ULTRAMARINE TERMINATOR ARMOUR PAINTING GUIDE

By Jonathan Taylor-Yorke

STAGE 1: Over an undercoat of chaos black spray primer,

the entire model is given a smooth basecoat of dilute regal
blue. More than 1 coat may be needed to achieve a smooth
coat.

STAGE 2: Dilute ultramarine blue is then layered over the

regal blue basecoat, taking care to leave the darker shade
showing in the deepest recesses between the plates, to create
shading. The edges of the armour plate are then carefully
defined with sharp lines of ultramarine blue.

STAGE 3: The edges of the armour plate are highlighted with

STAGES 1 and 2. a dilute mix of 70% ultramarine blue and 30% skull white.
The dilute paint is carefully applied to the edges of the plates,
allowing it to blend into the colour beneath and so avoid stark
lines.

STAGE 4: A second highlight of 50% ultramarine blue to

50% skull white is then carefully applied to the sharpest edges
of the armour in the same way as the previous highlight, but
using a thinner line.

STAGE 5: With the armour plate finished, all other areas of

the model are then given a dilute coat of chaos black, thus
giving sharp, clearly defined areas on which to apply the
detail.
STAGES 3, 4 and 5.

STAGE 6: Next, the base colours are applied onto the

remaining areas of the model over the chaos black, care
should be taken to leave a thin line of black showing around
the edge of these colours. This will act as a “key line” around
the colour and give it much more depth and clarity.
Codex grey is used for the helmet and crux terminatus, bestial
brown for the parchment scrolls and trailing parchment on the
purity seals. Dark flesh is used as a basecoat for the gold
areas, this is because shining gold does not cover well over
chaos black and so it is best to apply over a mid tone colour,
for which dark flesh is ideal, as well as being used for the
purity seals and red lights.
STAGES 6, 7 and 8.
STAGE 7: All areas of bare metal (gun parts, power cables
etc) are painted with boltgun metal, taking care not to go onto
the blue armour plate and ensuring that the area is well
covered, this may require more than one coat.

STAGE 8: Finally, the eyes and remaining lights, such as on

the sensor array and power lights below the gauntlets, are
picked out with dark angel green.

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 ULTRAMARINE TERMINATOR ARMOUR PAINTING GUIDE
By Jonathan Taylor-Yorke

STAGE 9: The helmet is given a layered highlight with a

mix of 50% codex grey to 50% skull white, this highlight is
very bold, leaving the codex grey showing only in the
deepest recesses, such as around the eyes and where the
plates meet. The parchment is highlighted in the same way,
using bleached bone, as is the red of the purity seals, using
red gore.

STAGE 10: The gold areas are then given a bold highlight
of shining gold over the dark flesh, leaving the dark flesh
showing in the recesses, thus giving a subtle, matt shade. I
do this because metallic colours do not “shine” when in
STAGES 9, 10, 11 and 12. shadow, so the flat, matt shade looks very natural and adds
depth.
(
STAGE 11: The casing of the storm bolter is highlighted d
with a mix of 50% chaos black to 50% codex grey by
painting sharp, thin lines along the sharp edges. It is
important not to highlight the black too much or it will
begin to look grey.
S
g
STAGE 12: The bare metal and the crux terminatus are
h
given a wash of dilute chaos black to add depth into the
f
recesses. It is best to dilute the paint a lot as it is easier to
g
add a second or third layer than to remove the paint if the
first layer is too thick. th
d
STAGE 13: Final highlights: the helmet and parchment are h
th
given a highlight of skull white. This is quite bold on the
helmet, in order to make it appear as a bold and vivid white, S
and subtle on the parchment. The purity seals are finished m
with a careful highlight of blood red. Burnished gold is used o
s
to give a polished look to the raised edges of the gold areas.
The edges of the crux terminatus are re defined with codex li
STAGES 13 and 14, also
showing chapter markings. grey. The bare metal is given a careful, layered highlight of
chainmail around the sharp edges, again to add to the
polished look. The edges of the gun casing are picked out
with codex grey in very fine lines.

STAGE 14: Finally the eyes and lights are picked out with a
mix of 50% dark angel green to 50% goblin green, the
outside edges then being picked out with goblin green. A
S
small dot of skull white is added to the top edge to simulate
th
light on the glass.
b
W
SYMBOLS: To paint my chapter badges, I first mark out
h
the basic shape, using a mix of skull white and ultramarine
d
blue (1), painting over this until I get the shape I’m after (2).
li
When I’m happy with the shape, I use skull white to
p
highlight and define the symbol (3).