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This was then carefully applied to the recessed areas of armour. A Baal Red glaze is highly recommended after all shading and highlighting has occurred. Being a primary colour and a notoriously thin pigment. Reds don’t necessarily have to be shaded with black or dark washes either. ruddy tones to the oranges. This was applied in thin layers until a solid coat of red had formed. Anja used a 1:1 mix of Blood Red and Dark Flesh. and stuck them together by adding a small dab of Plastic Glue into the sockets before pushing the parts together. Each of the Blood Angels in Space Hulk. such great-looking models are crying out for an expert paint job. to build up the highlight. This requires extra care. with oranges. Anja has used the following colours from the Citadel Colour. So we turned to ’Eavy Metal’s Anja Wettergren for a special Space Hulk Masterclass. With this in mind we could have used any of the Terminators for this article.com 45 . Alex Hedström has provided us with a plethora of fantastic Citadel miniatures all exclusively made for the game. carefully brushed on to the very edges. a blue wash can give red a purple tone. Stage 7: To tie all the layers together. but is not the easiest colour to paint. red can be hard to highlight satisfactorily. One of the reasons is that mixing red with white gives you pink. but the addition of Mechrite Red to the Foundation range has really helped with these problems. Blood Red and Dark Flesh.PAINTING MASTERCLASS SERGEANT LORENZO ’Eavy Metal were as keen as anyone to get their hands on the new Space Hulk miniatures. Green works for shading red because it is situated on the opposite side of the colour wheel.games-workshop. is a distinct F character with a detailed history and an important part to play in the Sin of Damnation campaign. To get you gaming as fast as possible. for the Genestealers. Red Armour or this edition of Space Hulk. Stage 2: Next. Anja added black to create a 2:1:1 mix of Chaos Black. it has always been difficult to highlight and shade. It’s best to highlight reds. which doesn’t work as a highlight. especially when painting Blood Angels. but we settled for Sergeant Lorenzo. dark red as befitting the Terminators of the Blood Angels Chapter and a deep purple. Anja used a 3:1 mix of Blood Red and Dark Flesh. such as Dwarf Flesh and Elf Flesh. PAINTING MASTERCLASS ™ PAINTING THE ARMOUR Anja’s technique is to choose one area of the miniature and work on that until it’s finished. Anja carefully removed the Sergeant Lorenzo components from the frame. Anja started with the Terminator armour. Wash: W Foundation: F PAINTING RED Chaos Black Spray Dwarf Flesh Skull White Blazing Orange Golden Yellow Vomit Brown Bleached Bone Fortress Grey Blood Red Hawk Turquoise F Astronomican Grey Boltgun Metal Ice Blue F Calthan Brown Burnished Gold Mithril Silver F Dheneb Stone Codex Grey Regal Blue F Iyanden Darksun Chainmail Scab Red F Tallarn Flesh Chaos Black Scorched Brown W Baal Red Dark Angels Green Scorpion Green W Badab Black Dark Flesh Shining Gold Warlock Purple Red hasn’t always been an easy colour to paint. taking out some of the severity if needed. Stage 5: Next. Wash and Foundation ranges. the models come in two colours: a rich. By the same token. Stage 3: For the initial highlight. Before Anja got started she brushed up on Sergeant Lorenzo’s background. which will cool the colour. so that you don’t get paint on already finished areas. Stage 8: Anja then finished by retouching the highlight with the mix from Stage 6 once the wash had dried. The subjects of our Masterclass series are normally character or centrepiece models and this month’s figure is no exception. this will help blend the layers and give the red the intensity needed for the ceramite surface of Space Marine armour. and to cover darker tones. the model was undercoated with Chaos Black Spray. proving that ’Eavy Metal painters really are perfectionists! As already mentioned. 44 WHITE DWARF SPACE HULK Stage 1: For the basecoat. Stage 4: Pure Blood Red was then layered on top of the previous stage. Lighter highlights can be achieved by adding neutral. However. Red is a strong primary colour. so we’ve included some top ’Eavy Metal tips in the box below. Anja applied a highlight of pure Blazing Orange. this is because ’Eavy Metal use a tried and tested method for painting Blood Angels that they have developed over the years. To start with. painted over the Blood Red of the previous stage. as this was the largest single area on the figure – defining the colour palette for the whole model. painted onto the edges and raised areas of the Terminator armour. before moving on to another part of the model. as she was keen to apply some techniques that might reinforce Lorenzo’s personality as a dependable veteran who still seeks redemption for one failed mission that happened over six hundred years ago. Anja has used a mix of Dark Flesh and Blood Red as a personal preference to give her that bit of extra control over the exact pigment. www. so we asked Anja Wettergren to paint Sergeant Lorenzo and show us how to achieve a perfect finish on your Blood Angels. to show you how to get the best finish on your Space Hulk miniatures. When dry. watered-down Baal Red was painted over the armour. Eagle-eyed readers will notice that Anja hasn’t used it on Lorenzo’s armour. Stage 6: For the final highlight a 2:1 Blazing Orange to Vomit Brown mix was used. You Will Need For the techniques featured in this article.

The Crux Terminatus is a badge of honour that all Terminators wear. it doesn’t matter in which order you paint the areas. using several thin layers. were given a 1:1 basecoat of Boltgun Metal and Chaos Black. Stage 4: Anja then painted on Burnished Gold. avoiding the recesses. Stage 3: Pure Bleached Bone was brushed onto the lining in the same manner as before. Stage 7: The next layer used the same mix as Stage 6. predominantly the storm bolter.One of the distinguishing features of the Sergeant Lorenzo model is the flowing cloak. Stage 3: Anja used Codex Grey to start building up the layered highlights. but Anja was confident painting the metal after the armour. If you take your time it won’t be a problem. again avoiding the recessed areas of the badge. to create the final highlight. Stage 2: A liberal wash using a 1:1:1 mix of Scorched Brown. Stage 4: Anja then used a coat of pure Codex Grey for the final extreme highlight. was then applied over the area. this time using a 2:1 mix of Codex Grey and Chaos Black applied to the edges. This was the area Anja focused on after the Terminator armour. applying it to the very edges. but with more white. you just have to be careful not to mark the other side. before applying an initial highlight of a 1:1 mix of Chaos Black and Codex Grey. Anja has reflected the importance of this badge by painting it as stone. Stage 8: Finally. Stage 6: A highlight using a 2:1 mix of Dheneb Stone and Skull White was applied to just the raised areas. painting it neatly. especially when painting the very edges of the lappets (the streamers on the cloaks). Chaos Black and Badab Black was then applied over it. Stage 5: Mithril Silver was used for the final highlight. but this was concentrated towards the edges of the lappets. When painting the cloak and its lining. pure Skull White was used. Mithril Silver was painted onto the very edge of the silver areas. Metal Stage 1: The metallic areas. Stage 3: The area was then highlighted up. Stage 1: The gold areas on the Sergeant were basecoated with a 1:1 mix of Shining Gold and Scorched Brown. Stage 1: The Crux Terminatus was basecoated with a 1:1 mix of Scorched Brown and Codex Grey. Cloak Lining Stage 1: The lining of the cloak was given a basecoat of Calthan Brown. first with Chainmail. again focusing on the areas of raised detail. The recessed areas were left black. Stage 2: The basecoat was then given a wash with a 1:1 mix of Scorched Brown and Badab Black. Stage 4: Fortress Grey was brushed on as a mid-level highlight. Stage 4: Finally. Stage 3: A layer of Shining Gold was then brushed over the raised areas. before touching up the surrounding basecoat. PAINTING MASTERCLASS Gold PAINTING THE CLOAK PAINTING THE CRUX TERMINATUS Stage 1: The lappets were left black. almost monumental feel. which was applied to the raised areas and edges. A steady hand is needed here. Anja used pure Skull White on the highest points of the badge such as the eye and nose ridges of the skull. to create a 1:1 mix of Dheneb Stone and Skull White. applied only to the most prominent areas. Stage 2: The next stage built upon the first highlight. alluding to a regal. PAINTING METAL Most people paint the metal areas first. Cloak & Loincloth Stage 4: A 1:1 mix of Skull White and Bleached Bone was then applied. www. applying the paint to the raised areas of detail.games-workshop. as they can be quite messy. Stage 3: Bleached Bone was brushed onto the area in the same manner as before. built up over thin layers. Stage 5: For the final highlight. the next coat Anja applied was Dheneb Stone. Stage 5: Building up the highlights. Stage 2: A coat of Vomit Brown. Within each badge is bound a tiny fragment of the armour that the Emperor wore onboard Horus’ Battle Barge. 46 WHITE DWARF SPACE HULK Stage 2: Anja then washed the area with a 1:1 mix of Badab Black and Chaos Black. Remember to use a separate water pot for cleaning and thinning down metallic paint to avoid contaminating your other colours.com 47 .

Design Studio. Willow Road. Send in your question to: White Dwarf. Stage 3: She then applied a midtone. emphasising wrinkles and creases. Games Workshop. to reflect his background as a grizzled 650-yearold veteran. Stage 5: Skull White was carefully applied as the final highlight onto the very edges of the blade.Anja has painted Sergeant Lorenzo’s face using an aging technique. Stage 6: Anja added more Bleached Bone to the mix before applying a further highlight. Stage 7: For the next highlight Anja then used pure Bleached Bone. Lenton. and this was highlighted further with a 1:1 mix of Golden Yellow and Skull White. United Kingdom www. THE FINISHED MODEL before applying further highlights using mixes of Bleached Bone and Skull White. 48 WHITE DWARF Stage 2: Pure Ice Blue was then applied over the glowing energy lines. The yellow stripes on the cabling started with a basecoat of Iyanden Darksun and Vomit Brown. SPECIAL DETAILS The hair was first painted Astronomican Grey and then shaded with a 1:1 mix of Codex Grey and Chaos Black. a 1:1 mix of Bleached Bone and Skull White was applied. The red lens was painted using the same method as for the lumina (right). The lumina was first painted Scab Red. of course) and they’ll have an answer. SPACE HULK Stage 3: Next. a 1:1 mix of Regal Blue and Ice Blue was used as the base for the energy lines. NG7 2WS. Gems Stage 1: The blood drops were given a basecoat of Warlock Purple. Stage 3: A 1:1 mix of Warlock Purple and Skull White was then painted over the same area.com 49 . The trophies on the Sergeant’s back were painted using the gold technique from page 45. The cybernetics were painted in the same way as the metal parts of the storm bolter. Stage 4: The highlight continued to be built up with a 1:2 mix of Warlock Purple and Skull White. painted onto the most prominent areas of the face. followed by Blood Red and then Blazing Orange. The green gem started with a Dark Angels Green basecoat and this was worked up with Scorpion Green and highlighted with Skull White. Stage 4: Anja then followed with another wash. a highlight using a 1:1 mix of Ice Blue and Skull White was used. Nottingham. problem or question? Well the ’Eavy Metal team are only too happy to help. The skull insignia on the left knee pad was painted using the same method that Anja used for the Crux Terminatus badge. You can ask them anything (related to painting miniatures. Have you a painting dilemma. a dot of pure Skull White was carefully placed on the highest point of the gem. So whether it’s about consistent basing techniques or how to paint the beard on a Dwarf. Stage 8: For the final highlight. Skull White was used as a highlight. Stage 1: For the face Anja started with a basecoat using a 1:1 mix of Tallarn Flesh and Calthan Brown. Stage 2: A heavy wash of watereddown Dark Flesh was then applied all over. starting with a 1:1 mix of Tallarn Flesh and Dwarf Flesh. She started off by painting the face as normal. PAINTING MASTERCLASS PAINTING THE FACE Model shown slightly larger than actual size. send your query to ’Eavy Metal’s painting clinic.games-workshop. These were applied to the ridges on Lorenzo’s face. this time of thinneddown Scorched Brown. Dwarf Flesh and Bleached Bone was then used. Stage 2: A 2:1 mix of Warlock Purple and Skull White was painted in a line down the side of the gem. Golden Yellow was then used as a midtone. Finally a dot of pure Skull White was added to the top left. Power Sword ASK Stage 1: While the sword blade remained black. Stage 5: Finally. Bear in mind we work quite far in advance of publication so it will be a good few months before you see your query in print. A 1:1 mix of Blazing Orange and Skull White was then applied as a highlight. Stage 4: A glaze made with a thin 1:1 mix of Hawk Turquoise and Dark Angels Green was then brushed over the whole of the blade. Stage 5: A highlight using a 1:1:1 mix of Tallarn Flesh.

