PAINTING MASTERCLASS

PAINTING THE ARMOUR

™

PAINTING MASTERCLASS Anja’s technique is to choose one armour, as this was the largest single

SERGEANT LORENZO
’Eavy Metal were as keen as anyone to get their hands on the new Space Hulk
area of the miniature and work on
that until it’s finished, before moving
on to another part of the model. This
requires extra care, so that you don’t
get paint on already finished areas.
area on the figure – defining the
colour palette for the whole model.
Red is a strong primary colour, but is
not the easiest colour to paint, so
we’ve included some top ’Eavy Metal
miniatures, so we asked Anja Wettergren to paint Sergeant Lorenzo and show us Anja started with the Terminator tips in the box below.
how to achieve a perfect finish on your Blood Angels.

Red Armour

or this edition of Space Hulk, Alex Hedström has
Stage 1: For the basecoat, Anja
used a 1:1 mix of Blood Red and
Dark Flesh. This was applied in
thin layers until a solid coat of red
had formed.
character with a detailed history and an important part to
Stage 2: Next, Anja added black to
create a 2:1:1 mix of Chaos Black,
Blood Red and Dark Flesh. This
was then carefully applied to the
recessed areas of armour.
Stage 3: For the initial highlight,
Anja used a 3:1 mix of Blood Red
and Dark Flesh, painted onto the
edges and raised areas of the
Terminator armour.
Stage 4: Pure Blood Red was then
layered on top of the previous
stage, to build up the highlight.

F provided us with a plethora of fantastic Citadel

miniatures all exclusively made for the game. To get
you gaming as fast as possible, the models come in two
colours: a rich, dark red as befitting the Terminators of the
Blood Angels Chapter and a deep purple, for the
Genestealers. However, such great-looking models are
crying out for an expert paint job.
So we turned to ’Eavy Metal’s Anja Wettergren for a
special Space Hulk Masterclass, to show you how to get
the best finish on your Space Hulk miniatures. The subjects
of our Masterclass series are normally character or
centrepiece models and this month’s figure is no exception.
Each of the Blood Angels in Space Hulk, is a distinct
You Will Need
play in the Sin of Damnation campaign.
With this in mind we could have used any of the
Terminators for this article, but we settled for Sergeant
Lorenzo. Before Anja got started she brushed up on
Sergeant Lorenzo’s background, 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.
To start with, Anja carefully removed the Sergeant
Lorenzo components from the frame, and stuck them
together by adding a small dab of Plastic Glue into the
sockets before pushing the parts together. When dry, the
model was undercoated with Chaos Black Spray. Stage 5: Next, Anja applied a Stage 6: For the final highlight a Stage 7: To tie all the layers Stage 8: Anja then finished by
highlight of pure Blazing Orange, 2:1 Blazing Orange to Vomit together, watered-down Baal Red retouching the highlight with the
painted over the Blood Red of the Brown mix was used, carefully was painted over the armour. mix from Stage 6 once the wash
previous stage. brushed on to the very edges. had dried.

For the techniques featured in this article, Anja has used Wash: W Foundation: F
the following colours from the Citadel Colour, Wash and
Foundation ranges. PAINTING RED
Red hasn’t always been an easy colour to paint. Being a white gives you pink, which doesn’t work as a highlight.
Chaos Black Spray Dwarf Flesh Skull White
primary colour and a notoriously thin pigment, it has It’s best to highlight reds, especially when painting
Blazing Orange Golden Yellow Vomit Brown always been difficult to highlight and shade, and to Blood Angels, with oranges. Lighter highlights can be
Bleached Bone Fortress Grey Warlock Purple
cover darker tones, but the addition of Mechrite Red to achieved by adding neutral, ruddy tones to the oranges,
the Foundation range has really helped with these such as Dwarf Flesh and Elf Flesh.
Blood Red Hawk Turquoise F Astronomican Grey problems. Eagle-eyed readers will notice that Anja Reds don’t necessarily have to be shaded with black
Boltgun Metal Ice Blue F Calthan Brown hasn’t used it on Lorenzo’s armour; this is because or dark washes either. Green works for shading red
’Eavy Metal use a tried and tested method for painting because it is situated on the opposite side of the colour
Burnished Gold Mithril Silver F Dheneb Stone
Blood Angels that they have developed over the years. wheel. By the same token, a blue wash can give red a
Codex Grey Regal Blue F Iyanden Darksun Anja has used a mix of Dark Flesh and Blood Red as a purple tone, which will cool the colour, taking out
Chainmail Scab Red F Tallarn Flesh personal preference to give her that bit of extra control some of the severity if needed.
over the exact pigment, proving that ’Eavy Metal A Baal Red glaze is highly recommended after all
Chaos Black Scorched Brown W Baal Red
painters really are perfectionists! shading and highlighting has occurred, this will help
Dark Angels Green Scorpion Green W Badab Black As already mentioned, red can be hard to highlight blend the layers and give the red the intensity needed
Dark Flesh Shining Gold
satisfactorily. One of the reasons is that mixing red with for the ceramite surface of Space Marine armour.

44 WHITE DWARF SPACE HULK www.games-workshop.com 45


PAINTING THE CLOAK
One of the distinguishing features of the
Sergeant Lorenzo model is the flowing
cloak. This was the area Anja focused on
after the Terminator armour. When
painting the cloak and its lining, it
doesn’t matter in which order you paint
PAINTING MASTERCLASS
Gold
the areas; you just have to be careful not
to mark the other side. A steady hand is
needed here, especially when painting
the very edges of the lappets (the
streamers on the cloaks). If you take
your time it won’t be a problem.

Cloak Lining

Stage 1: The lining of the
cloak was given a basecoat
of Calthan Brown.
Cloak & Loincloth
Stage 2: A coat of Vomit
Brown, built up over thin
layers, was then applied
over the area.
Stage 3: Bleached Bone was
brushed onto the area in the
same manner as before, using
several thin layers.
Stage 4: A 1:1 mix of Skull
White and Bleached Bone
was then applied, but this
was concentrated towards
the edges of the lappets.
Stage 5: For the final
highlight, pure Skull White
was used, applying it to
the very edges.
Stage 1: The gold areas on
the Sergeant were
basecoated with a 1:1 mix
of Shining Gold and
Scorched Brown.
Stage 2: The basecoat was
then given a wash with a
1:1 mix of Scorched
Brown and Badab Black.
Stage 3: A layer of Shining
Gold was then brushed
over the raised areas,
avoiding the recesses.
Stage 4: Anja then painted
on Burnished Gold, again
focusing on the areas of
raised detail.
Stage 5: Mithril Silver was
used for the final highlight,
applied only to the most
prominent areas, to create
the final highlight.

PAINTING THE CRUX TERMINATUS

The Crux Terminatus is a badge of honour that all Horus’ Battle Barge. Anja has reflected the importance of
Terminators wear. Within each badge is bound a tiny this badge by painting it as stone, alluding to a regal,
fragment of the armour that the Emperor wore onboard almost monumental feel.

Stage 1: The lappets were left Stage 2: The next stage built upon Stage 3: Pure Bleached Bone was Stage 4: Anja then used a coat of
black, before applying an initial the first highlight, this time using a brushed onto the lining in the pure Codex Grey for the final
highlight of a 1:1 mix of Chaos 2:1 mix of Codex Grey and Chaos same manner as before. extreme highlight.
Black and Codex Grey. Black applied to the edges.

PAINTING METAL
Most people paint the metal areas first, as they can be painting it neatly. Remember to use a separate water pot
quite messy, before touching up the surrounding basecoat, for cleaning and thinning down metallic paint to avoid
but Anja was confident painting the metal after the armour, contaminating your other colours. Stage 1: The Crux Terminatus was Stage 2: A liberal wash using a Stage 3: Anja used Codex Grey to Stage 4: Fortress Grey was brushed
basecoated with a 1:1 mix of 1:1:1 mix of Scorched Brown, start building up the layered on as a mid-level highlight,
Scorched Brown and Codex Grey. Chaos Black and Badab Black was highlights, again avoiding the applying the paint to the raised
Metal The recessed areas were left black. then applied over it. recessed areas of the badge. areas of detail.

Stage 1: The metallic areas, Stage 2: Anja then washed the area Stage 3: The area was then Stage 4: Finally, Mithril Silver was Stage 5: Building up the highlights, Stage 6: A highlight using a 2:1 Stage 7: The next layer used the Stage 8: Finally, Anja used pure
predominantly the storm bolter, with a 1:1 mix of Badab Black and highlighted up, first with painted onto the very edge of the the next coat Anja applied was mix of Dheneb Stone and Skull same mix as Stage 6, but with Skull White on the highest points
were given a 1:1 basecoat of Chaos Black. Chainmail, which was applied to silver areas. Dheneb Stone. White was applied to just the more white, to create a 1:1 mix of of the badge such as the eye and
Boltgun Metal and Chaos Black. the raised areas and edges. raised areas. Dheneb Stone and Skull White. nose ridges of the skull.

