way, there's a natural kinship between the brush and Zenithal Priming.
How do you do it step by step?
The five steps below work on everything from fur to chainmail. Just don't rush — the whole secret of drybrushing is patience, which really means doing many very light passes.
- Pick a stiff brush. Use a dedicated drybrush (Citadel STC Dry, Army Painter Masterclass, Artis Opus Series D) or an old, hardened brush you don't mind sacrificing. Never use a good Kolinsky sable here, because drybrushing wears bristles out fast.
- Don't thin the paint. Unlike most techniques, drybrushing uses paint straight from the pot, undiluted. Dip just the tip of the brush and don't overload it.
- Wipe it off. Next, drag the brush back and forth on a paper towel (this is the usual method) until you've removed roughly 90% of the pigment. You shouldn't see wet paint on the towel, just a faint dry streak.
- Apply. Now sweep the brush lightly across the raised surfaces at a low angle, 45 degrees or less. Don't press; use a "dusting" or "sweeping" motion.
- Build it up. Remember, several light passes always beat one heavy pass. If it isn't bright enough, reload a little paint, wipe again, and sweep again.
What's the difference between drybrushing and overbrushing?
These two often get mixed up, but the difference is clear. Overbrushing is the wetter sibling of drybrushing. You deliberately leave more paint on the brush, so the pigment spreads across a broader mid-tone area, not just the very peaks. In other words, overbrushing gives broad, soft coverage rather than a sharp highlight.
Think of the practical rule this way: want a crisp texture highlight, drybrush; want a wide, smooth light pass, overbrush. Using both in sequence — overbrush for the mid-tone first, then drybrush the brightest peaks — gives very convincing results.
Which paints and brushes?
Here's the good news: drybrushing is forgiving on materials. You don't need an expensive setup, but the right brush and the right consistency do make it much easier.
- Paint: Acrylic at pot consistency. Metallics pair beautifully with drybrushing — chainmail, weapon edges and mechanical lines pop in a single pass.
- Brush: A short, stiff, full-bodied drybrush. Round and flat-tipped versions each suit different textures.
- Wiping surface: A paper towel is the most common; a reusable texture palette also works well.
- Cleanup: Soap the brush the moment you finish, because dried paint ruins a brush permanently.
What are the most common mistakes?
Drybrushing is easy, but it does have a few classic traps. If it comes out "chalky" or "streaky," the cause is almost always one of these.
- Leaving too much paint: Gives a streaky, frosted finish. The fix is to wipe off more; you should see almost no paint on the towel.
- Pressing the brush down: Pushes paint into the recesses and defeats the whole point. Let only the bristle tips kiss the surface.
- Wasting a good detail brush: Drybrushing chews bristles up, so never sacrifice your expensive Kolinsky.
- One heavy pass: Gradual, light passes always give a more natural, more controlled highlight.
- Thinning the paint: Wrong for drybrushing; thinned paint flows away instead of catching on the peaks.
Pro tips
A few advanced touches take drybrushing from "beginner" to a tool you won't even notice on a finished miniature.
- Coming out chalky? Either you're doing too many passes with too dry a brush, or you're wiping off too much paint. Artis Opus-style "moistbrushing" — barely moistening the brush — largely fixes this.
- Stage your colours: Do a broad drybrush with a mid-tone first, then a narrower peak highlight with your lightest tone. A two-stage drybrush reads far deeper than a single one.
- Think zenithal: Concentrate the highlight only on the upper surfaces; picture where the light would actually come from.
- Soften with a glaze: If the drybrush looks a bit harsh, a thin Glazing pass over the top will tie the chalky texture together and smooth the transitions.
According to Vince Venturella, drybrushing done right isn't a cheat but a foundational tool; the secret is wiping off enough paint and committing to the "very light, many passes" discipline. His "Hobby Cheating: Ultimate Guide to Drybrushing" is treated as the reference for the technique.
Frequently Asked Questions
Do you thin paint for drybrushing?
No. Unlike most techniques, drybrushing wants undiluted paint at pot consistency. Thinned paint becomes runny, slides into the recesses instead of catching on the peaks, and ruins the effect. The only thing that should reduce the paint is how much pigment you wipe off onto the paper towel.
Why does my drybrushing look chalky and streaky?
There are two usual causes: you've left too much paint on the brush, or the opposite — you've done too many passes with an overly dry brush. For the first, wipe off more onto the towel; for the second, try "moistbrushing," barely dampening the bristles. A thin glaze afterwards also softens the texture.
What brush should I use for drybrushing?
A short, stiff, full-bodied dedicated drybrush is ideal; Citadel STC Dry, Army Painter Masterclass and Artis Opus Series D are common choices. On a budget, an old hardened brush works fine. Never use a good Kolinsky sable, though — drybrushing wears the bristles out quickly.
Should I drybrush or edge highlight?
They do different jobs. Drybrushing is great for fast, bulk highlights on textured surfaces like fur or stone. Edge Highlighting, on the other hand, is far cleaner and more controlled on sharp edges like armour plates. On most miniatures you'll actually use both: drybrush the texture, edge highlight the crisp edges.
Is drybrushing good enough for highlighting?
For texture it's more than enough and very fast; on flat surfaces, however, it's limited. For army painting and textured areas it gives a great result on its own. For display quality and flat panels, you'll want to pair drybrushing with Layering and Glazing.
Can I drybrush metallics?
Yes, and it's actually one of the best pairings. Metallic paints work beautifully with drybrushing; a single light pass brings out chainmail links, weapon edges and mechanical lines. Drybrushing a light metallic over a dark base gives a convincing worn-metal look in minutes.
How do I clean the brush after drybrushing?
Immediately, with no waiting. During drybrushing, dry paint works deep into the bristles; if it dries and hardens there, the brush is ruined for good. So gently wash down to the base of the bristles with a brush soap or mild soap, rinse, reshape the tip, and let it dry.
Key takeaway
In the end, drybrushing does a lot with very little paint: you nearly dry the brush, sweep only the high surfaces, and texture and highlight appear in minutes. Remember the one golden rule — wipe off plenty, sweep lightly, do many passes.
To try it you just need a stiff drybrush, a couple of light tones at pot consistency, and a paper towel. You'll find everything you need in our paints, brushes & hobby supplies section, and you can bring your first textured miniature to life today.