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Wе. l n t hе fo| | ow i n еgx a m p I е sС.Here hе sharеswith us somе tесhniquеsfor gеtting your Grey Hunter paсksonto thе tablеtopin no timе. way to paintyour SpaсеWolvеs in thе Аlth ou ghСh r i shas u s е da s i m p |i f i е tdе с h n i q u еt o g е t a forсeon the tabletop. iirst baseсoat it with Vermin Brown. havеto сo nsidеrthе o r derin w hiсh yo u paintthе mo dels.therе.Howеver. paintbrushеs you t aki ngt h e i n form a t i oann d s с a l i n gi t u p f o r u s еw ith yo u thе Сitadе|Spr ayCun. The final highlight was mixed from equal parts Blazing Оrange and Skull White.Тhen you just nеedto basеthem up and they. Тo help уou musteryour SpaсeWo|vеspaсk for War. faсе and any yel|owor rеd arеas. 26 WHlтЕ DWARF SPAСEWoLVEs DЕslсN NoТЕs Step 3. W hеn paintingin batсhеs. thе mo dе|sСhao sBIaсk Сhr is. To aсhieve a stron7 tone for the hair.on smoothpowerarmour/it.||be readyfor aсtion.sbеstto appIythе wash by hand. tslazing Оrangе was used to highlight the hair.snothingstopping for baseсоating. | ln o do u b ti n с l u d еi n y o u r a r m y .adviсеis to fir stundеr сo at and thеn sprayon thе armourbaseсoat.first. Step 2.splentyof opportunitуto rеa||y pus hyou r pai n t i n gs k i ||sp a i n ti n gt h e m a n ус h a ra с tеr m odе | syou .Vе askedСhris Peaсhto сomе up with a quiсk yet еffесtivе . R Е >H А I R Step I.'РA(<WФLV<' РAlNТlN( Studiohobby guru Chris Pеaсh is an expеrtat prеparinga forсе for battlein a timеly yet еffесtivеmanner. h ri sh a s u s е dh i s t r usty but therе. foсusing on thе raised strands.ЕavyМеtа|stу|е. . Thе nехtstagеis to set up a produсtionlinе . the Yo u сan thеnstar tto piсk o ut detaiI ssuсh as mеtalliс s.Сhris rесommеndspaintingthе darkerarеas/suсh as thе fur.

workshoP. A final drybrushof Bleaсhed Bone was then applied. Сhris appliеd a heavу drybrush of Vomit Brown all over the fur сloak' Step3. Step 2. applied сIose to the rim. To paint the greу hair. Step 2. When painting the fur on the pelts often worn by the Spaсe Wolves. The rim of the pad was painted in the same waY as the armour.сom 27 . Step 2. А final highlight using pure Skull White was then used to piсk out the most prominent areas of the hair. Step3. but this was worked towards the ends of the oelt ratherthanover the whole area. гг1 v\ АRмOUR PovиЕR Step l.8amеs. The next stage was to give the armour a wash using a l:1 mix of Sсorсhed Brown and Fenris Grev. iНэUL>ЕRPА> Step 1. www. startwith a baseсoat of Sсorсhed Brown.<RЕyH А | R v гп v\ - A z z o -{ itep 1. rUR Step 1. Step 2. Pure Space Wolves Сrey was used to highlight the armour. An equal amount of Skull White was then added to the previous miх. The shoulder pad was first painted with a baseсoat of Tausept Осhre. Step 3. This was used as a highlight. The power armour was given a Senerous basecoat using a 1:1 mix of Shadow Grey and Spaсe Wolf Grey. The yellow was then bloсked in with a 1:1mix of Golden Yellow and TauseptОсhre. А highlight was applied to the raised areas and edges of the moustaсhe using pure Fortress Grev. Step 3. applying it to the edges and raised areas. Сhris started with a baseсoatof pure Сodeх Grey.

a glaze of Baal Red was brushed over the whole area. Тhe face was basecoated with a 1:l miх of Vermin Brown and Sсorсhed Brown.Аs wе. followed bу a 1:1 wash of Gryphonne Sepia and Ogryn Flesh. brushed onto the face as a mid-tone .lf the paintis too thiсk you not on|y riskobsсuring that s w iI I thе de t ai I.followed by a highlight of Dwarf Flesh applied to eaсh hair strand.s importantto kееpyour paintthin so thatуou don. applied to the raised areas. Step 3.Vermin Brown and Scorсhed Brown was used. NeiI an d ar ou ndi t . Step 3. while the highlight was retouсhed using the mix from Step5.as this definethe foсal point.it.sbеstto use two or threethin |ayersfor еaсh stagе.gamеs-workshop. Step2. Step2.When NeiI applied the baseсoat|ayerto the faсе he paintedrightup to the stageshe didn'twork the hair.e sp e с i a ||y has paintеdthe Wolf Guard.leavinga gap in thе midd|еto сreatеthе pupil _ steadyhandsare neededhеrе! Тhe Faсе Step l.sfaсe in Iightertones.vеsaid beforeit is thе faсе of a miniaturеthatdraws the eye to it and so some attentionnеedsto bе spenton o n a m o d е ls u с h a s th i sonе.once again it was left out of the reсessedareas. the two areas. first with a 1:I mix of Dwarf Fleshand Skull White. А 3:1 miх of SkullWhitе and Bleaсhed Bone was then applied. Next. The eуes and teethwere paintеd with Bleached Bone. This was applied to all but the reсessedareas. www. Pure Dwarf Flesh was then applied. The hair was first painted with Bestial Brown followed bу a layer of Blazing Orange.сom 89 .so it. The hair was then given tvvoconseсutive washes of Ogryn Flesh. Step 4.NeiI lеftthe eyesblaсk and thenfil|еdin thе white of thе еye with B|еaсhеdBone. The face was then highlighted.a 2:1:1 mix of Dwarf Flesh.but a| s oa d d i n gi n v i s i b l eb r u s h s tr o k e dеtraсtfrom the finishеdеffесt. Тhe tеethwere paintеdB|eaсhedBone.tlosеthе detai|.thеrebyсrеatinga thin boundaryIine of darkеrpaint. hе|psthе eye immеdiatеIy When paintinga faсe with suсh a strongexpression.againthis hе|psthе eye А faint line separates definethе foсal pointof thе miniature. тo finish. Step 6. Тhe otherpointto note is how the hair meetsthe faсe.but with the subsequent paintup to thе edge. Bleaсhed Bone was then applied as a final highlight. Thе Hair Step l. Step5.

many of whiсh have been detailedin White Dwaгf.this is the baseсoat. Мuch of the power armour is obscured bу details suсh as the pelt .The main part of the backpack was painted in the same waу as the power armour. Shadow Grey and Kommando Khaki was applied towards the edges of the armour.Тhe Iight sourсeis assumedto be сoming from direсt|yoverhead. . Shadow crey and Space Wolves Greу was applied to the power armour.]]сover in moredetaiI Iatеrin the artiс|e. The methodemployedby.SpaсeWolves power armouris oftеnaссentedby ye||owsand reds.opaque сoat. Тhе Power Armour Step l.it's much more prominent on the rear of the model. That.and it.]] be takinga с|oserlook at how to infliсtextrabattlе damagе. Next. A 1:I :1 basecoatmiх of Kommando Khaki.ЕАVYМЕТАLМАsТЕRсLАss Step 3. Step 6.Еavy Мeta| has evolvedovеr a good few years and is provеn to be very effeсtive. Step5.applied over severalthin layersuntil you have a so|id.sсratсhesand сhips over the page. on the fist shown in the stepsbelow.sthe methodin its most generaltermsbut you сan add to this with additionaIpaint effeсts. Тhis is and so the top edgeshavea more intensehighIight. Pure Space Wolves Grey was worked onto the edges of the armour| сreating a d i stinct edge highIight. a 2:1:1 Space Wolves Grey.as we.You bestdemonstrated сan see in the laterstageshow the high|ightis applied more heavi|yto the top of the fingersand aсrossthe thumb.snot unknownfor dagsor stripes on thе armsor legsto be paintedonto the armouras wel].For instanсе.as сo]ours. Step 4. this liftsthe miniatureand avoidsсonfusingthe eye with multip|eIightsourсes. Step2.This is normally they makegood сontrasting appliedto the shoulderpads. Тherе are a muItitudeof methodsfor paintingpower armour. A 1:1 mix of Shadow crey and Sсorched Brown was сarefully brushed into the reсesses between the armour seсtions. with a stronger application on the top edges. A final highlight using a 1:1 mix of Space Wolves Crey and Skull White was applied.You start by buildin8up a f|atсoIour. А highIightis then appIiedto the edgesof еaсh segmеnt and a shade in the joints betweenthe seсtions.we. Devlan Мud was washed into the reсesses between the plates of armour' 90 WH!тEDWARF .

effort.lighteningout towardsthе undеrside. The fur areas were first basecoated with Scorched Brown. but paintеd onto the clumps of fur around the edges.this is an . Two washes were then brushed over the pelt. while the fur along the edges was painted.However. the сentre of the pelt was given a light drybrush. applied over the whole pelt with a slightlу heavier сoating on the edges. as a|ways. lt.followed by Ogryn Flesh when the first wash had dried.BleaсhеdBo neand SkuIl White were usеdmorе hеavilythan on the peltsto aсhieve this lightertone. Bleaсhed Bone was lightly drybrushed in the centre of the pelt. www. Step 6. Bestial Brown was then used to piсk out the fur. this was more heavily applied towards the еdges of the pelt. Skull White was the final highlight. but otherwise use the technique below. Using rеa|-wor|d referеnсeallowsyou to paintyour fur to |ookmorе rеalistiс. Step 5.Neil piсkedout the separateсlumpsand high|ightеd The only exсeptionto this Wasa Very them aссordingly. Referenсеbooks on natural historyare a good startingpoint.the Intеrnеtis a great high-quality tool for findingsuitableimages. tortresscrеy was added to thе mix in gradualstagesas he bui|tup thе layersuntiI hе was happywith the fina||ook. Thе Fur Step 1. lightdrybrushin Steps3 and 4.ЕavyМetal-paintedmodе|/so it Won/tsurprisеyou to |еarnthat insteadof drybrushing the fur. photosand.сom 91 .The wolf tails get Iighteras they taper towards the end.for examp|e.starting with a baseсoatof pure Sсab Red.workshop. Step 2.sa|waysa good idea to get some real-worldrеferenсe bеforeyou startpaintingfur. Step 3. Step 4. Keeping the backpack separateallows Nei/ to paint the tails without obstruction.as they often havе с|ear.the fur on thе baсk of an animaItendsto be darkеr.Similarly. Nеil has paintedthe undersidеof thе pe|tsred.as the texturеis idеalfor Paintingfur is reIativeIy givingyou a p|еasingеffесtwith minimal drybrushing.games. А solid сoat was created usinя several thin layers.wo|ftai|stеndto lightentowardsthe end and so Neil has rep|iсated this effесton the two taiIs danglingfr o mthe baсkpaсk. the first was Gryphonne Sepia. detailedbelow. Vomit Brown was used for the next laуer. easy.

NeiI app|iedan еxtreme|y sameсo|ourand washеdit ovеr the еntirес|aw.Тhе nеxtstagеwas to painton thе initia|energyIinеs. and onсe painted really bring the model together.a З:1 mix of Bleaсhed Bone and Нawk Turquoisewas used. lettingthatpaintrun onto the unсontrol|ed.b |o tс h i n g . as the model. Тhe Wolf Claws Step l.ork with a varietY of сolours. then turned into a glaze and brushed over the area. Step 2. t h i st е с h n i q u eb y .Тhis mеansthe paint.otnh е N е i I s t ar t е d basесoatto the с|aws. Lines were painted onto the claws with Hawk Turquoise.this effect *'ill n. Step4. . Finallу SkullWhite was painted onto the verу edges and points of the сIaws as an extreme highlight.thesеwere paintеdusingthе pattеrn We featured an alternative energy field oaftern in last month's masterclass . Nеil has paintedthе еner gylinesin a mo r еtightIy paсkedand densеrpattеrnon the undersidеof the сlaws.wa s a p p |i е di n a n a I m o s t re r nai n i ng roughshodway.The pair of wolf сlaws are a real defining featureof the Wolf Guard. А 1:1 mix of Bleaсhed Bone and Hawk Turquoisewas used on the lines. сreatedin the prеviousstepas a guide. the powerof the wolf сIawsis foсusеdon the suggesting areaof thе weaponthatwi|l do thе mostdamagе. Step5. Step 6.this formedthe basisof the frееhanddesign. Step 3. А З:1 mix of Hawk Turquoise and Bleaсhed Bone was painted over the lines. as desсribed above. 92 WHIТE DWARF . Thinned-down Regal Blue was applied to the wolf сlaws in a haphazard.trom thereit.blotchу. staterathеrthan bеingсontroIIеd areaand dry in a naturaI . Aftеr thin g|azеof thе eaсh Iayеr.EavуМetal paintedmodе|sthatfеaturepowеr Wеaponsin onе form or anothеr.l.You.ЕАVY МЕTAL МAsТЕRсLAss .whilе t h i nne dd o wn .Тhis helps and addsa сеrtainеthеrеal сrеatеthе . Nе i I h as pai nt e da b ri ||i a nf tr е e h a n de n e rg yf i e l dd esign plаyingaсrossthе woIf сlaws. using the pattern created in the previous stage as a guide. onсe again this was thinned to a glaze and applied to the whole area.еffeсt qualityto the lo o k o f thе mo dеl. by the brush(sеeStep be|ow).Whеn dry.frosting.s open posture makes every angle visible. А glaze of the same mix was then applied.sa сasеof bui|dingup the freehаndwork bу addingto the сo lo ur sand mix еs. Next.еaсh enеr gyI inesw ith thе subsеquеnt stagеshouldhavea finеr Iinethanthe previousonе.fashion.Ilsеe simiIareffeсtson many . Both sides of the wolf сlaws were painted with the energy effeсt.

Creatingdeeperсhips suggests damage. Neil painted on the chips by first reapplуing the power armour baseсoat _ a 1:l:1 mix of Kommando Khaki.lf evеry sсratсhand mark is of thе sametypе. Bеar in mind thataddingtoo muсh battledamageсan distraсtfrom the aсtual paint sсheme. This SalamandersDreadnought shows heavу battlefield wear and tear. Мorе Battle Damagе Examples Vehicles suсh as tanksare often weatheredand сovered in scratсhes.in small areason the armour. as in this example.ratherthan somethingthat'snew or mass-produсed. A wash of Badab Black makesthe chip look older. Step 2. Below the previous application pure Space Wolves Crey was added. see a fair sharеof sсratсhеsand сhips from walking Тhе armouron the amongstthe debrisof a batt|еfield. the more you apply.whi|e lightsсratсhesor brightsilverсhips infer more reсentinсidents. from the size of the сhip to the age уou want to represent' Step 3.suggеstingtheseare anсient. the thicknessof the line and amount used will depend on the effect уou.re after. especially around areasof heavy use suсh as ladders. Again. It.marksor sсratсhesyou add is up to you.Severe metalliс scratchesсan be achieved with a baseсoatof Boltgun Мetal and then a following laуer of Мithril Silver.salso worththinkingaboutthe loсationof the marks. armsand fistswiIl oftеnbе damagedas weIl. For deeper сhips the mix was darkened bу adding more Shadow Grey. hatchesand on 'dozer blades.due to previousсlosе сombatenсounters.wellworn suitsof armour.lIAttlAG] BП]TIE PaintingbattIedamagеonto power armourсan add rеal сharaсterto a modе|. Most wear and tearwi||happenaroundthe jointsof thе armour/but areаssuсh as the greavesand bootswil| a|so Step 1. Thе numberof сhips. www. add a small amount justto highlight the damage. It'salso importantto vary the age of the battle damageon the power armour. You can inсrease the amount to suggesta more recent chip or sсratch.then it will give the impressionthat a|l damagehas happenedin justonе battleratherthan older throughthe ages. Skull White was then used underneath the сhip.workshop. This White Sсars Vanguard Veteranwears an ancient suit of power armour.Shadow Crey and Space Wolves creу .сom .8amеs. the age of which is suggestedby the heavy chipping.the more battle-wornthe armourwi]l look.

and as small sсratсheson the metal areas' Step 2.ЕАVY МЕТАL MАsТЕRсLАss . Step 2.gemsand runes. Step 3.Don't be temptedto rushthrough theseIastfew bits_ give them as muсh timе as you wou|d any otherstageto ensureyou maintaina high standard throughoutthe proсess. А wash of Devlan Мud was then applied to the rim. Thе ShouldеrPad Step l. The ornate wolf heads were firstpainted with a З:1 baseсoat mix of Shining cold and Bestial Brown.suсh as thе shouIdеr pads. Thе Baсkpaсk Step l. A lvlithril Silver highlight was applied to the edges of the rim. This was highlighted with a 1:I mix of Buboniс Brown and Bleaсhed Bone' then washed with ogryn Flesh and Оryphonne Sepia. Step 2.lt was a|sousedon the othershoulderand knеe pad of thе modе|. МеtaI Step l. followed by a highlight with a 1:1 mix of Burnished cold and Мithril Silver. The heads were highlighted with Shining Gold. Be careful when applying the wash so run-off doesn. Bubonic Brown was painted in the area of the shoulder pad betvveenthe rim and the raised creat Сompany symbol.Neil startеdwork on thе additiona|dеtaiIs. Yellow was used elsewhere on the model as a сontrast to the grey armour. Step 3. Step 3. followed by a wash of Ogryn Flesh. The icon was repainted black. onto the rivets.With the main areasof the miniaturenow painted.t contaminate the уellow area. 94 WHlтЕ DWARF . but produсesa very riсh сo|our. followed by a 1:1mix of Bleaсhed Bone and Skull White was applied. A highlight of Bleaсhed Bone. А highlight of Burnished Gold was applied. Тhe methodNeiI usedto paintthe yе||owis a partiсular|y interesting teсhniqueas it is on|ythrееstagеs. The metal rims of the shoulder pads baseсoated with a layer of Boltgun Мetal.