46 WHITE DWARF SPACE HULK www.games-workshop.com 47


PAINTING THE FACE
Anja has painted Sergeant Lorenzo’s face using an aging
technique, to reflect his background as a grizzled 650-year-
old veteran. She started off by painting the face as normal,
PAINTING MASTERCLASS
THE FINISHED MODEL
before applying further highlights using mixes of Bleached
Bone and Skull White. These were applied to the ridges on
Lorenzo’s face, emphasising wrinkles and creases.

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 watered-
down Dark Flesh was then applied
all over.
Stage 3: She then applied a
midtone, starting with a 1:1 mix of
Tallarn Flesh and Dwarf Flesh.
Stage 4: Anja then followed with
another wash, this time of thinned-
down Scorched Brown.
The cybernetics were painted in
the same way as the metal parts of
the storm bolter. The red lens was
painted using the same method as
for the lumina (right).
The hair was first painted
Astronomican Grey and then
shaded with a 1:1 mix of Codex
Grey and Chaos Black. Skull White
was used as a highlight.
The lumina was first painted Scab The skull insignia on the left knee
Red, followed by Blood Red and pad was painted using the same
then Blazing Orange. A 1:1 mix of method that Anja used for the Crux
Blazing Orange and Skull White Terminatus badge.
was then applied as a highlight.
Finally a dot of pure Skull White
was added to the top left.

Stage 5: A highlight using a 1:1:1 Stage 6: Anja added more Stage 7: For the next highlight Anja Stage 8: For the final highlight, a
mix of Tallarn Flesh, Dwarf Flesh Bleached Bone to the mix before then used pure Bleached Bone, 1:1 mix of Bleached Bone and
and Bleached Bone was then used. applying a further highlight. painted onto the most prominent Skull White was applied.
areas of the face.

SPECIAL DETAILS Model shown slightly

larger than actual size.

Gems

The yellow stripes on the cabling

Stage 1: The blood drops
were given a basecoat of
Warlock Purple.
Stage 2: A 2:1 mix of
Warlock Purple and Skull
White was painted in a line
down the side of the gem.
Stage 3: A 1:1 mix of
Warlock Purple and Skull
White was then painted
over the same area.
Stage 4: The highlight
continued to be built up
with a 1:2 mix of Warlock
Purple and Skull White.
The trophies on the Sergeant’s back
started with a basecoat of Iyanden
were painted using the gold
Darksun and Vomit Brown. Golden
technique from page 45. The green
Yellow was then used as a midtone,
Stage 5: Finally, a dot of gem started with a Dark Angels
and this was highlighted further
pure Skull White was Green basecoat and this was
with a 1:1 mix of Golden Yellow
carefully placed on the worked up with Scorpion Green
and Skull White.
highest point of the gem. and highlighted with Skull White.

Power Sword

Stage 1: While the sword
blade remained black, a 1:1
mix of Regal Blue and Ice
Blue was used as the base
for the energy lines.
Stage 2: Pure Ice Blue was
then applied over the
glowing energy lines.
Stage 3: Next, a highlight
using a 1:1 mix of Ice Blue
and Skull White was used.
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: Skull White was
carefully applied as the
final highlight onto the
very edges of the blade.
ASK
Have you a painting dilemma, problem or question? Well the ’Eavy Metal White Dwarf,
team are only too happy to help. You can ask them anything (related to Games Workshop,
painting miniatures, of course) and they’ll have an answer. So whether Design Studio,
it’s about consistent basing techniques or how to paint the beard on a Willow Road, Lenton,
Dwarf, send your query to ’Eavy Metal’s painting clinic. Bear in mind we Nottingham, NG7 2WS,
work quite far in advance of publication so it will be a good few months United Kingdom
before you see your query in print. Send in your question to:

48 WHITE DWARF SPACE HULK www.games-workshop.com 49

 'РA(<WФLV<'
РAlNТlN(
Studiohobby guru Chris Pеaсh is an expеrtat prеparinga forсе for battlein a
timеly yet еffесtivеmanner.Here hе sharеswith us somе tесhniquеsfor gеtting
your Grey Hunter paсksonto thе tablеtopin no timе.
Тo help уou musteryour SpaсeWo|vеspaсk for War,Wе,Vе
askedСhris Peaсhto сomе up with a quiсk yet еffесtivе
,ЕavyМеtа|stу|е.
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,therе,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 , | ln o do u b ti n с l u d еi n y o u r a r m y .
l n t hе fo| | ow i n еgx a m p I е sС, h ri sh a s u s е dh i s t r usty
paintbrushеs for baseсоating, but therе,snothingstopping
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
R Е >H А I R
Step I, To aсhieve a stron7 tone for the hair, iirst Step 2, tslazing Оrangе was used to highlight the
baseсoat it with Vermin Brown. hair, foсusing on thе raised strands.
26 WHlтЕ DWARF SPAСEWoLVEs DЕslсN NoТЕs
thе Сitadе|Spr ayCun. W hеn paintingin batсhеs, yo u
havеto сo nsidеrthе o r derin w hiсh yo u paintthе mo dels.
thе mo dе|sСhao sBIaсk
Сhr is,adviсеis to fir stundеr сo at
and thеn sprayon thе armourbaseсoat.Howеver,on
smoothpowerarmour/it,sbеstto appIythе wash by hand.
Thе nехtstagеis to set up a produсtionlinе - Сhris
rесommеndspaintingthе darkerarеas/suсh as thе fur,first.
Yo u сan thеnstar tto piсk o ut detaiI ssuсh as mеtalliс s,
the
faсе and any yel|owor rеd arеas.Тhen you just nеedto
basеthem up and they,||be readyfor aсtion.
Step 3. The final highlight was mixed from equal
parts Blazing Оrange and Skull White.
<RЕyH А | R
v
гп
v\
-
A
z
z
o
-{
гг1
itep 1. To paint the greу hair, Сhris started with a Step 2. А highlight was applied to the raised
areas and edges of the moustaсhe using pure
Step 3. А final highlight using pure Skull White
was then used to piсk out the most prominent
v\
baseсoatof pure Сodeх Grey.
Fortress Grev. areas of the hair.

АRмOUR
PovиЕR

Step l, The power armour was given a Senerous Step 2. The next stage was to give the armour a Step 3. Pure Space Wolves Сrey was used to
basecoat using a 1:1 mix of Shadow Grey and wash using a l:1 mix of Sсorсhed Brown and highlight the armour, applying it to the edges and
Spaсe Wolf Grey, Fenris Grev. raised areas.

iНэUL>ЕRPА>

Step 1, The shoulder pad was first painted with a Step 2. The yellow was then bloсked in with a Step3. An equal amount of Skull White was then
baseсoat of Tausept Осhre, The rim of the pad 1:1mix of Golden Yellow and TauseptОсhre. added to the previous miх. This was used as a
was painted in the same waY as the armour. highlight, applied сIose to the rim.

rUR

Step 1. When painting the fur on the pelts often Step 2. Сhris appliеd a heavу drybrush of Vomit Step3. A final drybrushof Bleaсhed Bone was
worn by the Spaсe Wolves, startwith a baseсoat Brown all over the fur сloak' then applied, but this was worked towards the
of Sсorсhed Brown. ends of the oelt ratherthanover the whole area.

www.8amеs.workshoP.сom 27
Аs wе,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. NeiI
an d ar ou ndi t ,e sp e с i a ||y
has paintеdthe Wolf Guard,sfaсe in Iightertones,as this
hе|psthе eye immеdiatеIy definethe foсal point.
When paintinga faсe with suсh a strongexpression,it,s
importantto kееpyour paintthin so thatуou don,tlosеthе
detai|,so it,sbеstto use two or threethin |ayersfor еaсh
stagе.lf the paintis too thiсk you not on|y riskobsсuring
thе de t ai I,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 s w iI I
that
dеtraсtfrom the finishеdеffесt.
Тhe otherpointto note is how the hair meetsthe faсe.
the two areas;againthis hе|psthе eye
А faint line separates
definethе foсal pointof thе miniature.When NeiI applied
the baseсoat|ayerto the faсе he paintedrightup to the
hair,but with the subsequent stageshe didn'twork the
paintup to thе edge,thеrebyсrеatinga thin boundaryIine
of darkеrpaint.
Тhe tеethwere paintеdB|eaсhedBone.NeiI lеftthe
eyesblaсk and thenfil|еdin thе white of thе еye with
B|еaсhеdBone,leavinga gap in thе midd|еto сreatеthе
pupil _ steadyhandsare neededhеrе!

