Non-Metallic Metal — NMM for short — is a technique for painting metal surfaces without a single grain of metallic paint. No sparkle, no metal in the bottle. Just light and shadow painted so precisely that the result ends up looking more metallic than anything a metallic paint could ever achieve.
NMM is considered one of the hardest techniques in miniature painting. But it doesn't have to be some secret reserved for competition painters. Once you understand why it works, you'll start seeing light and shadow completely differently — and that will change your whole approach to painting.
In this article, we'll explain how NMM works, how to do it in steel and gold, exactly what you'll need, and how to get started — even if you've never tried the technique before.
What exactly is Non-Metallic Metal?
Metal surfaces are extreme in the real world. They reflect their surroundings — highlights are very bright, shadows very dark, transitions fast and sharp. Metal behaves almost like a mirror, not like an ordinary surface.
Metallic paints mimic this effect physically — they contain metallic or mica pigments that reflect light. The result looks good from every angle. NMM paints this effect by hand — you build a gradient of light and shadow so precisely that the viewer's brain reads the surface as metal.
The result of NMM depends on the viewing angle and the light source you choose yourself. On a competition miniature, under the right lighting, it looks more dramatic and has more depth than any metallic paint could give you. That's exactly why NMM is the standard at competitions like Golden Demon or Crystal Brush.
Non-Metallic Metal (NMM)
- Light and shadow painted by hand
- A dramatic effect under the right light
- Depends on the viewing angle
- The standard for competition painting
- Requires practice and patience
True Metallic Metal (TMM)
- Metallic pigments built into the paint
- Looks good from every angle
- Faster and more forgiving
- Great for tabletop quality
- Ideal for armies
Why NMM works — the physics of light on metal
Before you start painting, you need to understand how metal actually behaves. On smooth metal, highlights are very bright and very small — almost white. Shadows, by contrast, are very dark, almost black. The transition between them is fast and high-contrast.
On rounded metal surfaces — a helmet or a sword, say — the gradient goes from light to shadow and then back to light, because metal reflects its surroundings from every direction. This double transition — light → shadow → light — is the most distinctive hallmark of NMM, and it's exactly what instantly separates good NMM from mediocre NMM.
Key principles to keep in mind:
- Highlights are extremely bright — nearly white, not just light grey
- Shadows are extremely dark — nearly black, not just dark grey
- Transitions are relatively fast — metal isn't frosted glass
- There's always a highlight on edges and peaks — metal reflects light at its topmost points
- Reflected light from below — the underside of rounded surfaces has a secondary, lighter band
Colors for NMM — what you'll need
NMM steel — the basic palette
For steel, you need a gradient running from near-black through neutral greys to pure white. The key is that the grey tones need to be neutral or slightly cool — no browns or warm greys.
Deep shadow
Abaddon Black or Scale75 Black Metal. The foundation for shadows and the deepest recesses.
Highlights and reflections
Scale75 Speed Metal / White Alchemy or Citadel White Scar for the final points of light.
NMM gold — the basic palette
For gold, you need a gradient running from very dark brown through rich yellow to near-white. The key to gold NMM is a dark enough base — most beginners make their gold too light, and the result ends up looking like yellow plastic instead of gold.
Shadow base
Citadel Rhinox Hide or Scorched Brown. A dark base without which gold won't read as metal.
Mid gold
Citadel Retributor Armour or Scale75 Dwarven Gold / Thrash Metal with a yellow tint.
Highlight
Citadel Yriel Yellow mixed with white, or Scale75 Moonstone / White Alchemy.
Brushes and media — what actually makes a difference
Brushes for NMM
- Winsor & Newton Series 7 — the gold standard. The tip holds its point better than most synthetics. Size 1 for transitions, 0 and 00 for highlights.
- Red Grass 0/2 & 2 — premium brushes; the brand only makes two sizes, but they hold excellent quality
- Artis Opus Series M — the iPhone of brushes. Series M is more focused on small details.
Media and thinners
- Lahmian Medium — irreplaceable for NMM. Thins paint without losing coverage, slows drying, and allows smoother transitions.
- Glazing medium — for very thin, translucent layers when building up transitions.
- A wet palette — a necessity. Paint on a wet palette dries more slowly, making transitions easier to achieve.
How to do NMM steel — step by step
For your first attempts, we recommend simple geometric surfaces — a helmet, a plate of armor, a flat panel. Avoid organic shapes for your first try.
Base — cover the whole surface with a dark color
Apply an even layer of Abaddon Black across the entire metal surface. This is your deepest shadow — the foundation everything else builds on. Let it dry completely.