This effесtis aсhiеvеdby framingthе glowingarеa/ in this сasе a rune. Sculpted Base Тhe orc icons on the base were painted in a similar manner to the metal rims of the shoulder pads. Thе skuIIin thе сеntrеof thе be|twas firstpainted Bestia]Brown fo||owеdby a layerof SnakеbitеLeather. www. Chest Cem Тhe gems on the model were painted Red Gore. whiсh was highlighted with Fortress Greу.with a darkershadeof the main сolouг. Тhе sесondstagewas bui|tup with a layerof Vomit Brown fo||owеdby B|eaсhedBonе. This was followed by highlights of Blazing Orange and Vomit Brown. this was followed by laуer of pure lсe Blue.then givena wash of ogryn F|еshbеforereсeivinga final highlightof Skull White. Cabling The cable stripeswere painted Sсab Red to сreate a red and blaсk alternating pattern'A line of Сodex Grey was painted along the whole area to simulate a reflection. theу were painted with a 1:1 mix of Regal Blue and lсe Blue. Bеlt and Runes Step l. the onlу difference being that a Badab Black wash was used insteadof Devlan Мud. layershouldthen be Iighterin tonе and Еасhsubsequеnt shrinktowаrdsthe sourсeof the iIlumination. Next. SkuIs These were painted using the same mеthod as for the belt skull but a slightly heavier layer of Bleaсhed Bone was used to give them a lighter tone. Step 3.sbelt rea|lystandsout due to the glowing runes. then Blood Red. An extreme highlight of Bleached Bone and finallу Skull White was then applied.games-workshop. Step 2.Тhe Wo|f Cuard.сom 95 . extreme highlight of Skull White. The runeswere first painted Regal Blue and then worked up with a 3:1 mix of Regal BIue and lce Blue. The runeswere highlighted with Space Wolves Crey and then a final.

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When spraying the model. then Codex Grey was used on its own. Starting with the Daemon’s neck. then Blood Red before a final fine line of Blazing Orange was added. but be careful not to obscure the details by overloading the model with paint. the ink was painted towards.This month’s masterclass focuses on the menacing Daemon Prince of Chaos designed by Juan Diaz. an 80/20 mix of Chaos Black and Red Gore was painted where the armour and flesh join. Painted by Kirsten Mickelburgh BLACK LEGION DAEMON PRINCE PREPARATION Before painting any multi-part model it’s a good idea to check that all of the parts will be accessible to paint once it’s assembled. the raised ridges of flesh were highlighted with Red Gore. an undercoat was applied using Chaos Black spray. As such. to create the effect that they had merged. The metallic trims around the Daemon’s shoulder guards and greaves were painted with Tin Bitz and then highlighted by using a 50/50 mix of Tin Bitz and Shining Gold. before a final highlight of Fortress Grey was applied over the very top ridges of the contours in the Daemon’s armour. thinned-down Black Ink was washed over the armour to tone down the brightness of the highlights. To bring the brightness of the orange highlights down and smooth the blending lines. Once this had dried. Once the rest of the Daemon Prince had been assembled. a watered-down glaze of Red Ink was used. you need to make sure that you cover the model thoroughly. This effect was achieved by painting away from the armour and adding more Red Gore to the mix as the brush strokes moved further from the armour until the ratio was 20/80 Chaos Black/Red Gore on the tops of the muscles and cheeks of the model. DAEMONIC FLESH The Daemon Prince was once a mighty Chaos Space Marine Champion. As a final touch. the red areas of the model. It was important not to go onto the black as the blended effect would be lost. Once these highlights had been applied. blend them with the armour’s main colour and merge the joins between all the different colours. . In the case of the Daemon Prince. This meant that the skin tones chosen for the model would need to blend back into the colour of his armour. and over. DAEMON ARMOUR The model was painted to represent an Exalted Champion of the Black Legion who has been elevated by the powers of Chaos to become a fearsome 56 ’EAVY METAL MASTERCLASS MASTERCLASS Daemon Prince. his armour was painted in the colours of the Black Legion. a little Shining Gold was used to highlight the metal before a 50/50 mix of Shining Gold and Mithril Silver was applied to the very edges of the trims. black with gold trim on the shoulder guards and greaves. Starting from a point halfway between where the red and black merge. the shoulder guards and hands were left off so that the hard to reach parts could be painted before they were glued to the rest of the model. A thinneddown coat of Chestnut Ink was washed over this to blend the highlights together. a tiny amount of Mithril Silver was painted onto the furthest edges of the detailing where the light would catch it. and his flesh and armour have melded together. This article explains how our ’Eavy Metal team painted one for the Studio Black Legion Chaos army and also takes us step by step through an Iron Warrior Daemon Prince conversion. All of the raised areas of the black armour were highlighted with a 50/50 mix of Chaos Black and Codex Grey. Once the basic blended colours had been applied. This was applied down either side of the spine and across the shoulders towards the elbows where it fades to black again.

once this had dried. The Space Marine helmet was given an extra highlight of Goblin Green equally mixed with Bleached Bone. just enough to highlight them yet still give the impression of corrupted. as this is how real horns colour as they grow from an animal’s head (for reference material. Scorched Brown on its own was painted to the horn’s tip. Using a combination of gradually brighter colours created the effect of the horn lightening from its thickest part to the tip. some Bleached Bone was applied followed by Skull White. and this effect was achieved relatively simply. Some stone chips were also glued to the base. BASING Watered-down PVA glue was spread evenly over the model’s base before being sprinkled with sand. Final highlights were added by painting Skull White along the raised edges of the skulls. The sword blade itself was painted by blending the Chaos Black outwards with Hawk Turquoise towards the weapon’s edges. All these areas were then given a thinned-down glaze of Green Ink to blend all the highlights together. Bestial Brown was used next. Chainmail was lightly drybrushed across the pipes. the piping on the Daemon Prince’s head and arms and the eye on his shoulder guard and breastplate. DAEMON WEAPON The Daemon Prince’s weapon glows with inner fires. any areas where the colours had spilled over onto the blade were tidied up with Chaos Black. Firstly a 50/50 mix of Scorched Brown and Chaos Black was painted in lines from the black part of the horn to its tip. though some of the larger stones had Skull White brushed over them. The skulls decorating the Daemon Prince’s armour were painted with a 50/50 mix of Codex Grey and Fortress Grey then highlighted with Fortress Grey. a coat of Bleached Bone. Orange Ink was then dabbed in the corners to give the impression that the centre of the blade was the hottest (as metal glows brighter the hotter it is) and finally. a tiny dot of Blood Red was painted into the very edge of each rune. the blade’s length and.HORNS AND CLAWS The Daemon Prince’s horns merged with the red flesh of his head and were blended from red to black at the base of the horns using the same method as was used to blend the join of flesh and armour. This was drybrushed with Codex Grey then Bleached Bone. followed by Skull White was applied to the very end of the horn. Yellow Ink was used to give the runes the appearance of glowing heat. There were a few areas on the model that used the same green: the captured Space Marine helmet. rusty metal. Some small areas of Static Grass were glued to the base with PVA glue. followed by Snakebite Leather then Bubonic Brown. starting the lines even further from the base so that the previous coat of paint was still visible. so that some of the first coat was still visible there. though the lines were started further away from the base of the horn. clustered at the base of the rocks. The process was repeated using a 50/50 mix of Scorched Brown and Bestial Brown. then a mix of Goblin Green and some Dark Angels Green. Finally. Once the runes were painted. each time starting closer to the horn’s tip. This was first highlighted with Dark Angels Green. These areas were painted with a 50/50 mix of Dark Angels Green and Chaos Black. and lastly a final highlight of Goblin Green on its own. The paint on the horns was applied in lines down the length of the horn. These were then highlighted with Bestial Brown followed by Snakebite Leather then Bubonic Brown. The edges of the sword were then highlighted with a 50/50 mix of Skull White was added and Hawk Turquoise before a final highlight of Skull White along the very tip and barbs of the blade. since this is where mosses and lichens generally prefer to grow. The bony ridges along the top edge of the Daemon’s backpack vanes and left forearm were painted with a 50/50 mix of Scorched Brown and Bestial Brown. A watereddown layer of Skull White was brushed into the depressions of the runes along 56 . Next. DETAILING THE ARMOUR The metallic pipes on the Daemon Prince’s belly were painted with Tin Bitz then given a wash of equally mixed Black and Brown Ink. Following this. we sourced pictures of Highland Cattle).

. but not least. but it was converted to make him stand out from the Black Legion Daemon Prince. This was glued to the aluminium rod and the spear point from the skeleton warriors plastic regiment was glued to the top. As with the previous Daemon Prince. the armour was drybrushed with Tin Bitz then Boltgun Metal. The gun barrel on the left arm was extended using Green Stuff to make it more prominent and emphasise the mechanised nature of the Iron Warriors. the armour was given a glaze of watered-down 50/50 mix of Brown and Black Inks. Next. Since this Daemon Prince was going to have wings instead of the jump pack vanes. Necron head and Iron Warriors’ icon. visor. The edge trims of the armour were left at this point until after the Daemon Prince’s flesh had been totally painted. axeflesh. clipped and filed to fit on the back of the haft. the skull on the end of one of these vanes was 56 ’EAVY METAL MASTERCLASS sawn in half and removed. Once this had dried. such as the axe blade. this model was first given an undercoat of Chaos Black spray. head.IRON WARRIORS DAEMON PRINCE Last. the plastic dragon wings were glued into place on the model’s back. The left shoulder guard had the skulls and spikes clipped off. This was then highlighted with Boltgun Metal. Once the undercoat had dried. To finish off the axe. These were then glued to the flat of each side of the axe blade and Green Stuff sculpted around them to give the impression that the axe was raw. Final highlights of Mithril Silver were applied on the highest areas of the armour. Then the sword blade and hilt were clipped from the top and bottom of the Daemon Prince’s hand and a hole drilled through to allow the insertion of an aluminium rod to serve as the haft of an axe. it was filed into its final. knee guard and arms. hands. it was given a visor sculpted from Green Stuff. leaving only the edge trims. making sure that. These wings fit very well into the recesses left when the backpack isn’t attached and gives the model a very imposing look! Painted and converted by Tammy Haye DAEMON ARMOUR ASSEMBLY AND CONVERSION The Iron Warrior’s Daemon Prince was assembled as normal. angular shape and holes were drilled through in one side with a pin vice to mirror the helmets of the Iron Warriors themselves. over the some of the more ‘organic’ areas of the metal. This technique was used on all the silver metal areas. To really emphasise that this Daemon Prince was once an Iron Warrior. The centre of the shoulder guard was filed flat and an Iron Warriors’ symbol was sculpted on using Green Stuff. bloody and alive itself. the base of the haft was given a Green Stuff end piece. the brushstrokes were painted along the line of the grain. The back blade was also from the Bloodthirster’s axe. blended up from the darkness of the recesses of the armour around the edge trims. with Green Stuff covering the joins. A blade from the Bloodthirster’s axe was clipped off and the detailing on both sides of the blades filed flat. such as the wing muscles. DAEMONIC FLESH The techniques used on the fleshy areas of the Daemon Prince were applied to all the areas of the model where its flesh had morphed with its armour and burst through.

each time moving further down the horn and adding more Chaos Black to the mix until the tip was completely black. with an extra highlight of Bleached Bone to give the edges of the helmet more definition. a fine line of Codex Grey was applied in the very centre of this line before an extremely watered-down Black Ink was glazed all over the wing’s membranes. Some small areas of static grass were also glued to the base with PVA glue to break up the uniform colour of the base and make it suitable for use on both green and urban battlefields. Chestnut Ink was washed over this and a final highlight of Mithril Silver was painted on the highest areas. to emphasise the raw. This was then blended to the areas where it morphs back into the armour by applying the paint then using a clean. impending changes warping through the Daemon Prince and to suggest that more flesh could burst through his armour at any time. This was done again. before a final highlight of Skull White was applied. a fine line of Codex Grey and Chaos Black was painted along the back edge of the grooves in the wing membranes. This was drybrushed with Codex Grey then Bleached Bone. This was also applied over some of the metallic parts of the model. The gun barrel. To make this highlight subtler. some Gloss Varnish was applied to the very tips. moving further along the horn. the cables running over the Daemon Prince’s head and from his left arm were picked out in these colours. To highlight the wings. The eyes of the Daemon Prince as well as those on his armour were picked out in Snot Green then highlighted with Bilious Green followed by a final highlight of 50/50 Bilious Green and Bleached Bone. This was then given a further highlight of Bleached Bone. The same method used to paint the yellow of the cables was applied to the Space Marine helmet. even further along the length of the horn. Once this had dried. The flesh was now re-highlighted with Dwarf Flesh followed by another highlight of Dwarf Flesh mixed equally with Bleached Bone. The skulls mounted on the model’s armour were painted Snakebite Leather then highlighted with Bubonic Brown. This process was repeated. The scaled parts along the wing muscles were repainted black where the painting of the flesh here had gone over them. DETAILING THE ARMOUR One of the most obvious means of identifying a model as belonging to the Iron Warriors is the painting of yellow and black chevrons on its armour or weapons. as this is where they would catch the light. The first highlight was applied using Dwarf Flesh. using watered-down PVA glue spread evenly over the model’s base. chains and spine of the model were painted Dwarf Bronze then highlighted with Shining Gold. HORNS Where the Daemon Prince’s horns met its head. which was then sprinkled with sand. To finish off the horns. ARMOUR TRIMS The interiors of the shoulder guards were left black and the metallic trims around the Daemon’s shoulder guards and greaves were painted with Dwarf Bronze. These were then highlighted with Shining Gold before applying a glaze of Flesh Wash to blend the highlights together. They were painted Vomit Brown first. BASING The Iron Warriors’ Daemon Prince was based in the same way as the Black Legion one. Then. A final highlight was applied over the highest portions of the flesh with Bleached Bone. WINGS Areas where the fleshy colours from the Daemon Prince’s wing muscles had spilled onto the wing membranes themselves were cleaned up with Chaos Black. Bleached Bone mixed with a 50/50 mix of Red Ink and Flesh Wash was applied. they were given a coat of Gloss Varnish. damp brush to render the paint at the edges semi-transparent so that it will appear to blend with all the colours underneath. The green eyes on the model’s armour were also given thin lines of Chaos Black for the slit pupils.Firstly. In this case. using Bleached Bone mixed with a dot of Chaos Black. and then highlighted with Bleached Bone before being given a wash of Yellow Ink. Bleached Bone was painted and blended back towards the Daemon Prince’s head. . a basecoat of Dark Flesh was used as an undertone for the flesh colours. then a glaze of Red Ink and Flesh Wash mixed with a little water was washed over all the fleshy parts of the Daemon Prince. To make the horns at the ends of the wings and the scales stand out. a highlight of equally mixed Shining Gold and Mithril Silver was painted on the very edges of the trims. The black stripes were then painted over the yellow pipes.