Тhe Faсе

Step l. Тhe face was basecoated with a 1:l miх Step2. Next,a 2:1:1 mix of Dwarf Flesh,Vermin Step 3. Pure Dwarf Flesh was then applied,
of Vermin Brown and Sсorсhed Brown, Brown and Scorсhed Brown was used. This was brushed onto the face as a mid-tone - once
applied to all but the reсessedareas. again it was left out of the reсessedareas.

Step 4. The face was then highlighted, first with Step5. А 3:1 miх of SkullWhitе and Bleaсhed Step 6. The eуes and teethwere paintеd with
a 1:I mix of Dwarf Fleshand Skull White, Bone was then applied, followed bу a 1:1 wash Bleached Bone, while the highlight was
applied to the raised areas. of Gryphonne Sepia and Ogryn Flesh. retouсhed using the mix from Step5.

Thе Hair

Step l. The hair was first painted with Bestial Step2. The hair was then given tvvoconseсutive Step 3. Bleaсhed Bone was then applied as a
Brown followed bу a layer of Blazing Orange. washes of Ogryn Flesh,followed by a highlight final highlight. тo finish, a glaze of Baal Red
of Dwarf Flesh applied to eaсh hair strand. was brushed over the whole area.

www.gamеs-workshop.сom 89
 The main part of the
backpack was painted
in the same waу as the
power armour,
Мuch of the power armour
is obscured bу details suсh
as the pelt - it's much
more prominent on the
rear of the model.

Тherе are a muItitudeof methodsfor paintingpower
armour,many of whiсh have been detailedin White Dwaгf.
The methodemployedby,Еavy Мeta| has evolvedovеr a
good few years and is provеn to be very effeсtive.You start
by buildin8up a f|atсoIour;this is the baseсoat,applied
over severalthin layersuntil you have a so|id,opaque сoat.
А highIightis then appIiedto the edgesof еaсh segmеnt
and a shade in the joints betweenthe seсtions.Тhe Iight
sourсeis assumedto be сoming from direсt|yoverhead,
and so the top edgeshavea more intensehighIight. Тhis is
bestdemonstrated on the fist shown in the stepsbelow.You
сan see in the laterstageshow the high|ightis applied
more heavi|yto the top of the fingersand aсrossthe thumb;
this liftsthe miniatureand avoidsсonfusingthe eye with
multip|eIightsourсes.
That,sthe methodin its most generaltermsbut you сan
add to this with additionaIpaint effeсts.For instanсе,we,]]
be takinga с|oserlook at how to infliсtextrabattlе
damagе,sсratсhesand сhips over the page.SpaсeWolves
power armouris oftеnaссentedby ye||owsand reds,as
they makegood сontrasting сo]ours.This is normally
appliedto the shoulderpads,as we,]]сover in moredetaiI
Iatеrin the artiс|e,and it,snot unknownfor dagsor stripes
on thе armsor legsto be paintedonto the armouras wel].

Тhе Power Armour

Step l. A 1:I :1 basecoatmiх of Kommando Step2. A 1:1 mix of Shadow crey and Sсorched Step 3. Next, a 2:1:1 Space Wolves Grey,
Khaki, Shadow crey and Space Wolves Greу Brown was сarefully brushed into the reсesses Shadow Grey and Kommando Khaki was
was applied to the power armour. between the armour seсtions. applied towards the edges of the armour.

Step 4. Pure Space Wolves Grey was worked Step5. Devlan Мud was washed into the Step 6. A final highlight using a 1:1 mix of Space
onto the edges of the armour| сreating a reсesses between the plates of armour' Wolves Crey and Skull White was applied, with
d i stinct edge highIight. a stronger application on the top edges.

90 WH!тEDWARF ,ЕАVYМЕТАLМАsТЕRсLАss
 The wolf tails get Keeping the backpack
Iighteras they taper separateallows Nei/ to
towards the end, but paint the tails without
otherwise use the obstruction.
technique below.

Paintingfur is reIativeIy
easy,as the texturеis idеalfor
drybrushing, givingyou a p|еasingеffесtwith minimal
effort.However,this is an ,ЕavyМetal-paintedmodе|/so it
Won/tsurprisеyou to |еarnthat insteadof drybrushing the
fur,Neil piсkedout the separateсlumpsand high|ightеd
them aссordingly. The only exсeptionto this Wasa Very
lightdrybrushin Steps3 and 4, detailedbelow.
lt,sa|waysa good idea to get some real-worldrеferenсe
bеforeyou startpaintingfur. Referenсеbooks on natural
historyare a good startingpoint,as they often havе с|ear,
high-quality photosand, as a|ways,the Intеrnеtis a great
tool for findingsuitableimages.
Using rеa|-wor|d referеnсeallowsyou to paintyour fur
to |ookmorе rеalistiс- for examp|e,the fur on thе baсk of
an animaItendsto be darkеr,lighteningout towardsthе
undеrside.Similarly,wo|ftai|stеndto lightentowardsthe
end and so Neil has rep|iсatedthis effесton the two taiIs
danglingfr o mthe baсkpaсk.BleaсhеdBo neand SkuIl
White were usеdmorе hеavilythan on the peltsto aсhieve
this lightertone.
Nеil has paintedthe undersidеof thе pe|tsred,starting
with a baseсoatof pure Sсab Red. tortresscrеy was added
to thе mix in gradualstagesas he bui|tup thе layersuntiI
hе was happywith the fina||ook.

Thе Fur

Step 1, The fur areas were first basecoated with Step 2. Bestial Brown was then used to piсk out Step 3. Vomit Brown was used for the next laуer;
Scorched Brown. А solid сoat was created usinя the fur, this was more heavily applied towards the сentre of the pelt was given a light drybrush,
several thin layers. the еdges of the pelt. while the fur along the edges was painted.

Step 4. Bleaсhed Bone was lightly drybrushed in Step 5, Skull White was the final highlight, Step 6, Two washes were then brushed over
the centre of the pelt, but paintеd onto the applied over the whole pelt with a slightlу the pelt; the first was Gryphonne Sepia,followed
clumps of fur around the edges. heavier сoating on the edges. by Ogryn Flesh when the first wash had dried.

www.games.workshop.сom 91
 The pair of wolf
сlaws are a real
defining featureof
the Wolf Guard,
and onсe painted Both sides of the wolf сlaws were painted We featured an alternative energy field
really bring the with the energy effeсt, as the model,s open oaftern in last month's masterclass - this
model together. posture makes every angle visible. effect *'ill n,ork with a varietY of сolours,

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 сreatedin the prеviousstepas a guide.trom thereit,sa

plаyingaсrossthе woIf сlaws.You,Ilsеe simiIareffeсtson сasеof bui|dingup the freehаndwork bу addingto the
many ,EavуМetal paintedmodе|sthatfеaturepowеr enеr gyI inesw ith thе subsеquеnt сo lo ur sand mix еs,еaсh
Wеaponsin onе form or anothеr. stagеshouldhavea finеr Iinethanthe previousonе. Aftеr
t h i st е с h n i q u eb y ,b |o tс h i n g ,otnh е
N е i I s t ar t е d eaсh Iayеr,NeiI app|iedan еxtreme|y thin g|azеof thе
basесoatto the с|aws.Тhis mеansthe paint,whilе sameсo|ourand washеdit ovеr the еntirес|aw.Тhis helps
re r nai n i ng t h i nne dd o wn ,wa s a p p |i е di n a n a I m o s t сrеatеthе ,frosting,еffeсt and addsa сеrtainеthеrеal
unсontrol|ed, roughshodway, lettingthatpaintrun onto the qualityto the lo o k o f thе mo dеl.
areaand dry in a naturaI staterathеrthan bеingсontroIIеd Nеil has paintedthе еner gylinesin a mo r еtightIy
,l,
by the brush(sеeStep be|ow).Whеn dry,this formedthe paсkedand densеrpattеrnon the undersidеof the сlaws,
basisof the frееhanddesign.Тhе nеxtstagеwas to painton suggesting the powerof the wolf сIawsis foсusеdon the
thе initia|energyIinеs;thesеwere paintеdusingthе pattеrn areaof thе weaponthatwi|l do thе mostdamagе.