Decide on your light source
Before applying a single layer, decide where the light is coming from — typically from the upper left. This decision has to stay consistent across the entire miniature. Draw an arrow on a scrap of paper and keep it next to you. The biggest beginner mistake is a light source that shifts between different parts of the miniature.
3
Mid tones — the first transition
Mix a mid grey (say, Citadel Dawnstone) with Lahmian Medium at roughly a 2:1 ratio. Apply the glaze to surfaces facing the light — not the peaks, not the shadows, just the mid band. Repeat 2–3 times until the transition is smooth.
4
Highlights — building up the reflections
Apply a lighter grey (say, Citadel Administratum Grey) to the peaks and direct edges facing the light. The highlighted area should be smaller than the mid-tone area. The transition from mid tone to highlight should be relatively quick.
The final points of light — pure white
Apply pure white only to the absolute highest details — edges, tips, the very highest points. These highlights should be very small — a few millimeters, not a whole surface. It's exactly these tiny white points that give metal its character.
Reflected light from below — optional, but visually powerful
Add a subtle, lighter band to the underside of rounded surfaces — a reflection of the surrounding environment. Typically a light blue or light grey for steel. This detail is what separates average NMM from convincing NMM.
NMM gold — how it differs from steel
The approach is the same as for steel, but the palette is different and the contrast needs to be even greater. Gold is warmer and richer — shadows are dark brown to black, highlights creamy to white.
The second major difference: gold reflects a warm surrounding environment. That's why its shadows tend to carry a warm brown undertone, rather than the cool grey of steel. Add a drop of Citadel Agrax Earthshade (or even Reikland Fleshshade) into your darkest shadows for a warmer tone.
The process is the same 6 steps as for steel — just with the gold palette. The Scale75 NMM Gold and Copper Set has its colors ordered from darkest to lightest specifically for this process.
The most common mistakes — and how to avoid them
Too light a base
If you don't start dark enough, you have nowhere to go with the contrast. The base needs to be nearly black — even if that feels excessive. Metal is an extreme material.
A shifting light source
Light hits the helmet from the left, the shoulder from the right — and the miniature ends up looking chaotic. Decide before your first stroke and stick to it consistently across the whole model.
Highlights that are too large
Highlights on NMM need to be small and concentrated — only on the absolute peaks. If they cover a large area, the result looks plastic, not metallic.
Drying without a medium
Paint without Lahmian Medium dries too fast and transitions end up broken. Always thin glazes with medium, never water — water disrupts the consistency and ruins transitions.
Giving up after the first attempt
NMM takes practice — your first result will likely be disappointing. It's a genuinely hard technique. Every attempt teaches you something about how light behaves. Practice on simple surfaces before tackling a miniature.
Rushing the transitions
NMM is a technique built on patience. Every layer needs to dry before the next one goes on. Rush it, and the result will look muddy with unclear transitions.
What to buy — a product overview
| Category | Product | Why |
|---|---|---|
| NMM steel — set | Scale75 NMM Steel Set | 8 colors ready for steel NMM, the fastest way to start |
| NMM gold — set | Scale75 NMM Gold + Copper Set | 8 colors for gold and copper NMM in one set |
| Metallic range | Scale75 Metal n' Alchemy | Individual colors — Black Metal, Speed Metal, Dwarven Gold, and more |
| Medium | Citadel Lahmian Medium | Irreplaceable for smooth transitions and glazes |
| Brush — Kolinsky | Winsor & Newton Series 7 (sizes 0 and 1) | The gold standard for transitions and final highlights |
| Brush — top tier | Artis Opus Series M | A premium alternative to Kolinsky |
| Shadow base | Citadel Abaddon Black | The base black for the deepest shadows |
Summary — how to get started with NMM
- Understand the physics of metal — extreme contrast, small highlights, fast transitions
- Decide on a light source — before your first stroke, and keep it consistent across the whole miniature
- Start dark — the base needs to be almost black, or you have no room for contrast
- Lahmian Medium is a must — not water; medium preserves consistency and slows drying
- Highlights are small — just the peaks and edges, not whole surfaces
- Scale75 NMM sets are the fastest way to start — the colors are ready to use straight away
- Practice on simple surfaces — a piece of plastic or paper before the miniature
Want to get started with NMM? At our shop in Plzeň at Zbrojnická 116/2, you'll find Scale75 NMM sets, Lahmian Medium, and premium Winsor & Newton and Artis Opus brushes. We're happy to help you choose based on your experience level.
Open Mon–Fri 1pm–6pm · obchod@coloursofwarriors.com · +420 737 281 727