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DARK SKIN – Intermediate MASTERCLASS FACES REDUX When painting dark faces it is difficult to get colour. including more advanced techniques. life and expression into them because of the colours you are using. which is why White Dwarf turned to the ’Eavy Metal team for help and advice. Darren Latham. assures us he has much more to say on the subject. You Will Need For the techniques featured in this article Darren has used the following colours from the Citadel Colour. Bilbo’s age has been alluded to with the addition of expression lines and creases. This enabled me to wash the colour around the lips. Vomit brown and Kommando Khaki was applied as a first highlight. Wash: W Foundation: F TM In February 2009 we published an ’Eavy Metal Masterclass on painting faces. 2 Step 1.com 93 . A wash using a 1:1 mix of Scorched Brown and Badab Black was applied all over the face area. Warlock Purple A B This model represents an older version of Griff – the paint has been applied in a sympathetic way. the aim is to illustrate that even with the same head you can achieve a completely different look with the use of a brush. To help solve this problem I didn’t make the skin tone too dark. With the older face. All of this will add to the depth and background of the miniature. You can add expression with painting and give an indication as to the environment that the figure is placed in. applied to accentuate the model’s dour expression. remember that you can always add paint to thin layers but you can’t take away from one thick layer.games-workshop. Wash and Foundation ranges. Finally. Before we start. One is a young man and the other an old veteran. it’s worth recapping some of the basics discussed last time: always keep your paint thin and apply several thin layers rather than one thick coat of paint. Scab Red was washed around the bottom lip while a 1:1 mix of Regal Blue and Dark Flesh was washed around the eyes. 5 Step 4. all this adds to the look of the face being youthful and healthy. eyes and nose to bring the face to life. www. The other advantage is that thin layers will not obscure the detail on the face. greys were added to the skin highlights to wash out the colour. so a fine highlight is needed on dark skin tones to emphasise the expression. Step 6. T he face is always the most important part of any miniature. It dictates the whole appearance of the finished miniature. I then used 1 Back in February 2009 we showed you how to paint human faces and touched on other techniques. But I think there’s much more to say on the subject. a 1:1:1 mix of Dark Flesh. Last time we showed you how to paint the skin and the hair. Bleached Bone was used as a highlight. something known as subcutaneous colours. As such it deserves extra attention when it comes to painting. The young face has lots of warm colour within it and a smooth finish to the face with minimal lines added. Chaos Black Spray Kommando Khaki Space Wolves Grey Bleached Bone Liche Purple Vomit Brown Codex Grey Regal Blue Chaos Black Rotting Flesh F Fenris Grey Dark Flesh Scab Red F Knarloc Green Dwarf Flesh Scorched Brown F Orkhide Shade Elf Flesh Shadow Grey F Tallarn Flesh Fortress Grey Skull White W Badab Black Goblin Green Snakebite Leather W Thraka Green an edge highlights to give it definition. Many thin expression lines were added to give a wrinkled appearance. 3 Step 2. In this article Darren Latham goes into even greater depth about painting faces the ‘Eavy Metal way. One final thing to keep in mind is that the skin areas on your models are the only parts that will have colour ‘underneath’ them. Skin is the living part of the figure and should have tones and nuances added to it to give it life – I’ll cover this in more detail in a moment. 4 Step 3. so I’m going to delve even deeper into the art of faces. In the other example. with grey tones to wash out the colour. it is the first part anyone will look at and needs time and attention spent on it. as it’s tricky to get right. Remember that the face is very important and you mustn’t lose it to the rest of the figure. First of all the face was basecoated with Dark Flesh. 6 Step 5. A 2:1 mix of Dark Flesh and Vomit Brown was then layered on to the face. Ageing Showcase AGEING With the two age examples shown here. if the highlights are layered up too much then the dark look of the face will be lost. as well as more advanced techniques such as painting scars. Next.

any more than this and it will look over the top and fake. A wash using a 1:1 mix of Dark Flesh and Catachan Green was then applied all over the face and head. A highlight using a 2:1 mix of Knarloc Green and Vomit Brown was then applied. For this stage by stage I started with a midtone green rather than a dark green and washed colour into the face for shade. I used a more natural green with Knarloc Green rather than Goblin Green. TECHNIQUE Step 6. A much softer approach is needed for any female face. rather than adding yellow. 4 Step 2. To get this effect a red was used to represent blood and green added to tie it to the rest of the face. 6 Female/Elf Showcase Step 4. Skin should also be kept pale. while a mix of Regal Blue and Knarloc Green was brushed around the eyelids. were added around the eyes. subtlety is the key. Just as vital are the lips – the bottom lip is straightforward but the top lip can cause problems. I used blue around the eyes to give the face some expression and focus. This was followed by a second wash using a 2:2:1 mix of Scorched Brown. nose and lips to give the face life and have the colour appear subcutaneous (see p92). One thin line is enough to add colour and fullness to female lips. Finally the face was highlighted with Skull White. but painting an alien face calls for a different technique. Tallarn Flesh and Warlock Purple. www. 5 Step 3. You should still be mindful of the things we’ve already talked about. where a hint of realism is desired – this Galadriel model is a good example. The eye shadow was painted with Tanned Flesh. Step 7. I then added Vomit Brown to the base colour for a natural warmth. 8 Step 8. Nuances 1 Step 1. In general.games-workshop. This is especially true with The Lord of The Rings models. A further highlight of pure Elf Flesh was then applied. The cheeks were painted with a 1:1:1 mix of Scab Red. 6 Step 1. the rule of thumb is that the lighter the hair. The raised areas were then highlighted with Bleached Bone. This Ork face should be reserved for characters and special figures that require extra attention. Step 4. The next highlight layer was a 2:1 mix of Elf Flesh and Skull White. as can sometimes happen if a black undercoat is used. the lighter the skin needs to be. your painting needs to be bold and striking. These areas were then highlighted to pull them into the surrounding face and tone them down a little. This gives the face a ‘real’ look rather than a cartoony appearance. or else it will tend to look overly pink when contrasted against the yellow in the hair. 5 Step 5. Let’s start with a detailed Ork face before moving onto other creatures. but you don’t need to ensure that they are as life-like as The Lord of The Rings figures. 2 3 Step 3. Bleached Bone was added to the previous mix in a 1:1 ratio and applied as the next layer of highlighting. 4 Step 2. A wash of Scab Red and Knarloc Green was used around the lip and scar. Catachan Green and Chaos Black. Skull White was used as the final highlight and also applied to the teeth. and this is especially true for The Lord of The Rings figures. applied to the lower portion of the face.FEMALE FACES – Intermediate When painting female faces. The face was first basecoated with Knarloc Green. 1 The colour on the cheeks was painted on just under the cheekbone to add depth and height. Once again I started with a midtone colour. more of which would be needed if a darker tone were used as a base. 2 3 NON-HUMAN FACES The Warhammer world and the galaxy of the 41st Millennium are inhabited by more than just humans. A small highlight on the bottom lip is a good way of adding a different surface texture to the face. Any make-up should barely be hinted at. Step 6. which can sometimes appear too bright. The face was first basecoated with a 4:1 mix of Tallarn Flesh and Scab Red. 94 WHITE DWARF PAINTING FACES To enhance the fantastical look of Warhammer models.com 95 . The lips were painted with a 2:1 mix of Scab Red and Tallarn Flesh. the features on the face need to be even subtler. 7 With blonde hair. Highlighting started with a 2:1 mix of Tallarn Flesh and Elf Flesh. 9 Step 9. This cuts down on the number of paint layers. This was followed by a wash of Dark Flesh and then followed by a further wash of Scorched Brown. It’s important to note that if placed on the cheekbone itself it will flatten the face and give a flustered appearance. but with certain female visages it can enhance the look. ADVANCED This greenskin method is more realistic than the four-stage example in the previous article. I also added some eyebrows – this is usually a big no-no in miniature painting. Step 5. Thin paint layers were then applied to build up the light appearance. Colour was then washed over to add warmth to the face and give me some direction as to where I should place my highlights. I decided to use a white undercoat for Arwen to make sure that the skin did not end up too dark. Knarloc Green was then built up round the face in several thin layers.

A 2:1 mix of Tallarn Flesh and Rotting Flesh was then layered onto the skin. long-dead look. 6 Step 5. has been given a deeper purple wash. On a Ghoul it should look a lot fresher. this adds good definition and tone to the skin. has been painted using Tau skin colours. Step 6. Scorched Brown and Badab Black was then applied all over. therefore. as if the creature has just eaten. I added the requisite visceral splatter on the face. With Tau being blue in skin tone. and added washes to make it look like the flesh was oozing out 1 Step 1. For the Zombie face I added purple into the basecoat to give it a slightly dead tone. Step 3. A wash using a 1:1:1 mix of Liche Purple. an ancient and powerful Ethereal. with Liche Purple added to Fenris Grey. Andy Hoare assures me)! With this in mind I washed a mix of purple over the skin to make it look more lifelike.games-workshop. 4 Step 4. A final highlight of Rotting Flesh was applied to the skin. 2 Step 2.com 97 . Unlike Aun’va. Liche Purple. The green in the Rotting Flesh gives a nice contrast to all the warm tones and adds to the dead and pale look. The gore aspect of the model on both the body and face has been played down but the lining around the face is excellent. The final stage was to highlight the most prominent areas with Skull White. If it was just shaded with a darker blue and highlighted with a light blue. The same techniques applied to the Zombie to give it a lifeless appearance can be applied to a Ghoul too. pink tone. This gives her skin a softer. A 2:1 mix of Tallarn Flesh and Liche Purple was used as a basecoat. The skin was then layered up with Shadow Grey. Tau Showcase The face of Aun’va. Step 6. 2 Step 1. unrealistic. I then highlighted the skin by adding in Kommando Khaki. 6 Step 5. to make the skin look natural. to convey a youthful energy.TAU SKIN – Intermediate For Tau skin a different approach is needed – I had to do my research for this and found out that Tau blood is purple (for very scientific reasons. but is not not too harsh as to form a stark contrast. This was followed by a wash using a 1:1:1:1 mix of Scorched Brown. because this is a Zombie. And. Scab Red and Badab Black. this way you can add lots of colour into the skin to make it interesting. the skin would look unnatural and. subtler appearance. Gore was then splattered on the face with Scab Red and Badab Black. Joe Tomaszewski’s brilliant Vampire has a face painted in blue tones for a very washed out. as a female Tau. 5 Step 4. all of these different nuances with shade and highlight help emphasise the appearance that it is a living creature. her face contains warmer tones. 96 WHITE DWARF PAINTING FACES When painting Undead skin. The entire face was first basecoated with Fenris Grey. www. This Zombie has been painted in a more fleshy. the thing to remember is to keep it pale. A highlight using a 1:1:1 mix of Shadow Grey. The difference is with the blood and gore spatter. Undead Showcase Commander Shadowsun. its colour. A 1:1 mix of Liche Purple and Tallarn Flesh was washed around the eyes. To give the skin an unnatural appearance I highlighted it with Rotting Flesh. At the same time a 1:1 mix of Scab Red and Warlock Purple was washed around the mouth and nose. This is a very good neutral tone with 1 UNDEAD SKIN – Intermediate some warmth to it. 5 3 Step 3. 4 3 Step 2. A highlight using a 2:1 mix of Rotting Flesh and Tallarn Flesh was then applied. especially around the eyes and teeth. but with the ageing techniques as described over on page 93. The skin was highlighted further with pure Kommando Khaki. Fortress Grey and Kommando Khaki was then applied. Rotting Flesh has been used as the blend to highlight with but this has been applied in a very subtle way.