Тhe Wolf Claws

Step l. Thinned-down Regal Blue was applied to Step 2. Lines were painted onto the claws with Step 3, А З:1 mix of Hawk Turquoise and
the wolf сlaws in a haphazard, ,blotchу,fashion, Hawk Turquoise, using the pattern created in the Bleaсhed Bone was painted over the lines.
as desсribed above. previous stage as a guide. А glaze of the same mix was then applied.

Step4, А 1:1 mix of Bleaсhed Bone and Hawk Step5. Next,a З:1 mix of Bleaсhed Bone and Step 6. Finallу SkullWhite was painted onto
Turquoisewas used on the lines, then turned into Нawk Turquoisewas used. onсe again this was the verу edges and points of the сIaws as an
a glaze and brushed over the area. thinned to a glaze and applied to the whole area. extreme highlight.

,ЕАVY МЕTAL МAsТЕRсLAss

92 WHIТE DWARF
 lIAttlAG]
BП]TIE
PaintingbattIedamagеonto power armourсan add rеal
сharaсterto a modе|,suggеstingtheseare anсient,well-
worn suitsof armour,ratherthan somethingthat'snew or
mass-produсed.
Thе numberof сhips,marksor sсratсhesyou add is
up to you; the more you apply,the more battle-wornthe
armourwi]l look. Bеar in mind thataddingtoo muсh
battledamageсan distraсtfrom the aсtual paint sсheme.
It,salso worththinkingaboutthe loсationof the marks.
Most wear and tearwi||happenaroundthe jointsof thе
armour/but areаssuсh as the greavesand bootswil| a|so
see a fair sharеof sсratсhеsand сhips from walking
amongstthe debrisof a batt|еfield. Тhе armouron the
armsand fistswiIl oftеnbе damagedas weIl,due to
previousсlosе сombatenсounters.
It'salso importantto vary the age of the battle
damageon the power armour.lf evеry sсratсhand mark
is of thе sametypе,then it will give the impressionthat
a|l damagehas happenedin justonе battleratherthan
throughthe ages.Creatingdeeperсhips suggests older
damage,whi|e lightsсratсhesor brightsilverсhips infer
more reсentinсidents.

Step 1. Neil painted on the chips by first
reapplуing the power armour baseсoat _ a
1:l:1 mix of Kommando Khaki,Shadow Crey
and Space Wolves creу - in small areason
the armour. For deeper сhips the mix was
darkened bу adding more Shadow Grey.
Step 2, Below the previous application pure
Space Wolves Crey was added. Again, the
thicknessof the line and amount used will
depend on the effect уou,re after, from the size
of the сhip to the age уou want to represent'
Step 3. Skull White was then used underneath
the сhip, add a small amount justto highlight
the damage. You can inсrease the amount to
suggesta more recent chip or sсratch.

Мorе Battle Damagе Examples

Vehicles suсh as tanksare often weatheredand сovered in scratсhes,

especially around areasof heavy use suсh as ladders, hatchesand on
'dozer blades, as in this example.

This SalamandersDreadnought shows heavу battlefield wear

and tear.Severe metalliс scratchesсan be achieved with a
This White Sсars Vanguard Veteranwears an ancient suit of baseсoatof Boltgun Мetal and then a following laуer of Мithril
power armour, the age of which is suggestedby the heavy chipping. Silver. A wash of Badab Black makesthe chip look older.

www.8amеs.workshop.сom
 With the main areasof the miniaturenow painted,Neil
startеdwork on thе additiona|dеtaiIs,suсh as thе shouIdеr
pads,gemsand runes.Don't be temptedto rushthrough
theseIastfew bits_ give them as muсh timе as you wou|d
any otherstageto ensureyou maintaina high standard
throughoutthe proсess.
Тhe methodNeiI usedto paintthe yе||owis a
partiсular|y teсhniqueas it is on|ythrееstagеs,
interesting
but produсesa very riсh сo|our.lt was a|sousedon the
othershoulderand knеe pad of thе modе|. Yellow was used elsewhere on the model as a сontrast to the grey armour.

Thе ShouldеrPad

Step l. Bubonic Brown was painted in the area Step 2. This was highlighted with a 1:I mix of Step 3. A highlight of Bleaсhed Bone, followed
of the shoulder pad betvveenthe rim and the Buboniс Brown and Bleaсhed Bone' then washed by a 1:1mix of Bleaсhed Bone and Skull White
raised creat Сompany symbol. with ogryn Flesh and Оryphonne Sepia. was applied. The icon was repainted black.

МеtaI

Step l. The metal rims of the shoulder pads Step 2. А wash of Devlan Мud was then applied Step 3. A lvlithril Silver highlight was applied
baseсoated with a layer of Boltgun Мetal. to the rim. Be careful when applying the wash so to the edges of the rim, onto the rivets, and
run-off doesn,t contaminate the уellow area. as small sсratсheson the metal areas'

Thе Baсkpaсk

Step l. The ornate wolf heads were firstpainted Step 2. The heads were highlighted with Shining Step 3. А highlight of Burnished Gold was
with a З:1 baseсoat mix of Shining cold and Gold, followed by a wash of Ogryn Flesh. applied, followed by a highlight with a 1:1
Bestial Brown. mix of Burnished cold and Мithril Silver.