a little of the flesh colour mixed in with the hair colour will help the look. The tattoo was then highlighted with a 1:1:1:1 mix of Tallarn Flesh. Darker stubble can be achieved by simply adding in a touch more 1 black to your mixes. I lined in the tattoo with a thin mix of Scorched Brown and Chaos Black. After the colour was added to the nose and cheek the areas were then rehighlighted to pull the colours back into the skin and tone them down a little. with the skin colour mixed in to give it a subcutaneous appearance. Scorched Brown and Chaos Black. Nottingham. The same technique can be applied to a shaved head too. Fortress Grey. Step 3. Of course. character and clues to the model’s personality.MARAUDER TATTOO – Advanced FACIAL DETAILS It is important to sketch out the design out on paper before you start to paint the tattoo – it’s easier to correct potential mistakes on paper! Real-world reference can be useful – the Internet or specialist tattoo books are obvious places to look. This will give the appearance that the light is bouncing off the hair. Willow Road. but only works on certain miniatures. United Kingdom www. you can wash and add almost any colour you like to rotting skin.com 99 . Chaos Black and Bleached Bone. this technique should only be used on creatures that could be expected to keep a certain level of hygiene and would actually wash their hair. you need to feather the hair on with a fine brush and build up the colour gradually. Regal Blue. 3 Step 2. it needs to sit either above the ears for slight grey or all over the hair. A highlight was added over the tattoo. The blue tone sits naturally on skin and gives a finish that is not as harsh as pure black. Applying some or all of these details can add depth to the model far beyond what the sculptor ever intended. The lower part of the face was washed with a 1:1:1:1 mix of Tallarn Flesh. Tallarn Flesh and Regal Blue. Next. placement of the grey is important. This is usually done after painting the skin area and then washing colour over it (the Citadel Washes are great for this). The Dwarf was washed with a 1:1:1 mix of Tallarn Flesh. This helps for the placement and can be easily corrected because of the thinness of the mix. such as Elves or female models (Are you trying to suggest men don’t wash? – Ed). add a yellow spot head with Iyanden Darksun – nice! BODY HAIR A B 3 Step 3. as if the stubble is inside the skin. ASK We’ve covered painting faces in great detail in parts 1 & 2 of this article. The outline of the tattoo was painted using a thin 1:1 mix of Scorched Brown and Chaos Black. Scab Red and Warlock Purple. and for that ready-to-burst look. Painting a spot is pretty simple – just glaze the area with some Scab Red and then give it a little highlight of Blood Red. Next. Step 2. the finished effect must seem natural. The skin was then re-highlighted with Tallarn Flesh and. Bleached Bone. lips. Greying hair is another way to add age and character to a face. and then added washes over it. 98 WHITE DWARF until you reach the desired effect. If I had used straight colour on the skin it would look too bright and fake. Once again. This is achieved by adding flesh colours and browns into the wash applied over the face. 1 darker mix to which I added blue. Other colours such as red and green are best saved for war paint effects. the outline was thickened up with a 1:1:1 mix of Tallarn Flesh. so use it sparingly in your painting. to give a textured finish. This technique can also be used on animals that have fine hair.games-workshop. The other thing to keep in mind is the placement of the stubble – if it is too high up the face or in the wrong area then it will not look realistic. Firstly. This was followed with a wash using a 1:1:1:1 mix of Tallarn Flesh. NG7 2WS. Games Workshop. Step 1. Codex Grey. Lenton. Regal Blue and Chaos Black. layers were built up with a wash consisting of a 1:1:1 mix of Scab Red. When washing colour over the face it is important to keep your paint very thin and build the layers up slowly 1 2 Step 1. When painting body hair you need to take a similar approach to painting stubble. such as horses. The usual place to see this effect is on the forearms and chest. but remember to follow the hairline on the head or the effect will look fake. finally. the hair needs to be placed in the correct areas or else it will not look natural. 2 Step 1. RUDDY-FACED DWARF – Basic For the Dwarf flesh I first painted the skin in the usual way. I mixed Tallarn Flesh into the washes to give them a natural look. and knuckles on a model. Step 3. The skin was re-highlighted with Dwarf Flesh and then Bleached Bone. If you have any more queries about painting faces – or about any other techniques for that matter – remember that you can write to ’Eavy Metal at the address below: White Dwarf. To get this effect on your miniatures simply mix a good amount of white in with your hair colour and paint a ‘halo’ ring around the top of the hair. 2 3 CATACHAN STUBBLE – Intermediate When painting stubble. To achieve a natural-looking grey it is best to add in either Bleached Bone or Kommando Khaki to the hair colour – these are neutral tones and not as harsh as white. This effect can also be added to the ears. You can darken or lighten your tattoos to get different age effects or add more blue to alter the pigmentation. Design Studio. but don’t go over the top or your miniature will end up with a full beard! Once again. SPOTS AND ROT HAIR SHINE & GREYING A A B Painting spots and rotting flesh is the chance to have a bit of fun with painting. Scorched Brown and Chaos Black. As with stubble. a highlight over the finished stubble area will ‘pull’ the stubble into the skin and knock it back a little for a natural finish. B The thing to keep in mind with hair is that it is very reflective and usually shines. PAINTING FACES Step 2. Painting hair on flesh is more about technique than colour though. The design was then thickened with a All faces tend to have common traits that lend expression.

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they disp lay a vibrant. uniform colour scheme on all their Tau infantry. Devilfish and Crisis Battlesuit.so too the cla ndesti ne Stealthsuits and majestic Ethereals. However. The aspect of the Tau that appealed to Duncan and Steve were the m yriad different species and crea tures that can be found in the Tau Empire arm y. battlesu its and vehicles. in the case of the Ethereal. wh ich provided us wi th most of the miniatures we needed. INSPIRATION Duncan: The Tau Empire army is very different to any other race in Warhammer 40. yet their alien allies in the Vespid and Kroot stand wi ldly apart from the rest of the army. .000 . detailing their race's evolution. but added in a Vespid Stingwing sq uad for extra va ri ety and an Ethereal to lead the army. rapid expansion and assimilation of many other alien species. w e used the Citadel Spray Gun to app ly the basecoat and first Layer stages on the Fire Warriors. We used the same method to paint the blue skin of the Vespid Stingwi ngs. Here they show us the colours and techniques they used. Steve and I decided to paint a Tau Empire army to showcase these different aspects . Codex: Tau Empire includes the full background o f the army. as onl y his hands and face were exposed.T'AU SEPT HUNTER CADRE Hobby Team Army Painters Steve Bowerman and Duncan Rhodes recently teamed up to paint a Tau Empire army. On the one hand. PREPARATION After un dercoating the models with Chaos Black Spray. we painted the first two stages with a Basecoat Brush. We started out w ith a Tau Empire Battleforce.

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A miniature like this is the perfect subject to be picked out for some special treatment. For further texture a lone skull was stuck on and some Green Stuff used to fill in the unsightly gaps. With this in mind.TM DISPLAY MODELS MASTERCLASS CHAOS LORD Painting the Armour Scenic Base The base was taken from a small glass jar lid that was sprayed black. After undercoating the entire model Chaos Black. Painting Metal Without Metallics 1 I ® f you’re attending this year’s Games Day. For the next layer the mix was reversed. After the wash.com 91 . Codex Grey was applied again to the raised areas to neaten up and form the basis of the highlight stages. Watered-down Chaos Black was applied as a rough. again working up the highlight lines already established. Wash: W Foundation: F Chaos Black Spray Kommando Khaki Bleached Bone Liche Purple Skull White Codex Grey Regal Blue F Astronomican Grey Chaos Black Scab Red F Dheneb Stone Hawk Turquoise Scorched Brown W Baal Red Snakebite Leather Step 4. This is not only to position the model in the best aspect but will also have a factor on how light sources will play off and reflect onto a model. Joe saw this as an exquisite display model. so the step-bysteps along with some painting experience and a steady brush will see you through. so it was a 2:1 mix of Skull White and Codex Grey. In this case Joe wanted the model to be viewed straight on so he highlighted and shaded the armour to reflect that. 6 1 Step 1. finely applied along the angle lines of the armour plates. on the following pages we’ll show and explain exactly how Joe achieved the armour effect. Step 2. was applied around the bottom portions of the armour plates. Joe began by basecoating the armour plates with Codex Grey. Slate was then glued on it to create a stepped pile. The technique is non-metallic metal. heavy wash around the joins and raised areas of the armour. A glaze. Step 1. Joe wanted to give the model a scenic base to make it even more imposing and paint it in a very advanced technique that is particularly suitable for displaying miniatures. When painting a model purely for display you should always consider the direction from which the model will be viewed. as incorrectly judging how the light works could compromise the paint job. All of these paints are available from the Citadel Colour. This is challenging to achieve but in the hands of an ’Eavy Metal painter the finished effect will be stunning. something for show rather than the rigours of gaming. 5 Glazing the Armour 3 Step 3. It’s a very subtle layer but gives the armour an arcane quality. the US. www. A light glaze using Hawk Turquoise overlaid this. and we tasked ’Eavy Metal’s Joe Tomaszewski to really go to town on it. Europe or anywhere else. This is especially important when painting in a non-metallic metal scheme. 4 2 Step 2. Once the armour was fully painted. Step 5. made from watered-down Liche Purple. Dots of pure Skull White were then applied at points where the highlight lines met to represent points of direct reflection. be it in the UK. then you’ll be in the enviable position to purchase this fantastic Games Day-exclusive miniature. 2 You Will Need For this issue’s ’Eavy Metal Masterclass we’ve really got something really special as Joe Tomaszewski paints the 2009 Games Day Miniature.games-workshop. The 2009 model is a mighty Chaos Lord sculpted by Martin Footitt. Joe used coloured glazes to give it an almost unearthly hue. Step 6. That’s not to say you have to be an expert. Wash and Foundation ranges. A 2:1 mix of Codex Grey and Skull White was next.

practice and solid brush control are the keys to getting this effect right. A graphical representation of how light falls on simple geometric shapes. The chain mail was simply painted black. Fortress Grey was then applied over the same areas in the previous step. When he painted his Harry the Hammer. he wants the eyes of the spectator to be drawn towards the face – the lightest part of the model. Illustrations. will exaggerate the reflective quality of the metal. For this project Joe has chosen to lighten the base of the horns. starting with the midtone and shading down and before highlighting up. 3 Step 3. Light Sourcing Painting the Shield 1 2 Step 1. Joe painted carefully around the accoutrements hanging from the shield. also show how artists achieve reflective surfaces in two-dimensional form. Either method can be effective and depends on your style and the model itself.NON-METALLIC METAL Painting the Horns and Shield The fur was basecoated Astronomican Grey and then given a wash using a 1:1 mix of Hawk Turquoise and Chaos Black. your colour scheme will not be as bright as a miniature in strong daylight. giving you a rough guide about how to add highlights and shading to your nonmetallic metals. Considering where the light shines upon the model and how it reflects off surfaces is actually a good place to start. However. Have a Go Step 1. Four points of light around a figure are generally best. Shades and highlights are created in a pictorial fashion using the same methods that artists have been doing on canvas for centuries. when painting in a non-metallic metal technique you should always shade and highlight with black and white no matter what the midtone is. The process known as non-metallic metal is a technique that uses paints without metallic pigments to create reflective. and then Codex Grey was applied to the bottom of the links. In effect. www. Left. such as rich blending and advanced colour theory. a thin wash of Chaos Black was brushed over the ends of the horns. Dave Gallagher’s illustration is a perfect example of how artists paint metal in twodimensional form.games-workshop. Step 4. before they appraise the entire model. That’s quite a challenging prospect and for this reason painting with non-metallic metal is a very advanced technique that requires mastery of many other expert techniques. Step 2. you’re using a two dimensional technique on a three dimensional model. Skull White was used to add nuanced highlights on the shield. When you paint horns you can go from dark at the base and lighter at the tip. or even draw a plan. brush control is needed to keep the stripes separate and neat. where your light points are around the model so you can place your highlights and shade. Don’t forget artists have been doing this for years in pictures so take inspiration from them and don’t be afraid to just give it a go. tapering out towards the tips. Metal surfaces reflect the environment around them so. and then highlighted further with Skull White. A thin outline of Codex Grey was also applied to the shield’s edge. These are just guidelines. mostly metal-looking surfaces. Darren Latham imagined four light sources around the miniature. from fantasy art in particular. Below. Joe then added nicks and chips with carefully applied Chaos Black and Skull White. the real results will come from practice and learning the theory. say. Nevertheless. This helped him visualise where the highlights and shades should be. Snakebite Leather was applied as thin stripes along the length of the horns. So for. contrast is the key. if the model is meant to be in a cave. you might highlight with Enchanted Blue. Models painted up in non-metallic metals are primarily for display. It’s rarely used on models intended for use in the gaming environment where the chance of such a precisely painted model being chipped is much higher. the ’Eavy Metal team get asked a lot about how to achieve such an effect and so we’ll attempt to cover the basics here. Thin layers carefully blending with the previous coat of paint is the key. The geometric diagrams on this page illustrate how light reflects off different shapes. The contrast. Normally you highlight with a lighter version of the midtone. you then plot how each area of nonmetallic metal will react according to where the light points are on the miniature. which was in turn highlighted with Skull White. It was highlighted back up to Astronomican Grey. 92 WHITE DWARF Step 2. Painting the Horns 1 2 3 4 Metallic objects reflect light differently to other surfaces and this needs to be exaggerated when applying paint to a miniature. PAINTING MASTERCLASS Step 3. This is just one of the tricks an experienced painter can use to grab the viewer’s attention and subconsciously draw their eyes to parts of the model they want the spectator to acknowledge first.com 93 . On metallic objects light dramatically changes from dark to light when the surface changes shape. Each surface needs to go from black to white. Regal Blue. The shield was first painted using a 1:1 mix of Codex Grey and Chaos Black. The other facet to this process is that you should add colour to the surface to bring it to life. or shade in the opposite direction. coupled with adding ‘light spots’ (bearing in mind where your light points are on the model). This is because. Skull White was then added in thin layers over the Bleached Bone stripes. as they don’t convey the exaggerated highlighting and shading you need to make the technique effective. So to achieve the non-metallic metal effect you need to imagine. 4 Step 4. Pure Codex Grey was built up in many thin layers vertically along the shield’s curvature. The best way to showcase a miniature with nonmetallic metal painting is in a lighted display cabinet. Finally. Whilst reading this page will give you some foundation in the technique. having a lighter base and darkening at the top. Following a real-world reference will just leave you with a drab grey or yellow area rather than the metallic-look you’re trying to achieve. keeping the majority of the layers close to the base of the four horns. Next. In this case real world references are not very useful. Bleached Bone was overlaid along the Snakebite Leather stripes. Contrast When paining non-metallic metal. bearing in mind it’s a display model. applied mainly along the edges but also to create tiny ‘scratches’ on the surface. where the dedicated spotlights accentuate the exaggerations painted onto the model. When you actually apply the paint you must do it in thin layers and then create a seamless blend.