,ЕАVY МЕТАL MАsТЕRсLАss

94 WHlтЕ DWARF
Тhe Wo|f Cuard,sbelt rea|lystandsout due to the glowing
runes.This effесtis aсhiеvеdby framingthе glowingarеa/
in this сasе a rune,with a darkershadeof the main сolouг.
Еасhsubsequеnt layershouldthen be Iighterin tonе and
shrinktowаrdsthe sourсeof the iIlumination.
Bеlt and Runes
Step l. The runeswere first painted Regal
Blue and then worked up with a 3:1 mix
of Regal BIue and lce Blue.
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, whiсh was highlighted with Fortress Greу.
Chest Cem
Тhe gems on the model were painted Red Gore, then
Blood Red. This was followed by highlights of Blazing
Orange and Vomit Brown. An extreme highlight of
Bleached Bone and finallу Skull White was then applied.
Thе skuIIin thе сеntrеof thе be|twas firstpainted
Bestia]Brown fo||owеdby a layerof SnakеbitеLeather.
Тhе sесondstagewas bui|tup with a layerof Vomit Brown
fo||owеdby B|eaсhedBonе,then givena wash of ogryn
F|еshbеforereсeivinga final highlightof Skull White.
Step 2. Next, theу were painted with a Step 3. The runeswere highlighted
1:1 mix of Regal Blue and lсe Blue; this with Space Wolves Crey and then a
was followed by laуer of pure lсe Blue. final, extreme highlight of Skull White.
Sculpted Base
Тhe orc icons on the base were painted in a
similar manner to the metal rims of the shoulder
pads, the onlу difference being that a Badab
Black wash was used insteadof Devlan Мud,
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.
www.games-workshop.сom 95
 This month’s masterclass focuses on the
menacing Daemon Prince of Chaos
designed by Juan Diaz. 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.
BLACK LEGION
DAEMON PRINCE
Painted by Kirsten Mickelburgh
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. In the case of the
Daemon Prince, 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. Once the rest of the Daemon
Prince had been assembled, an
undercoat was applied using Chaos
Black spray. When spraying the model,
you need to make sure that you cover
the model thoroughly, but be careful
not to obscure the details by
overloading the model with paint.
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. As such, his armour DAEMONIC FLESH
was painted in the colours of the Black The Daemon Prince was once a mighty
Legion, black with gold trim on the Chaos Space Marine Champion, and
shoulder guards and greaves. All of the his flesh and armour have melded
raised areas of the black armour were together. This meant that the skin tones
highlighted with a 50/50 mix of Chaos chosen for the model would need to
Black and Codex Grey, then Codex blend back into the colour of his
Grey was used on its own, before a armour. Starting with the Daemon’s
final highlight of Fortress Grey was neck, an 80/20 mix of Chaos Black and
applied over the very top ridges of Red Gore was painted where the
the contours in the Daemon’s armour and flesh join, to create the
armour. Once these highlights effect that they had merged. This was
had been applied, thinned-down applied down either side of the spine
Black Ink was washed over the and across the shoulders towards the
armour to tone down the elbows where it fades to black again.
brightness of the highlights, blend
them with the armour’s main
colour and merge the joins
between all the different colours.
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. A thinned-
down coat of This effect was achieved by painting
Chestnut Ink was away from the armour and adding more
washed over this to Red Gore to the mix as the brush strokes
blend the highlights moved further from the armour until the
together. ratio was 20/80 Chaos Black/Red Gore
Once this on the tops of the muscles and cheeks of
had dried, a the model. Once the basic blended
little Shining colours had been applied, the raised
Gold was ridges of flesh were highlighted with Red
used to Gore, then Blood Red before a final fine
highlight the line of Blazing Orange was added.
metal before
a 50/50 mix
of Shining
Gold and
Mithril Silver
was applied
to the very
edges of the
trims. As a
final touch, a
tiny amount
of Mithril To bring the brightness of the orange
Silver was highlights down and smooth the blending
painted onto
lines, a watered-down glaze of Red Ink
the furthest was used. Starting from a point halfway
edges of the
between where the red and black
detailing merge, the ink was painted towards, and
where the over, the red areas of the model. It was
light would important not to go onto the black as the
catch it. blended effect would be lost.
HORNS AND CLAWS and arms and the blade’s length and,
The Daemon Prince’s horns merged the eye on his once this had dried,
with the red flesh of his head and were shoulder guard Yellow Ink was used to
blended from red to black at the base and breastplate. give the runes the
of the horns using the same method as These areas appearance of glowing
was used to blend the join of flesh and were painted heat. Orange Ink was
armour. Using a combination of with a 50/50 then dabbed in the
gradually brighter colours created the mix of Dark corners to give the
effect of the horn lightening from its Angels Green impression that the
thickest part to the tip. Firstly a 50/50 and Chaos centre of the blade was
mix of Scorched Brown and Chaos Black. This was the hottest (as metal
Black was painted in lines from the first highlighted glows brighter the hotter
black part of the horn to its tip. The with Dark it is) and finally, a tiny
paint on the horns was applied in lines Angels Green, dot of Blood Red was
down the length of the horn, as this is then a mix of painted into the very
how real horns colour as they grow Goblin Green edge of each rune.
from an animal’s head (for reference and some Dark Once the runes were
material, we sourced pictures of Angels Green, painted, any areas
Highland Cattle). Next, Scorched and lastly a final where the colours had
Brown on its own was painted to the highlight of spilled over onto the
horn’s tip, though the lines were started Goblin Green blade were tidied up
further away from the base of the horn, on its own. with Chaos Black. The
so that some of the first coat was still sword blade itself was
The Space Marine helmet was given
visible there. The process was painted by blending the
an extra highlight of Goblin Green
repeated using a 50/50 mix of Chaos Black outwards
equally mixed with
Scorched with Hawk Turquoise
Bleached Bone. All
Brown and towards the weapon’s
these areas were
Bestial edges. The edges of the
then given a
Brown, sword were then
thinned-down glaze
starting the highlighted with a 50/50
of Green Ink to
lines even mix of Skull White was
blend all the
further from added and Hawk
highlights together.
the base so Turquoise before a final
that the The bony ridges along the top edge of highlight of Skull White
previous the Daemon’s backpack vanes and left along the very tip and
coat of forearm were painted with a 50/50 mix barbs of the blade.
paint was of Scorched
still visible. Brown and BASING
Bestial Bestial Brown. Watered-down PVA glue was spread
Brown was These were evenly over the model’s base before
used next, then highlighted being sprinkled with sand. Some stone
followed by with Bestial chips were also glued to the base. This
Snakebite Brown followed was drybrushed with Codex Grey then
Leather then by Snakebite Bleached Bone, though some of the
Bubonic Brown, Leather then larger stones had Skull White brushed
each time Bubonic Brown. over them. Some small areas of Static
starting closer Finally, some Grass were glued to the base with PVA
to the horn’s Bleached Bone glue, clustered at the base of the rocks,
tip. Following was applied since this is where mosses and lichens
this, a coat of followed by generally prefer to grow.
Bleached Bone, Skull White.
followed by
The skulls decorating the
Skull White
Daemon Prince’s armour
was applied to
were painted with a 50/50
the very end of
mix of Codex Grey and
the horn.
Fortress Grey then
highlighted with Fortress
DETAILING THE ARMOUR Grey. Final highlights were
The metallic pipes on the Daemon added by painting Skull
Prince’s belly were painted with Tin Bitz White along the raised
then given a wash of equally mixed edges of the skulls.
Black and Brown Ink. Chainmail was
lightly drybrushed across the pipes, just
enough to highlight them yet still give
DAEMON WEAPON
The Daemon Prince’s weapon glows
the impression of corrupted, rusty
with inner fires, and this effect was
metal. There were a few areas on the
achieved relatively simply. A watered-
model that used the same green: the
down layer of Skull White was brushed
captured Space Marine helmet, the
into the depressions of the runes along
piping on the Daemon Prince’s head

56
 IRON WARRIORS Last, but not least, the plastic dragon
wings were glued into place on the
DAEMON PRINCE model’s back, with Green Stuff
covering the joins. These wings fit very
well into the recesses left when the
backpack isn’t attached and gives the
model a very imposing look!

DAEMON ARMOUR
Painted and converted by Tammy Haye

As with the previous Daemon Prince,

this model was first given an undercoat
of Chaos Black spray. Once the
undercoat had dried, the armour was
drybrushed with Tin Bitz then Boltgun
Metal. Next, the armour was given a
glaze of watered-down 50/50 mix of
Brown and Black Inks. This was then
highlighted with Boltgun Metal, blended
up from the darkness of the recesses
of the armour around the edge trims.
Final highlights of Mithril Silver were
applied on the highest areas of the
armour, making sure that, over the
some of the more ‘organic’ areas of the
metal, the brushstrokes were painted
ASSEMBLY sawn in half and removed. These were
along the line
AND CONVERSION then glued to the flat of each side of
of the grain.
The Iron Warrior’s Daemon Prince was the axe blade and
This technique
assembled as normal, but it was Green Stuff
was used on all
converted to make him stand out from sculpted around
the silver metal
the Black Legion Daemon Prince. The them to give the
areas, such as
gun barrel on the left arm was impression that
the axe blade,
extended using Green Stuff to make it the axe was raw,
visor, Necron
more prominent and emphasise the bloody and alive
head and Iron
mechanised nature of the Iron itself. To finish off
Warriors’ icon.
Warriors. Then the sword blade and hilt the axe, the base
The edge trims
were clipped from the top and bottom of the haft was
of the armour
of the Daemon Prince’s hand and a given a Green
were left at this
hole drilled through to allow the Stuff end piece.
point until after
insertion of an aluminium rod to serve the Daemon
The left shoulder
as the haft of an axe. A blade from the Prince’s flesh
guard had the
Bloodthirster’s axe was clipped off and had been
skulls and spikes
the detailing on both sides of the totally painted.
clipped off,
blades filed flat. This was glued to the
leaving only the
aluminium rod and the spear point from
the skeleton warriors plastic regiment
edge trims. The DAEMONIC FLESH
centre of the The techniques
was glued to the top. The back blade
shoulder guard used on the fleshy
was also from the Bloodthirster’s axe,
was filed flat and areas of the
clipped and filed to fit on the back of
an Iron Warriors’ Daemon Prince
the haft.
symbol was were applied to all
Since this sculpted on using the areas of the
Daemon Prince Green Stuff. model where its
was going to flesh had morphed
To really emphasise that this Daemon
have wings with its armour
Prince was once an Iron Warrior, it was
instead of the and burst through,
given a visor sculpted from Green
jump pack such as the wing
Stuff. Once this had dried, it was filed
vanes, the skull muscles, axe-
into its final, angular shape and holes
on the end of flesh, hands,
were drilled through in one side with a
one of these head, knee guard
pin vice to mirror the helmets of the
vanes was and arms.
Iron Warriors themselves.

56 ’EAVY METAL MASTERCLASS

Firstly, a basecoat of Dark Flesh was DETAILING THE ARMOUR themselves were cleaned up with
used as an undertone for the flesh One of the most obvious means of Chaos Black. The scaled parts along
colours. This was then blended to the identifying a model as belonging to the the wing muscles were repainted black
areas where it morphs back into the Iron Warriors is the painting of yellow where the painting of the flesh here had
armour by applying the paint then and black chevrons on its armour or gone over them. To highlight the wings,
using a clean, damp brush to render weapons. In this case, the cables a fine line of Codex Grey and Chaos
the paint at the edges semi-transparent running over the Daemon Prince’s head Black was painted along the back edge
so that it will appear to blend with all and from his left arm were picked out in of the grooves in the wing membranes,
the colours underneath. these colours. They were painted Vomit as this is where they would catch the
Brown first, and then highlighted with light. To make this highlight subtler, a
The first highlight
Bleached Bone before being given a fine line of Codex Grey was applied in
was applied using
wash of Yellow Ink. The black stripes the very centre of this line before an
Dwarf Flesh, then
were then painted over the yellow pipes. extremely watered-down Black Ink was
a glaze of Red Ink
glazed all over
and Flesh Wash
the wing’s
mixed with a little
membranes. To
water was washed
make the horns
over all the fleshy
at the ends of
parts of the
the wings and
Daemon Prince.
the scales stand
This was also
out, they were
applied over some The skulls mounted on the model’s given a coat of
of the metallic armour were painted Snakebite Leather Gloss Varnish.
parts of the model, then highlighted with
to emphasise the Bubonic Brown. This was
raw, impending then given a further
HORNS
changes warping Where the Daemon Prince’s horns met
highlight of Bleached Bone,
through the its head, Bleached Bone mixed with a
before a final highlight of
Daemon Prince 50/50 mix of Red Ink and Flesh Wash
Skull White was applied.
and to suggest was applied. Then, moving further
that more flesh The same method used to paint the along the horn, Bleached Bone was
could burst yellow of the cables was applied to the painted and blended back towards the
through his armour Space Marine helmet, Daemon Prince’s head. This was done
at any time. with an extra highlight again, even further along the length of
of Bleached Bone to the horn, using Bleached Bone mixed
The flesh was now give the edges of the with a dot of Chaos Black. This process
re-highlighted with helmet more definition. was repeated, each time moving further
Dwarf Flesh down the horn and adding more Chaos
followed by The eyes of the
Black to the mix until the tip was
another highlight Daemon Prince as
completely
of Dwarf Flesh well as those on his
black. To finish
mixed equally with armour were picked
off the horns,
Bleached Bone. out in Snot Green then
some Gloss
highlighted with Bilious
Varnish was
A final highlight Green followed by a
applied to the
was applied over final highlight of 50/50
very tips.
the highest Bilious Green and
portions of the Bleached Bone. The
flesh with green eyes on the BASING
Bleached Bone. model’s armour were The Iron Warriors’ Daemon Prince was
also given thin lines of based in the same way as the Black
Legion one, using watered-down PVA
ARMOUR TRIMS Chaos Black for the
slit pupils. glue spread evenly over the model’s
The interiors of the shoulder guards were
base, which was then sprinkled with
left black and the metallic trims around
The gun barrel, chains and spine of the sand. This was drybrushed with Codex
the Daemon’s shoulder guards and
model were painted Dwarf Bronze then Grey then Bleached Bone. Some small
greaves were painted with Dwarf Bronze.
highlighted with areas of static grass were also glued to
These were then highlighted with Shining
Shining Gold. the base with PVA glue to break up the
Gold before applying a glaze of Flesh
Chestnut Ink was uniform colour of the base and make it
Wash to blend the highlights together.
washed over this suitable for use on both green and
Once this had
and a final urban battlefields.
dried, a
highlight of Mithril
highlight of
Silver was
equally mixed
painted on the
Shining Gold
highest areas.
and Mithril
Silver was
painted on the WINGS
very edges of Areas where the fleshy colours from the
the trims. Daemon Prince’s wing muscles had
spilled onto the wing membranes
 DARK SKIN – Intermediate
MASTERCLASS
When painting dark faces it is difficult to get colour, life
and expression into them because of the colours you are
using. To help solve this problem I didn’t make the skin
tone too dark. This enabled me to wash the colour around
the lips, eyes and nose to bring the face to life. I then used
FACES REDUX
1 2
an edge highlights to give it definition, if the highlights are
layered up too much then the dark look of the face will be
lost. Remember that the face is very important and you
mustn’t lose it to the rest of the figure, so a fine highlight is
needed on dark skin tones to emphasise the expression.
3

Step 1. First of all the face was basecoated Step 2. A wash using a 1:1 mix of Scorched Step 3. A 2:1 mix of Dark Flesh and Vomit
with Dark Flesh. Brown and Badab Black was applied all over Brown was then layered on to the face.
Back in February 2009 we showed you how to paint human the face area.
faces and touched on other techniques. In this article Darren
Latham goes into even greater depth about painting faces the
‘Eavy Metal way, including more advanced techniques. 4 5 6

T
he face is always the most important
part of any miniature; it is the first
part anyone will look at and needs
time and attention spent on it. It dictates
the whole appearance of the finished
miniature. As such it deserves extra
attention when it comes to painting, as it’s
tricky to get right, which is why White
Dwarf turned to the ’Eavy Metal team for
help and advice. Last time we showed you
how to paint the skin and the hair, as well
as more advanced techniques such as
painting scars. But I think there’s much
more to say on the subject, so I’m going to
delve even deeper into the art of faces.
Before we start, it’s worth recapping
some of the basics discussed last time:
always keep your paint thin and apply
You Will Need
For the techniques featured in this article Darren has
used the following colours from the Citadel Colour,
Wash and Foundation ranges.
TM
Chaos Black Spray Kommando Khaki
Bleached Bone Liche Purple
In February 2009 we
Codex Grey Regal Blue
published an ’Eavy
Metal Masterclass on Chaos Black Rotting Flesh
Dark Flesh Scab Red
painting faces.
Darren Latham, Dwarf Flesh Scorched Brown
several thin layers rather than one thick
coat of paint; remember that you can
always add paint to thin layers but you
can’t take away from one thick layer. The
other advantage is that thin layers will not
obscure the detail on the face. You can add
expression with painting and give an
indication as to the environment that the Step 4. Next, a 1:1:1 mix of Dark Flesh, Vomit Step 5. Scab Red was washed around the bottom Step 6. Finally, Bleached Bone was used as a
figure is placed in. All of this will add to brown and Kommando Khaki was applied as a lip while a 1:1 mix of Regal Blue and Dark Flesh highlight, applied to accentuate the model’s
the depth and background of the miniature. first highlight. was washed around the eyes. dour expression.
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, something known as subcutaneous
Ageing Showcase
colours. Skin is the living part of the figure
and should have tones and nuances added AGEING
to it to give it life – I’ll cover this in more
With the two age examples shown here, the aim is to
detail in a moment.
illustrate that even with the same head you can achieve a
completely different look with the use of a brush. One is a
young man and the other an old veteran. The young face
has lots of warm colour within it and a smooth finish to the
face with minimal lines added, all this adds to the look of
Wash: W Foundation: F
the face being youthful and healthy. With the older face,
greys were added to the skin highlights to wash out the
colour. Many thin expression lines were added to give a
wrinkled appearance.
Space Wolves Grey
Vomit Brown
Warlock Purple
F Fenris Grey A B
F Knarloc Green
F Orkhide Shade

assures us he has Elf Flesh Shadow Grey F Tallarn Flesh

This model represents an older the colour. In the other example,
much more to say on Fortress Grey Skull White W Badab Black version of Griff – the paint has Bilbo’s age has been alluded to
been applied in a sympathetic with the addition of expression
the subject. Goblin Green Snakebite Leather W Thraka Green
way, with grey tones to wash out lines and creases.

www.games-workshop.com 93
 FEMALE FACES – Intermediate
When painting female faces, subtlety is the key. A much
softer approach is needed for any female face, and this is
especially true for The Lord of The Rings figures. I decided
to use a white undercoat for Arwen to make sure that the
skin did not end up too dark, as can sometimes happen if
a black undercoat is used. Once again I started with a
midtone colour. This cuts down on the number of paint
layers, more of which would be needed if a darker tone
were used as a base. Colour was then washed over to add
warmth to the face and give me some direction as to
where I should place my highlights. Thin paint layers were
then applied to build up the light appearance.
1 2
The colour on the cheeks was painted on just under
the cheekbone to add depth and height. It’s important to
note that if placed on the cheekbone itself it will flatten the
face and give a flustered appearance. Just as vital are the
lips – the bottom lip is straightforward but the top lip can
cause problems. One thin line is enough to add colour and
fullness to female lips, any more than this and it will look
over the top and fake. A small highlight on the bottom lip
is a good way of adding a different surface texture to the
face. I also added some eyebrows – this is usually a big
no-no in miniature painting, but with certain female
visages it can enhance the look.
3 which can sometimes appear too bright. For this stage by
NON-HUMAN FACES
The Warhammer world and the galaxy of the 41st Millennium are inhabited by
more than just humans, but painting an alien face calls for a different technique.
Let’s start with a detailed Ork face before moving onto other creatures.
ADVANCED
This greenskin method is more realistic than the four-stage
example in the previous article. I used a more natural
green with Knarloc Green rather than Goblin Green,
stage I started with a midtone green rather than a dark
green and washed colour into the face for shade. I then
added Vomit Brown to the base colour for a natural
warmth, rather than adding yellow. This gives the face a
‘real’ look rather than a cartoony appearance. Nuances
TECHNIQUE
were added around the eyes, nose and lips to give the face
life and have the colour appear subcutaneous (see p92). To
get this effect a red was used to represent blood and green
added to tie it to the rest of the face, applied to the lower
portion of the face. I used blue around the eyes to give the
face some expression and focus. These areas were then
highlighted to pull them into the surrounding face and tone
them down a little. This Ork face should be reserved for
characters and special figures that require extra attention.