Pure Skull White was applied to the raised areas. Liche Purple and Chaos Black were painted into the recessed areas. then shading down with a wash. This was a solid layer that covered the entire area of the cloak lining. creating the impression of a silver edge. Painting the Outer Cloak 1 94 WHITE DWARF something that can easily be painted over if a mistake is made. Joe started to build up the design using a mix of Snakebite Leather and Skull White. 3 Step 3. A final strong highlight layer of Skull White was then applied to finish off the cloak. 2 Step 2. Skull White was used to edge the design. before lightening back up to the midtone and beyond to the highlight colour. This was divided from the design with a thin line of Codex Grey. Joe’s non-metallic gold leaf starts with a basecoat of Snakebite Leather. this was followed by a 1:1 mix of Skull White and Astronomican Grey. and purple and turquoise glazes were used to achieve the same subtle effect as the armour. The bandages were painted with Dheneb Stone followed by a Baal Red and Devlan Mud wash. but obviously Joe didn’t have that luxury here. Applying an intricate design onto a surface you’ ve already spent hours painting to look like shining magical armour is not for the faint-hearted! Freehand designs are usually painted onto a neutral surface. www. starting with a basecoat of Snakebite Leather. The Snakebite Leather was then shaded with a very thin wash of Chaos Black. rather than straight across. The outside of the cloak was first basecoated with a solid coat of Regal Blue. layered highlight. The helmet was painted in a similar method to the gold leaf. To really showcase his astounding skills Joe has added some freehand design onto the Chaos Warrior’s armour and weapons. before Skull White was added to the mix for a final. 4 Step 4. Joe randomly applied each colour wash.com 95 . and it’s easier than painstakingly blending to a darker shade. 3 Step 3. mixed with each colour it covered. The cloak was highlighted with Kommando Khaki. which had Scab Red slowly blended into it for the first highlights. 1 Step 1. the khaki highlight was blended with Regal Blue and then Scab Red as Joe worked the highlights to the edge. 3 Step 3. adding more white into the mix over several layers. Painting the Gold Leaf 2 Step 1. when using a colour like khaki to highlight a multicoloured area such as the cloak. 4 Step 4. This was built up over many thin layers. A lot of Joe’s methods involve starting with a basecoat midtone. Step 2. This was then given a final highlight of Skull White. The Snakebite midtone was reapplied and then worked up by adding an increasing amount of Skull White over several layers. This was followed by a shade into the recesses with a wash of Chaos Black. The recesses and deep folds of the cloak were shaded with a wash of Chaos Black. Joe does it this way because it gives him a smoother blend between layers. 2 Step 2. The area was then highlighted with Dheneb Stone. The skulls were painted using a very similar method to the bandages. The intricate freehand design on the axe head was replicated on both the axes and across various parts of the Chaos Lord’s armour. A thin line of Chaos Black was used to enhance and separate the design from it’s surroundings. you should mix the highlight with the colour on the lower layer. Joe added Scab Red to the mix. Another good tip is. We can only recommend patience and pinpoint accuracy with a brush if you try this yourself. the only difference being the wash. 4 Step 4. So. Painting the Helmet 2 Step 1. slowly and consistently adding more with each layer until he had blended to pure Scab Red.games-workshop. The lining of the cloak was first given a basecoat of Astronomican Grey. which was pure Devlan Mud instead of Baal Red. in the case of the cloak.Painting the Cloak Painting the Armour Details The loincloth started with a Regal Blue basecoat. Joe then worked up the raised areas back to Astronomican Grey. He first drew his design on paper and then slowly and accurately translated it onto the figure’s armour and weapons. with a final highlight of Skull White. Starting with the Regal Blue. Separate washes of Regal Blue. 1 Step 1. It was then highlighted with Kommando Khaki. Painting the Inner Cloak 1 Step 2. 4 Step 4. PAINTING MASTERCLASS 3 Step 3.

Then you need to bring back the midtone so brush over another coat of Astronomican Grey. Willow Road. and when dry shade again with Devlan Mud. United Kingdom 96 WHITE DWARF PAINTING MASTERCLASS The axe haft was given a base colour of Scorched Brown. If you’ve ever wanted to ask an expert painter a question or you have a painting problem that needs solving. He asked about the new White Dwarf model specifically how to paint his large beard. Lenton. then send your query to the address below. or bypass that layer and go straight to Skull White. You can then highlight from there. followed by a layer of Vermin Brown and then Bleached Bone. Keith: Painting beards is just like painting hair. Joe mixed this colour with Bleached Bone. naturally giving you shading and highlighting to some extent. Nottingham. It’s easier than many things as the rough texture of modelled hair provides the paint lots of ridges to cling to. ASK ™ This month we’ve received a question from Denis (no surname supplied) who resides in Avernes. When painting beards be careful where the hair meets the face – you don’t want a thick black line around the join as this will make the paint scheme look artificial. The Astronomican Grey was reapplied and then highlighted with pure Skull White. you may wish to go for an Astronomican Grey and Skull White mix. For a white or greytinged beard I would start with a coat of Astronomican Grey. working up towards pure white.Final Details The pendant was painted using the same technique that Joe used for the Chaos Lord’s golden helm. avoiding the recesses. NG7 2WS. The pouch was painted Astronomican Grey and then given a Badab Black wash. . The shield straps were painted in a simple three-stage method: a base of Scorched Brown. Games Workshop Design Studio. painting on the wood grain in progressively lighter mixes. Over to ’Eavy Metal’s Keith Robertson. Shade with a wash of Badab Black. The White Dwarf model is only available by purchasing a Sub-in-a-Box. White Dwarf. France. which you’ll find in most Games Workshop Hobby Centres.

This palette is used because they are the colours of Ulthuan. adding a defining tone to give the model depth and shape. But don't mistake a cohesive whole for looking monotonous or dull. so you'll also see lots of bright silver and gold. and indeed all of 'Eavy Metal. elegant soldiers in bright.whilst rare in Warhammer.PRINCE IlTHRIN High Elf army is a thing of beautyranks of perfectly dressed. What makes this Masterclass different is the subject represents a character that already exists in a different form . and helps give the whole collection a uniform look. Silver Helm or Archmage. while cloaks are painted with fine patterns to look bespoke and worthy of the character's stature. whether a Spearman. rich golds and reds are used for armour and jewels. Mail. where models are often painted both on foot and mounted. all follow the same principles. The blue complements the white. Finally. and while highly skilled in craft and war they will be outnumbered on the battlefield. a High Elf must kill many times his own number as they are a dwindling race. In this Masterclass Darren paints Prince Althran on foot. red tends to be used as a third tone and spot colour. Their garments are painted white. Marching along with the rank and file are the charismatic leaders of the High Elvesthe Nobles and Princes. come to paint High Elves it's always with these traits in mind. and it's often best to paint both at the same time to make sure they look similar. A armour and other details are painted in suitable colours. with a secondary colour of blue. the methods described here can be applied to both. Needless to say. crisp colours. For that's what they have to do. The High Elves in the Studio collection. Whilst the High Elf nobility will dabble in politics and intrigue at court. on the battlefield they lead from the front. The placement of the colours and the varying shades make each model different from the last. When Darren. . Elven characters are perfect examples of this. using their preternatural speed and aim to slay the enemy in droves. this is the normal state of affairs in The Lord of the Rings.

to provide you with information on how to paint both models. The eye is worthy of mention as it is a painstaking recreation of a real falcon's. Figure painters tend to paint claws in light colours. This makes the markings look like part of the creature instead of just painted on top. 2. Darren used lots of reference. 4. wildlife photography books and images from the Internet proved to be great resources in this respect. Using lots of reference. The black tone of the creature's markings was half Chaos Black mixed with the main colour of the coat.Seeing Double Darren took his painting cues from the mounted version of Prince Althran that he had already painted. Quills and feather highlights were painted on with Bleached Bone and Skull White. Darren immersed himself in pictures of big cats. But. The Griffon's plumage was painted in alternating light and dark brown colours. looking at wildlife pictures you notice just how dark they actually are. the talons were painted brown with black claws. Sharpclaw. often in the same style as the beak. using photographs of falcons as reference. For the rear half of the creature. With this in mind.perfect for spotting prey. 3. he noticed how the front of the beak is a dark blue-grey and the base is much lighter in colour.com 73 . and the large black pupil in the centre . let's take a look at Althran's proud mount. so for this version of Prince Althran. Notice the bright blue iris that surrounds the whole cornea. Brian Nelson designed the front end of the Griffon to be a falcon so that's how Darren painted it.games-workshop. But you can never stop a figure painter tinkering. before we get onto that. www. Sharpclaw the Griffon As the Griffon was based upon two real world animals. However. 1. Darren created an even more intricate pattern for the cloak lining and used the inclusion of the shield to incorporate more red onto the model.

Obviously.. The wash was also placed in the centre of the Asurmen Blue patches on the blade.~ ~~".. Step 3. The scale mail and sword blade were basecoated with Boltgun Metal. 5 . pure Mithril Silver was used to edge around the armour plates. f . then Devlan Mud. This will give you a streaky effect at first. polished look. Darren created a Mithril Silver glaze and applied that over the whole area.. Darren worked this layer up towards the raised areas.. This is how he has painted all the stages on his armour.. persist. 74 WHITE DWARF Step 4. Due to the pigment. a layer of Burnished Gold was added..~ ~ "'\ ." . vibrant layer. . Silver Scale & Sword Step 1. . . the wash was placed to create an alternating dark area on both sides of the sword.~. The sword blade was also given an initial highlight of Chainmail. then Badab Black. as you'll get a much better finish. first Baal Red. Darren then applied Badab Black between the segments of mail. but using the mirrored effect here adds real depth to the blade.' ." . A thin layer of Asurmen Blue was then washed over the scale mail. the layer was built up over several thin coats. On the blade. However.··. So. It's a blank canvas. On the blade itself..: . ..i. /' Step 5. gold takes longer to do than silver in this respect. that hasn't been painted as one solid coat. As with the armour. : '~~~' .. Step 4. 'EAVY METAL MASTERCLASS Step 2. Darren advises building one layer up over many thin coats. ~.~. -. Step 2. but as you continue it will gradually form into a solid. .':~ . . the scales were edge highlighted with Mithril Silver. Finally. Darren began by basecoating the armour plates with a 1:1 mix of Shining Gold and Scorched Brown.. He then applied a layer of pure Shining Gold to all but the most recessed parts of the Prince's armour. Finally. when the step calls for a layer of Burnished Gold. Next. Three separate washes were then painted into the recesses. but over lots of thin applications. Darren views silver in a similar way to white.'." Step 1.\· ...~ Painting the Armour Armour Plates 2 ~ -~. . making it stand out. Step 6. '.. .. and so he uses the washes to add tone and character to the area. the properties of metallic paints mean you don't have to paint in a non·metallic style to get a shiny look. The armour was then carefully highlighted with a 1:1 mix of Burnished Gold and Mithril Silver.. ... Darren has actually employed a nonmetallic metal technique but using metallic paints. . For the blade..~. The scales were then highlighted with Chainmail. '.. 't. For Althran. Asurmen Blue was used to give the mail and sword a clean. Step 6. . When using metallics. Step 3.\ f·.

as the increased pigment means you can get a smoother coverage. as this can confuse the eye as to the source of illumination and diminish the effect you're trying to achieve. Darren basecoated the cloak with a 1:1 mix of Enchanted Blue and Regal Blue. Resist the urge to over highlight the bottom ripples in the cloak. Step 4. to reinforce the High Elf aesthetic. crucial highlight. Darren used pure Space Wolves Grey on the most prominent creases and folds of the cloak. For the final. Step 3. For reference. To achieve this Darren used Foundation colours wherever he could.com 75 . Next. A 1:1 mix of Astronomican Grey and Fenris Grey was used as a basecoat for the sash.Painting the Cloth The Cloak Step 1. clean white. reducing the amount of layers needed and giving you a solid white. he used pure Skull White on the prominent parts of the sash. Darren used the High Elf army book. Darren then applied a 1:1 mix of Fenris Grey and Chaos Black. applying this into the recesses. the cloak was highlighted using a 1:1 mix of Enchanted Blue and Space Wolves Grey. using the mix from the previous step. as opposed to the dirty or bloodstained white that you'll often see on other races when it is used as a colour rather than a highlight. exactly as described for the metallic paints on the previous page. The other point of interest is the use of Kommando Khaki in the highlight steps. Darren then used pure Enchanted Blue and layered it onto the raised areas over several thin coats. Next. The sash was painted in a pure. To shade the area he then used a 1:1 mix of Regal Blue and Chaos Black. Step 6. Step 2. Step 5. Highlight the cloak as if the light is coming directly from above. The Sash Step 1. Step 3. To give the cloak a rich. only with more Space Wolves Grey and Kommando Khaki added. Step 4.games-workshop. Step 2. Darren highlighted the raised areas with a 1:1 mix of Astronomican Grey and Skull White. This is used to improve the flow of the mix and reduce impurities as the pigment gets mixed. As a final highlight. A further highlight was then applied. He then layered on pure Astronomican Grey building up the raised areas. www. Step 5. silky look keep your paints thin and build the layers up. with a touch of Kommando Khaki. directly into the depressions of the sash. Step 6. The freehand designs on the tassels were painted in Scab Red.

nose and bottom lip. Step 5. Step 6. Step 6. A 1:1 highlight of Desert Yellow and Bleached Bone was then applied. 'EAVY METAL MASTERCLASS Step 2. Step 3. Finally. Light tones are needed but should not be at the expense of losing distinct facial features. Step 5. Darren is a master at painting faces and you can read his advice in previous issues of White Dwarf over three informative Painting Workshops. J~ ~l =". ~. ".the high cheekbones and eye lines should be well-shaded. The Hair High Elves are fair of aspect so blond hair is a good choice as it suits their complexion well. 76 WHITE DWARF Step 4. A fine highlight of Skull White was then painted to the very ends. giving the hair a shine. . The strands of hair were then all highlighted with Bleached Bone. beware of black key lines separating the hair and face. Step 1. A final highlight of Skull White was used. so the paler Elven shades work well in this respect. followed by a wash of Devlan Mud directly into the recesses. A highlight using a 1:1 mix of Elf Flesh and Skull White was then applied. The eyes and teeth were also painted in with Skull White. beginning with a coat of Elf Flesh. especially with blond hair as this will make the paint work look artificial.. to give the face shape and reference. If you haven't got those issues then you can find them as part of the White Dwarf Archive online. The face was first painted with a 1:1 mix of Tallam Flesh and Dwarf Flesh. Darren then brushed on a liberal wash of Dark Flesh. The 1:1 mix of Tallam Flesh and Dwarf Flesh was then reapplied. Step 4. Gryphonne Sepia was washed over the hair. layered onto the raised areas. to make it look clean and well kept.Painting the Head The Face l~ r ":PI ~. Step 3. followed by a further wash mix of Scorched Brown and Chaos Black around the eyes and nose. following the hair strands with his brush. A Scab Red and Regal Blue glaze was brushed around the eyes. the important points are to give the face definition . The key to blond hair is to not actually use bright yellow paint. He then layered on Desert Yellow. i Step 2. you're aiming for a natural blond rather than a bleached blond style! Another reason why blond is suited to High Elves is that a dark skin tone with light hair looks unnatural. 2~ . . When painting Elven faces.. Darren then started to highlight up.