Step 1. The face was first basecoated with a 4:1 Step 2. This was followed by a wash of Dark Step 3. Highlighting started with a 2:1 mix of
1 2 3
mix of Tallarn Flesh and Scab Red. Flesh and then followed by a further wash of Tallarn Flesh and Elf Flesh.
Scorched Brown.

4 5 6
Step 1. The face was first basecoated with Step 2. A wash using a 1:1 mix of Dark Flesh Step 3. This was followed by a second wash
Knarloc Green. and Catachan Green was then applied all over using a 2:2:1 mix of Scorched Brown, Catachan
the face and head. Green and Chaos Black.

Step 4. A further highlight of pure Elf Flesh was

then applied.
Step 5. The next highlight layer was a 2:1 mix of
Elf Flesh and Skull White. The lips were painted
with a 2:1 mix of Scab Red and Tallarn Flesh.
Step 6. The eye shadow was painted with
Tanned Flesh. Finally the face was highlighted
with Skull White.
4 5 6
The cheeks were painted with a 1:1:1 mix of
Scab Red, Tallarn Flesh and Warlock Purple.

Female/Elf Showcase

Step 4. Knarloc Green was then built up round Step 5. A highlight using a 2:1 mix of Knarloc Step 6. Bleached Bone was added to the
the face in several thin layers. Green and Vomit Brown was then applied. previous mix in a 1:1 ratio and applied as the
next layer of highlighting.

7 8 9
To enhance the
fantastical look of
Warhammer models,
your painting needs to
be bold and striking.
With blonde hair, the features on the face need to be even subtler. Skin You should still be
should also be kept pale, or else it will tend to look overly pink when mindful of the things
contrasted against the yellow in the hair. Any make-up should barely be we’ve already talked
hinted at. This is especially true with The Lord of The Rings models, about, but you don’t
where a hint of realism is desired – this Galadriel model is a good need to ensure that they
Step 7. A wash of Scab Red and Knarloc Green Step 8. The raised areas were then highlighted Step 9. Skull White was used as the final
example. In general, the rule of thumb is that the lighter the hair, the are as life-like as The
was used around the lip and scar, while a mix of with Bleached Bone. highlight and also applied to the teeth.
lighter the skin needs to be. Lord of The Rings figures.
Regal Blue and Knarloc Green was brushed
around the eyelids.

94 WHITE DWARF PAINTING FACES www.games-workshop.com 95

 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, Andy Hoare assures me)! With
this in mind I washed a mix of purple over the skin to
make it look more lifelike, this adds good definition and
tone to the skin. I then highlighted the skin by adding in
Kommando Khaki. This is a very good neutral tone with
some warmth to it, to make the skin look natural, but is
not not too harsh as to form a stark contrast. With Tau
being blue in skin tone, all of these different nuances with
shade and highlight help emphasise the appearance that it
is a living creature. If it was just shaded with a darker blue
and highlighted with a light blue, the skin would look
unnatural and, therefore, unrealistic.
UNDEAD SKIN – Intermediate
When painting Undead skin, the thing to remember is to
keep it pale; this way you can add lots of colour into the
skin to make it interesting. For the Zombie face I added
purple into the basecoat to give it a slightly dead tone, and
added washes to make it look like the flesh was oozing out
its colour. To give the skin an unnatural appearance I
highlighted it with Rotting Flesh. The green in the Rotting
Flesh gives a nice contrast to all the warm tones and adds
to the dead and pale look. And, because this is a Zombie, I
added the requisite visceral splatter on the face.

1 2 3
1 2 3

Step 1. The entire face was first basecoated with
Fenris Grey.
Step 2. A wash using a 1:1:1 mix of Liche
Purple, Scorched Brown and Badab Black was
then applied all over.
Step 1. A 2:1 mix of Tallarn Flesh and Liche Step 2. This was followed by a wash using a Step 3. A 2:1 mix of Tallarn Flesh and Rotting
Purple was used as a basecoat. 1:1:1:1 mix of Scorched Brown, Liche Purple, Flesh was then layered onto the skin.
Step 3. The skin was then layered up with
Scab Red and Badab Black.
Shadow Grey.

4 5 6
4 5 6

Step 4. A highlight using a 1:1:1 mix of Shadow
Grey, Fortress Grey and Kommando Khaki was
then applied.
Step 5. The skin was highlighted further with
pure Kommando Khaki.
Step 4. A highlight using a 2:1 mix of Rotting Step 5. A 1:1 mix of Liche Purple and Tallarn Step 6. A final highlight of Rotting Flesh was
Flesh and Tallarn Flesh was then applied. Flesh was washed around the eyes. At the same applied to the skin. Gore was then splattered on
Step 6. The final stage was to highlight the most
time a 1:1 mix of Scab Red and Warlock Purple the face with Scab Red and Badab Black.
prominent areas with Skull White.
was washed around the mouth and nose.

Tau Showcase Undead Showcase

The face of Aun’va, an ancient and powerful Ethereal, has been painted
using Tau skin colours, but with the ageing techniques as described
over on page 93.
Commander Shadowsun, as a female Tau, has been given a deeper
purple wash, with Liche Purple added to Fenris Grey. This gives her
skin a softer, subtler appearance. Unlike Aun’va, her face contains
warmer tones, to convey a youthful energy.
This Zombie has been painted in a more fleshy,
pink tone. The gore aspect of the model on
both the body and face has been played down
but the lining around the face is excellent,
especially around the eyes and teeth.
Joe Tomaszewski’s brilliant Vampire has a face
painted in blue tones for a very washed out,
long-dead look. Rotting Flesh has been used as
the blend to highlight with but this has been
applied in a very subtle way.
The same techniques applied to the Zombie to
give it a lifeless appearance can be applied to a
Ghoul too. The difference is with the blood
and gore spatter. On a Ghoul it should look a
lot fresher, as if the creature has just eaten.

96 WHITE DWARF PAINTING FACES www.games-workshop.com 97

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

INSPIRATION
Duncan: The Tau Empire army is very different to any other
race in Warhammer 40,000 . On the one hand, they disp lay
a vibrant, uniform colour scheme on all their Tau infantry,
battlesu its and vehicles, yet their alien allies in the Vespid
and Kroot stand wi ldly apart from the rest of the army- so
too the cla ndesti ne Stealthsuits and majestic Ethereals.
Steve and I decided to paint a Tau Empire army to showcase
these different aspects . We started out w ith a Tau Empire
Battleforce, wh ich provided us wi th most of the miniatures
we needed, but added in a Vespid Stingwing sq uad for extra
va ri ety and an Ethereal to lead the army.

PREPARATION
After un dercoating the models with Chaos Black Spray,
w e used the Citadel Spray Gun to app ly the basecoat and
first Layer stages on the Fire Warriors, Devilfish and Crisis
Battlesuit. We used the same method to paint the blue skin of
the Vespid Stingwi ngs. However, in the case of the Ethereal,
we painted the first two stages with a Basecoat Brush, as onl y Codex: Tau Empire includes the full background o f the army, detailing their
his hands and face were exposed. race's evolution, rapid expansion and assimilation of many other alien species.

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.
FIRE WARRIOR
(!) ARMOUR (D T 'AU SEPT SYMBOL i ® FATIGUES
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FIRE WARRIOR DETAILS AND BASES
CD BLACK (D BASES

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RED ARMOUR AND BLUE SKIN
CD RED ARMOUR : (I) BLUE SKIN
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KROOT
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KROOT DETAILS
CD LACES (I) GOLD ® SILVER
 CHAOS LORD
TM

MASTERCLASS
Painting the Armour

DISPLAY MODELS
Scenic Base
The base was taken from a
small glass jar lid that was
sprayed black. Slate was
then glued on it to create
a stepped pile. For further
texture a lone skull was
stuck on and some Green
Stuff used to fill in the
unsightly gaps.

When painting a model purely for display you should
always consider the direction from which the model will
be viewed. 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. This is especially
important when painting in a non-metallic metal scheme,
as incorrectly judging how the light works could
compromise the paint job. In this case Joe wanted the
model to be viewed straight on so he highlighted and
shaded the armour to reflect that.
Once the armour was fully painted, Joe used coloured
glazes to give it an almost unearthly hue.