he added in some Space Wolf Grey and started to highlight the top and edges. www. The method described here can be used any time you need a wood effect. say. When painting wood grain. scuffs. and layered it on. To finish.a darkish oak. watered it down into a wash and then applied it around the icon and bottom of the shield. The scratches were given definition with a 1:1 Scorched Brown and Chaos Black mix. Step 6. Darren added a little Chaos Black and Regal Blue to the previous mix. Step 5. but the same method can be used with lighter colours for. with a touch of Kommando Khaki added. Step 4. Step 6. Step 4.com 77 . To emphasise this he has incorporated scratches. Darren started by basecoating the area with Scorched Brown. rather than the garments. Darren then used a finer highlight of Bubonic Brown to the wood grain effect. were highlighted with pure Snakebite Leather. and other 'soft marks'. Pure Space Wolves Grey was the final highlight. Step 2.it can be wobbly! Incorporate knots and other details as you go. Placing High Elves in such a context can be challenging. the shield was painted a purplish red. beech. He then prepared a fresh 1:1 mix of Scab Red and Warlock Purple. like knots and ridges. More Space Wolves Grey was added into the previous mix and this was used as a finer highlight and to add scuffs and scratches. to the wood grain and edges of the shield. Step 1. Darren has created a wood grain effect for the back of the shield. going from top to bottom. A 1:1 mix of Scab Red and Warlock Purple was painted onto the front of the shield. but don't be too regular in the thickness and straightness of the line . If you apply the damage to the equipment. he applied a very fine highlight of Bleached Bone. or used with even darker shades. Step 2. Thinned down Chaos Black was painted between the lines. draw the brush downwards. Shield Front To balance out the colour of the figure. rather than adding them in at the end. to add further definition. Step 5.Painting the Shield Shield Back Step 1. then you don't have to make them look grubby. as this can undermine the clean-cut image. He then applied lines using a 1:1 mix of Scorched Brown and Snakebite Leather. Darren went for a very neutralcoloured wood . Step 3. Step 3. The lines and other details. Darren painted the front of the shield to be stretched red leather over the wooden shield.games-workshop. Using the mix from Step 3. This not only helps reinforce the leather effect but also puts the model in context of a battle.

he thickened up the line with Vomit Brown. A 1:1 mix of Step 4. Darren painted on his pre- Step 2. before picking the one he liked best. This gives the gems extra depth. Darren drew a couple of designs.The Finishing Touches Cloak Lining Step 1. Vermin Brown. along the raised contours. Once he was happy with Step 3. And. The shade was applied to the depressions where the lines intersected. avoiding the blackened areas. Bleached Bone was used as a highlight on the design itself and design. Skull White and Blazing Orange was then used. Once he had the plotting line down. how the design was plotted. giving him more surface area to play around with. Bubonic Brown over the design to add in some yellow and 'bridge' the intersecting lines. and continue on. He then shaded the line with As with any freehand designed pattern with thinned-down Vomit Brown. On Althran. A second Step 6. Darren could work out where the design entwined and was the most intricate. Darren applied Skull White as the final highlight. He has also experimented with how he has painted these gems because they are 78 larger than normal. Darren then layered on Step 5. Black was used to shade the top of the gem and create a line two thirds of the way down its surface. wiping away mistakes. Don't forget the cloak has contours. Don't be tempted to wing it. using the sketch. Step 1. followed by pure Skull White placed as thin lines and dots for reflection. Thinned Chaos Step 3. Step 6. Darren then Step 5. highlight of Blazing Orange was then carefully painted on. This way when he made a mistake he could quickly wipe it off. With the design in place. He then used watered-down Vomit Brown to plot out the design with a thin line. the highlight and shading were applied. he thickened up the line with more Vomit Brown. you must plan it out before tackling the model. A 1:1 mix of basecoating the gems with Scab Red. Step 4. He started by Step 2. Scab Red and Blood Red was then layered on. To complete the freehand. WHITE DWARF 'EAVY METAL MASTERCLASS . To that end he has added an extra line of shade at the bottom rather than keeping it to the traditional top part of the model. applied pure Blood Red as a highlight to the raised surface of the gem. making them look deeper and darker. and this should also be taken into account for shading and highlights. Gems The gems are a prominent part of the model and are perfect areas to apply spot colour and so help the eye define the dynamic silhouette. Darren has aided this effect by using a deep red. in a very thin line.

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possible to paint at all). In order to make these areas easier to paint (or. 5. • • • Spectral steeds and spirit horde Banshees The Mortis Engine Lectern Mortis Engine cage The Reliquary The Corpsemaster www. with lots of negative space throughout the model. I recommend building the seven sub-assemblies (shown on the ri ght) at this early stage. in some cases. KEY 1. 4. 7. and also how the simple techniqu es he used to paint them can be replicated on other models in the Vampire Counts army. 3. By doing so.SUB -ASSEMBLIES ~ Steve: The first point to consider wjth such a large kit is whether or not you are better off gluing the entire model together before painting it. Over the next few pages. you can really help to unify the overall look of your army.games-workshop. I' ll be explaining how to paint each of these sub-assemblies.com 99 . The Mortis Engine has been beautifully designed. 2. 6. or building a number of sub-assemblies and painting each of these separately.

Wash the weapons and armour with Asurmen Blue. Edge highlight the raised areas with Skull White.SPECTRAL STEEDS AND SPIRIT HORDE 100 First of all. Using a 1: 1 mix of Astronomican Grey and Skull White. drybrush with Astronomican Grey. followed by another drybrush of pure Skull White. drybrush this area again. before washing with a watered-down mix of 1: 1 Hawk Turquoise and Asurmen Blue. WHITE DWARF PAINTI NG WORKS HOP: MORTIS ENG INE . Basecoat the weapons and armour with Chainmail. apply a basecoat of Astronomican Grey. Wash the recesses with a watereddown 1: 1 mix of Hawk Turquoise. Edge highlight the metal areas with Mithril Silver for an unearthly glint. Asurmen Blue. then wash Thraka Green into a few depressions when the previous wash has dried. then apply a few spots of Gryphonne Sepia. When the wash has dried.

www.games-workshop.com 101 . Basecoat the Banshee's teeth with Khemri Brown. The Banshees that circle the Mortis Engine are. or any other such ghostly models. but without the Gryphonne Sepia. When dry. Layer with Space Wolves Grey. then carefully basecoat the armour with Chaos Black. BANSHEE SKIN Edge highlight with Skull White.BANSHEES ROBES AND HAIR To begin with. Wash with Devlan Mud when to shade the flesh. then edge highlight with Skull White. then wash a few of the recesses with some watered-down Hawk Turquoise. Layer with the same 7: 7 mix of Dark Flesh and Fortress Grey. basecoat the Banshee with Astronomican Grey. Paint the armour using the same method as for Stages 6-8 opposite. TOMB BANSHEES Basecoat the skin with a 7: 7 mix of Dark Flesh and Fortress Grey. no different to the Tomb Banshees that you can include in your Vampires Counts army (which is why the Mortis Engine can make a Ghostly Howl attack). in practise. You can use the same painting techniques displayed on this page for any Tomb Banshees in your army. then layer with Bleached Bone. Layer with a thin coat of Fortress Grey. Basecoat the eyes with Dark Angels Green before highlighting with Snot Green. layer with a 7: 7 mix of Space Wolves Grey and Skull White. Wash the whole area with watereddown Shadow Grey.

b ut a bit lighter this time round. W HITE DWARF PAINTING WORKSHOP: MORTIS ENGINE . basecoat the stone steps with Charadon Granite. The Mortis Engine painted by 'Eavy Metal's Mark Holmes features just such a technique (see page 6). Wash a few of the flagstones with either Ogryn Flesh or Thraka Green to help weather and age them.THE MORTIS ENGINE Whilst gluing the components of this subassembly together. apply another drybrush of Khem ri Brown. After finishing this stage. Similar techniques can be used on gravestones or other similar components throughout the army. but there's no reason why it couldn't be made of dark metal. If you're feeling really brave or are suitably confident in your painting skills. I decided that I'd leave the front and left sides of the bone cage as a separate. STONEWORK 2 I 102 l ~lllllji ' 3 fJIIIIi ~ 'I I To start off. Now apply a thick drybrush of Kh emri Brown. This allowed me greater access to every angle of the bone cage for the purposes of painting it. or even magic-nulling obsidian (no doubt in a vain attempt to keep the malevolent power bound within the Mortis Engine's tome or artefact in check). Stipple the area sparingly with Gretchin Green to pro vide the area with a mouldy look. I theri glued the missing corner into place along with the remaining components to complete the sub-assembly (as shown on the right). I' ll just add that the frame of the Mortis Engine could feasibly consist of a number of different materials. you could even try object source lighting. When dry. crystal. emanating from the balefire or the arcane artefact. Apply a light dr ybrush with Dheneb Stone. Wash the whole area with Devlan Mud to shade it. then apply an edge highlight with Oheneb Stone to help add furth er de finition . L-shaped corner piece. I chose to paint this frame as if it had been sculpted from bone.

Highlight with Scorpion Green before carefully edge highlighting with a 1: 1: 1 mix of Scorpion Green. Wash the whole area with a 1: 1 mix of Devlan Mud and water. For the sake of speed. BONES AND SKELETONS 11 11 Wash the metal with Badab Black. THE ARTEFACT Basecoat the locks and casket with Boltgun Metal. I suggest that you paint the bone stages first on any Skeleton Warriors you will soon be painting over the surrounding areas. Layer with Snot Green. www. BALE FIRE Firstly.com 103 . Skull White and Sunburst Yellow. Drybrush with Bleached Bone.games-workshop. Edge highlight the metal with Mithril Silver. the methods used to paint the bone will work perfectly on many other models in your army. then wash the wax with Gryphonne Sepia. then basecoat the candle wax with Khemri Brown. layer the pages. Apply a wash of Devlan Mud to the metal. Layer with Desert Yellow when dry for a parched look. Wash these areas with Thraka Green. From the hordes of Skeleton Warriors and Wights of the Grave Guard to the fanged skull of the Cairn Wraith or even the dread countenance of Krell himself. basecoat the flames and in between the skeletal brazier's ribs with Snot Green. then apply a drybrush with a 1: 1 mix of Bleached Bone and Skull White. then pure Bleached Bone. then highlight with a 1: 1 mix of Snot Green and Scorpion Green. so you needn't be overly neat! TOME OF THE DAMNED Basecoat the pages with Khemri Brown. Wash the recesses with Devlan Mud. As with painting the Banshees on the Mortis Engine. then edge highlight with Skull White when dry. Layer the wax with a 1: 1 mix of Desert Yellow and Bleached Bone. Layer Desert Yellow onto the surrounding areas of wax. Wash the pages with Devlan Mud to shade them and provide some depth . basecoat the bone sections with Dheneb Stone. Using a 1: 1 mix of Desert Yellow and Bleached Bone. the same techniques used to paint the bone framing above can be used throughout the Vampire Counts army. Edge highlight with Skull White to fin ish .SKELETONS AND BONE FRAMING To begin with. then sparingly apply Thraka Green to some of these areas.

but this time with a 1:3 mix of Dark Angels Green and Rotting Flesh. the tongue with Leviathan Purple and teeth. Edge highlight the raised areas of the cloak with Rotting Flesh. repeat Stages 1-5 for painting the robes. Repeat Stage 2. By altering the main colour. When dry. Wash with Devlan Mud. Layer the flesh with Kommando Khaki. you can paint any robes this way. . THE DREAD STAFF MATTED HAIR Basecoat the hair with Khemri Brown. DYING FLESH Basecoat the flesh with Dheneb Stone. such as Necromancers or Cairn Wraiths. then edge highlight with Skull White. Layer the edges of the cloak with a 1: 1 mix of Dark Angels Green and Rotting Flesh. First layer the flesh with Bleached Bone. then carefully pick out the blindfold with Chaos Bla ck. layer with Bestial Brown. Edge highlight the blindfold with Codex Grey. Highlight with a 1: 1 mix of Bestial Brown and Bleached Bone. Apply a second wash. Edge highlight the hair with Codex Grey. Bleached Bone. For the hood. but this time with Leviathan Purple. Heavily drybrush the cloak with Dark Angels Green to start with.THE CORPSEMASTER DANK ROBES GRAVE ROBING Remember that there are plenty of other models in the Vampire Counts army that wear robes that are similarly ran k and mouldy. but substituting Scorched Brown in place of Dark Angels Green. PAINTI NG WORKSHOP: MORTIS ENG INE Basecoat the staff with Scorched Brown. Wash this area with Ogryn Flesh to shade. Drybrush the bottom of the cloak with Graveyard Earth for a dirtier overall look. 104 WHITE DWARF Wash the hair with Badab Black. then Devlan Mud when dry.

The balefire effect can also be used on Corpse Carts or Hexwraiths to name but a few other units. www. The Corpsemaster's potion was also painted using a similar method.games-workshop. I picked out some details on the ancient tome with a Fine Detail Brush for a more authentic look.THE FINISHED MORTIS ENGINE With all the sub-assemblies now full y pa inted. I used the same effect for the balefire on this lantern for an eerie light effect. but using successive blends instead.com 1 05 . it's ti me to bui ld the finished Mortis Engi ne. All you need to do now is base the model to miltch the rest of your army.

against the fantastic sculpts of today. the model stands out as a classic and a great figure to have for a centrepiece in any High Elf force. Anja set about assembling the model. For this month's 'Eavy Metal Masterclass. is over 15 years old. Anja divided the model into three distinct sub-assemblies: Stormwing. Anja prefers to isolate areas of her models when painting. Once the separate components were ready. for example. You'll see this approach on the following pages. he was no less loved by the people of Tor Yvresse as he successfully defended them from the fearsome invading greenskin horde of Grom the Paunch. Known as Eltharion the Grim due to his extremely dour personality. we thought it was a great opportunity for 'Eavy Metal to give this model the masterclass treatment. Anja Wettergren tackles one of most fondly remembered Citadel miniatures: Eltharion the Grim. and Eltharion's torso. Yet even now. Stormwing. before moving onto the beak. With the recent re-release of Eltharion in his classic form. the legs and saddle. Warden of Tor Yvresse. Anja carefully went over every metal component. . Her first job was to clean up all the components. Using a Hobby Knife and Modelling Files. T It's hard to believe that jes Goodwin's brilliant miniature of Eltharion on his noble Griffon. completing a section such as the Griffon's wings. removing flash and filing away the mould lines that are an inevitable part of the metal casting process. Preparing the model Anja Wettergren was tasked with assembling and painting this model.ELTHARION THE GRIM he Warden of Tor Yvresse is one of the greatest Elf lords to have lived.

the Griffon. The wings were then added. Carefully drape the putty over the gaps and then. blended the joints and filled in the gaps with Green Stuff.com 91 . Pinning the Griffon Green Stuff It is best to pin both the wings and the talon to the Griffon's body. Using the Hobby Drill. She stuck the body. www. Anja painted Eltharion in three different parts and only assembled the model when all the painting was completed. Blending the Joins When you have assembled Stormwing. when dry.Constructing the Griffon Before Anja could begin painting. Keep working the putty until the join is disguised. bore holes in both the wing connecting tabs and the sockets on the Griffon's back. tail and claw parts together with superglue and. It's important that the holes match up when the wings are in place. These small joins can easily be covered with Green Stuff. 1) Storm wing 2) Eltharion's torso 3) Legs and saddle. Cut some paperclip wire to about 10mm in length and glue this into the hole in the socket. roll it out into a thin sausage shape. she needed to clean up the components and assemble Stormwing. You can find blisters of Green Stuff in our Hobby Centres and through GW Direct. Once you've mixed the blue and green parts of the putty together. As illustrated on this page it is also perfect for filling gaps. and to use for sculpting work for your own conversions. Now stick the wing onto the Griffon. using the wire to join them. Green stuff is a two-part epoxy putty that the Citadel designers use the m~jority of the time to sculpt their models.this is due to the metal cooling as it leaves the mould.games-workshop. gently smooth the Green Stuff into the gap. Keep the ends of the Sculpting Tool wet to prevent it sticking to the putty. there may be gaps where the large metal components join together . using a Sculpting Tool. being pinned into place with the aid of paperclip wire and a hobby drill.

.- O Light Highlight Bleached Bone. Using a Small Drybrush.. . Basecoat. Anja used two colour schemes: dark brown and off-white. and then highlighted the feathers with drybrushed layers until she was happy with the finish.. . I Dark Highlight 1:2 mix of Scorched Brown and Graveyard Earth. I Dark Highlight 1:2 mix of Scorched Brown and Graveyard Earth. The dark feathers had a drybrush of pure Graveyard Earth. 2nd Highlight.or overbrushed . The light feathers have a final drybrush of Skull White... Successive highlight layers require a lighter drybrush .Painting the Feathers I Feathers on models have a raised texture that takes paint very well and so can be less challenging to paint than other areas of a model like skin or clothing. The feathers are painted in alternate stripes. 8 Light Highlight 1:1 mix of Bleached Bone and Skull White. Light Highlight Skull White..r. 1st Highlight. Paint the light areas first. Painting the Feathers e Light Basecoat 1:1 mix of Khemri Brown and Bleached Bone. Dark Highlight Graveyard Earth.. Anja used a basecoat then a shade. . . To get a strong contrast on the wings and upper body. as the Foundation colour provides a strong base.. O .. • Dark Basecoat Scorched Brown.Griffon .. If--'~"_ • Dark Shade Black Ink..layer. Final Highlight. -. For Stormwing's feathers. 92 WHITE DWARF 'EAVY METAL: ELTHARION • Light Shade Flesh Wash.r ~.'--.. apply the first highlights as a heavy drybrush .:.:.wipe off even more of the paint before applying the technique. Black Ink was used for shading the dark feathers while Flesh Wash was applied sparingly to the base and stem of each feather. Shade.

to achieve a natural.Painting the Fur The hindquarters of a griffon resemble those of a large cat.games-workshop. it's time to paint on the spots . Orange Basecoat 1:1 mix of Fiery Orange and Scorched Brown. The contrast between the light and dark parts of the fur are more pronounced. www. such as Snakebite Leather. back and tail was painted with the orange mix. O Orange Highlight Fiery Orange.com 93 . 1st Highlight. The light fur received a Khemri Brown highlight. This Chracian Griffon is painted in the same way as a regular lion. The wash over the light areas. Obviously there are no spots! Snow Leopard. White Lion. so Anja used the infinite resources of the Internet to get some leopard photos before she tackled this part of the model. • Orange Glaze Dark Flesh 3rd Highlight. Orange Highlight 3:1 mix of Fiery Orange and Scorched Brown.Griffon . but with a much paler colour palette. Basecoat. After the final highlights are applied to both parts of the fur. The underside was given a basecoat of Khemri Brown and Calthan Brown. Shade. ~ Light Highlight 1:1 mix of Khemri Brown and Bleached Bone. Tiger. The haunch. Final Highlight. more muted browns. 8 Light Highlight 1:1 mix of Bleached Bone and Skull White. and Stormwing in particular is part leopard. 8 Orange Highlight 1:1 mix of Fiery Orange and Elf Flesh. • Light Wash Snakebite wash. • Light Shade Scorched Brown. • Orange Shade Scorched Brown. Lion fur uses lighter. Orange Highlight 2:1 mix of Fiery Orange and Scorched Brown. Anja added more Fiery Orange to the base mix.see above for details. Painting the Fur Light Basecoat 1:1 mix of Khemri Brown and Calthan Brown. highlighted up to pure white before adding the markings. When painting animal fur it's good to use real life reference material. but the basic palette is the same. Scorched Brown was applied as a shading wash on both the underside and the orange areas of the fur. This dramatic colouration uses a pale grey base. 2nd Highlight. Lion. By Joe Tomaszewski A Leopard's spots are not actually "spots" but are more of a "U" shape. For the first highlight layer. Try applying several thin layers of each stage instead of one thick layer. and the glaze over the orange areas were applied to mute the tones. blended effect.

O 3rd Tongue Highlight Bleached Bone. Graveyard Earth and Bleached Bone. For the first stage Anja painted the claws with a basecoat of the above mix. 8 Beak Highlight 1:1 mix of Golden Yellow and Skull White. The first highlight was applied to the top and edges of the beak. Shade. 2nd Shade. getting lighter towards the points. After the griffon's body was complete. The Bronzed Flesh provides a strong base for the thinner yellow pigment. 1st Highlight. The shading is applied in thin layers. Chaos Black and Graveyard Earth. 2nd Highlight. Basecoat.Painting the Beak and Claws Painting the Talons Basecoat 1:1:1 mix of Codex Grey. I Highlight 1:1 mix of Codex Grey and Graveyard Earth. Again. O O Highlight Bleached Bone. Final Highlights. Skull White was added to the very edges of the beak. The first highlight layer was applied in rough stripes. The beak's basecoat was built up with several layers of Bronzed Flesh. A Scorched Brown/Black mix was then applied towards the tip of the beak. The claws were given a final highlight of Bleached Bone and then thin lines of Skull White were carefully added. _ • Beak Shade 1:1 mix of Golden Yellow and Scorched Brown. Painting the Beak Tongue Basecoat 1:1 mix of Tanned Flesh and Liche Purple. Highlight 1:1:1:1 mix of Codex Grey. O Final Beak Highlight Skull White. O Final Tongue Highlight Skull White. The stripes were defined. I 2nd Beak Shade Scorched Brown and Chaos Black. Highlight. Tongue Highlight Tanned Flesh. only moving on to the talons once the beak and tongue had been completed. Anja started work on the beak. Final Highlight. Highlight Skull White.Griffon . blended towards the beak's point. . ~ 2nd Tongue Highlight 1:1 mix of Tanned Flesh and Bleached Bone. Basecoat. 2nd Basecoat. Chaos Black. I Tongue Shade 1:1 mix of Regal Blue and Liche Purple. Anja worked on each area separately. tongue and claws respectively. 94 WHITE DWARF 'EAVY METAL: ELTHARION O 2nd Beak Basecoat Golden Yellow.

2nd Basecoat A second basecoat of Chainmail was added to brighten the metal areas. Adding Mithril Silver to gold is a great way to get a polished effect. Highlight. Highlight. flat basecoat. Pure Shining Gold was then applied over the top of the first basecoat. The brown wash provides shading. 2nd Basecoat Chainmail. polished effect. O Highlight Burnished Gold. When dry.com 95 . Two washes were then applied to provide a bluish.Painting Metallics Ithilmar Weapons When it came to Eltharion himself.Eltharion . Wash. Adding Scorched Brown to the gold paint makes the colour look less artificial. sword hilt and spear decoration in gold as well. chest plate or helmet feathers metallic paints and their related washes. a thin coat of Mithril Silver was added for the highlight. saddle edge. O Highlight Mithril Silver. Wash 1:1 wash of Blue and Black Ink. Anja used Boltgun Metal to provide a solid. Basecoat Boltgun Metal. Wash. Don't forget to paint the greaves. Basecoat. Final Highlight. www. O Highlight Mithril Silver.games-workshop. 2nd Basecoat. 2nd Highlight. Anja started work by first picking out the metallic parts of the model and working them up in lots of stages to get a highly polished sheen. The first highlight Anja applied was of pure Burnished Gold. O Painting the metal areas first means there's less danger of catching the face. worthy of a High Elf hero of Eltharion's stature. Wash 1:1 wash of Scorched Brown and Liche Purple. • Basecoat. Pure Mithril Silver was added as a fine edging highlight. 8 Highlight 1:1 mix of Burnished Gold and Mithril Silver. while the purple enriches the colour. Painting Gold Basecoat 1:1 mix of Scorched Brown and Shining Gold. O 2nd Basecoat Shining Gold.

can be tricky. The blue areas were given a basecoat of Regal Blue while Astronomicon Grey was used for the white basecoat.Eltharion . the feathers of the helmet wings behind Eltharion's outstretched right arm. Blue Highlight 1:1:1 mix of regal Blue. A steady hand is needed to get Basecoat. to The quiver has been painted using the same techniques as the rest of the blue and white elements. Continue to build up the white layers. while the highlights fall towards the bottom. The blue areas had a highlight. Blazing Orange. Finally. White and Blue • O Blue Basecoat Regal Blue. Final Highlight. Fiery Orange. especially on something as elegant as this model. using a 1:1 mix of Regal Blue and Enchanted Blue. O Blue Highlight Space Wolves Grey O White Highlight Skull White. Even when you think you have applied the final coat. Painting Gemstones When painting gems. Apply Space Wolves Grey as a very fine edging highlight to the blue areas. At this stage. Enchanted Blue and Space Wolves Grey. Blue Highlight 1:1 mix of Regal Blue and Enchanted Blue. Skull White. 1st Highlight. 2nd Highlight. Red Gore. White Basecoat Astronomicon Grey. The white parts were shaded grey. and build up lots of thinned down layers of Skull White. a small dot of Skull White in the top corner represents reflected light. start from a basecoat of Chaos Black and gradually work up layers of paint until you reach the lightest colour. The gem stages used on this model are shown here. The darkest portions should be at the top of the gem. .Painting the White and Blue Painting white. Anja's advice is to use a light basecoat. 96 WHITE DWARF 'EAVY METAL: ELTHARION Blood Red. look again when the model is completely dry and don't be scared to add a few more thin layers to get an even crisper finish. start to build up the thin layers of Skull White and add the penultimate highlight layer to the blue areas.

• Basecoat. they should also get finer and more precise. If you paint the face first. Aim to get a flat. reset the final highlights. Liche Purple and Chaos Black. Highlight. Elven skin tone with a very thin purplish glaze. you might make it too dark. O Highlight 1 Dwarf Flesh. Final Highlight. www.Eltharion .games-workshop. I Glaze 1:7 mix of Purple Ink and Scorched Brown. Bronzed Flesh and Bleached Bone. Start to block in all of the raised areas with the highlight mix. All that's left now are the eyes and teeth. Again. Highlight 3 Bleached Bone 3rd Highlight. • Highlight 3 Blazing Orange. Start to pick out the creases and edges of the panels. leaving the eyes and mouth black. 8 Shade.Painting the Face and Saddle Back Anja tends to paint faces last. Blood Red and Blazing Orange. Final Highlight. Highlight 2 7:7:7 mix of Scab Red. As the highlight layers get lighter. O Highlight 2 1:7:7 mix of Dwarf Flesh. \~ Shade. Highlight. I Highlight 1 7:7 mix of Scab Red and Blood Red. even coat of Vermin Brown. Basecoat Vermin Brown. Scab Red and Liche Purple. Basecoat. Highlight the panels with a bold. and set the tone for the subsequent highlight layers. deep red. Painting the Face Shade 7:7:7 mix of Scorched Brown. Final Highlight 7:7 mix of Blazing Orange and Elf Flesh. which will look out of place on a model as light as this one. Add definition to the creases in the saddle back with a dark shading wash. § 2nd Highlight. concentrating on the raised areas. so as to match the contrast with the rest of the model. Re-establish the fey. Final Highlight 3:7 mix of Bleached Bone and Skull White. Glaze.com 97 . 2nd Highlight. The shade is applied as a wash. 3rd Highlight. I 2 Shade 1:7 mix of Scab Red and Chaos Black. Start with a deep red basecoat mixed from the above colours. Painting the Saddle Rest I Basecoat 2:2:7 mix of Mechrite Red. Apply the fine highlights on the most prominent parts of the face using a fine brush. Continue to build up the highlights. Only the sharpest edges should be highlighted with this very pale mix.

It was then highlighted.Eltharion . Finally. Finally. then pure Bleached Bone.Finishing Touches A character model painted to this high standard will make a fantastic centrepiece for any High Elf army. . FIl:HARlnN Gloves and sword detail. and should take pride of place in any budding High Elf Noble's force. qR WHITF nWARF 'FAVY MFTAI . The sword grip was painted in the same way as the saddle back. Hair. Anja added tiny dots of Chaos Black for the pupils. and finally Skull White. followed by a Bestial Brown wash. Face details. The eyes and teeth were painted with very thin bands of Skull White. The hair was first given a Bronzed Flesh basecoat. Even with the great new Dragon and High Elf character models in the same force. The black gloves were highlighted up from Chaos Black by adding increasing amounts of Space Wolves Grey. first with a 1:1 mix of Bronzed Flesh and Bleached Bone. Jes Goodwin's classic Eltharion sculpt has stood the test of time. the gemstone was painted as described on page 98.

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