Painting Metal Without Metallics Glazing the Armour

1 2 3 1

I
f you’re attending this year’s Games With this in mind, Joe wanted to give
Day, be it in the UK, the US, Europe or the model a scenic base to make it even
anywhere else, then you’ll be in the more imposing and paint it in a very
enviable position to purchase this fantastic advanced technique that is particularly
Games Day-exclusive miniature. The 2009 suitable for displaying miniatures. The
model is a mighty Chaos Lord sculpted by technique is non-metallic metal. This is
Martin Footitt. challenging to achieve but in the hands of
Step 1. After undercoating the Step 2. Watered-down Chaos Step 3. After the wash, Codex Grey Step 1. A glaze, made from
A miniature like this is the perfect an ’Eavy Metal painter the finished effect entire model Chaos Black, Joe Black was applied as a rough, was applied again to the raised watered-down Liche Purple,
subject to be picked out for some special will be stunning. That’s not to say you have began by basecoating the armour heavy wash around the joins and areas to neaten up and form the was applied around the bottom
treatment, and we tasked ’Eavy Metal’s to be an expert, on the following pages plates with Codex Grey. raised areas of the armour. basis of the highlight stages. portions of the armour plates.
Joe Tomaszewski to really go to town on it. we’ll show and explain exactly how Joe
Joe saw this as an exquisite display model, achieved the armour effect, so the step-by-
® something for show rather than the rigours steps along with some painting experience
of gaming. and a steady brush will see you through.
4 5 6 2
You Will Need
For this issue’s ’Eavy
Metal Masterclass All of these paints are available from the Citadel Wash: W Foundation: F
Colour, Wash and Foundation ranges.
we’ve really got
Chaos Black Spray Kommando Khaki Skull White
something really
Bleached Bone Liche Purple Snakebite Leather
special as Joe
Tomaszewski paints Codex Grey Regal Blue F Astronomican Grey
Step 4. A 2:1 mix of Codex Grey Step 5. For the next layer the mix Step 6. Dots of pure Skull White Step 2. A light glaze using Hawk
and Skull White was next, finely was reversed, so it was a 2:1 mix were then applied at points where Turquoise overlaid this. It’s a
the 2009 Games Chaos Black Scab Red F Dheneb Stone
applied along the angle lines of the of Skull White and Codex Grey, the highlight lines met to represent very subtle layer but gives the
Day Miniature. Hawk Turquoise Scorched Brown W Baal Red armour plates. again working up the highlight points of direct reflection. armour an arcane quality.
lines already established.

www.games-workshop.com 91
 NON-METALLIC METAL
Painting the Horns and Shield

The chain mail was simply
painted black, and then Codex
Grey was applied to the bottom of
the links, which was in turn
highlighted with Skull White.
When you paint horns you can go from dark at the base
and lighter at the tip, or shade in the opposite direction,
having a lighter base and darkening at the top. Either
method can be effective and depends on your style and
the model itself. For this project Joe has chosen to lighten
the base of the horns. This is because, bearing in mind it’s
The fur was basecoated
Astronomican Grey and then
given a wash using a 1:1 mix of
Hawk Turquoise and Chaos
Black. It was highlighted back
up to Astronomican Grey, and
then highlighted further with
Skull White.
a display model, he wants the eyes of the spectator to be
drawn towards the face – the lightest part of the model.
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, before they appraise the entire model.
The process known as non-metallic metal is a technique Illustrations, from fantasy art in particular, also show how
that uses paints without metallic pigments to create artists achieve reflective surfaces in two-dimensional
reflective, mostly metal-looking surfaces. Shades and form. In this case real world references are not very
highlights are created in a pictorial fashion using the useful, as they don’t convey the exaggerated highlighting
same methods that artists have been doing on canvas for and shading you need to make the technique effective.
centuries. In effect, you’re using a two dimensional Following a real-world reference will just leave you with
technique on a three dimensional model. That’s quite a a drab grey or yellow area rather than the metallic-look
challenging prospect and for this reason painting with you’re trying to achieve.
non-metallic metal is a very advanced technique that
requires mastery of many other expert techniques, such
Left. Dave Gallagher’s
as rich blending and advanced colour theory. illustration is a perfect
Nevertheless, the ’Eavy Metal team get asked a lot about example of how artists
how to achieve such an effect and so we’ll attempt to paint metal in two-
cover the basics here. Whilst reading this page will give dimensional form.
you some foundation in the technique, practice and solid
brush control are the keys to getting this effect right. Below. A graphical
Models painted up in non-metallic metals are representation of how
primarily for display. It’s rarely used on models intended light falls on simple
geometric shapes,
for use in the gaming environment where the chance of giving you a rough
such a precisely painted model being chipped is much guide about how to
higher. The best way to showcase a miniature with non- add highlights and
metallic metal painting is in a lighted display cabinet, shading to your non-
metallic metals.
where the dedicated spotlights accentuate the
exaggerations painted onto the model. Considering
where the light shines upon the model and how it
reflects off surfaces is actually a good place to start.

Painting the Shield
1 2
Step 1. The shield was first painted
using a 1:1 mix of Codex Grey and
Chaos Black. Joe painted carefully
around the accoutrements hanging
from the shield.
Painting the Horns
1 2
Step 2. Pure Codex Grey was built
up in many thin layers vertically
along the shield’s curvature. A thin
outline of Codex Grey was also
applied to the shield’s edge.
3 4
Step 3. Fortress Grey was then
applied over the same areas in the
previous step. Thin layers carefully
blending with the previous coat of
paint is the key.
3 4
Light Sourcing
Metallic objects reflect light differently to other surfaces
and this needs to be exaggerated when applying paint to
a miniature. On metallic objects light dramatically
changes from dark to light when the surface changes
shape. So to achieve the non-metallic metal effect you
need to imagine, or even draw a plan, where your light
points are around the model so you can place your
highlights and shade. Four points of light around a figure
are generally best; you then plot how each area of non-
metallic metal will react according to where the light
points are on the miniature. The geometric diagrams on Contrast
this page illustrate how light reflects off different shapes. When paining non-metallic metal, contrast is the key.
Step 4. Skull White was used to Each surface needs to go from black to white. Normally
add nuanced highlights on the
When he painted his Harry the
you highlight with a lighter version of the midtone. So
shield, applied mainly along the for, say, Regal Blue, you might highlight with Enchanted
Hammer, Darren Latham
edges but also to create tiny
‘scratches’ on the surface.
imagined four light sources Blue. However, when painting in a non-metallic metal
around the miniature. This technique you should always shade and highlight with
helped him visualise where the
highlights and shades should be.
black and white no matter what the midtone is.
The other facet to this process is that you should add
colour to the surface to bring it to life. Metal surfaces
reflect the environment around them so, if the model is
meant to be in a cave, your colour scheme will not be as
bright as a miniature in strong daylight. The contrast,
coupled with adding ‘light spots’ (bearing in mind where
your light points are on the model), will exaggerate the
reflective quality of the metal. When you actually apply
the paint you must do it in thin layers and then create a
seamless blend, starting with the midtone and shading
down and before highlighting up.

Step 1. Snakebite Leather was
applied as thin stripes along the
length of the horns; brush control
is needed to keep the stripes
separate and neat.
Step 2. Next, Bleached Bone was
overlaid along the Snakebite
Leather stripes, tapering out
towards the tips.
Step 3. Skull White was then
added in thin layers over the
Bleached Bone stripes, keeping the
majority of the layers close to the
base of the four horns.
Have a Go
Step 4. Joe then added nicks and These are just guidelines, the real results will come from
chips with carefully applied Chaos practice and learning the theory. Don’t forget artists have
Black and Skull White. Finally, a been doing this for years in pictures so take inspiration
thin wash of Chaos Black was
brushed over the ends of the horns. from them and don’t be afraid to just give it a go.

92 WHITE DWARF PAINTING MASTERCLASS www.games-workshop.com 93

 Painting the Cloak Painting the Armour Details

The bandages were painted with The loincloth started with a Regal
Dheneb Stone followed by a Baal Blue basecoat, which had Scab
Red and Devlan Mud wash. The Red slowly blended into it for the
area was then highlighted with first highlights. It was then
Dheneb Stone, with a final highlighted with Kommando
highlight of Skull White. Khaki, before Skull White was
added to the mix for a final,
layered highlight.
The intricate freehand design on The skulls were painted using a
the axe head was replicated on very similar method to the
both the axes and across various bandages, the only difference
parts of the Chaos Lord’s armour. being the wash, which was pure
Devlan Mud instead of Baal Red.

A lot of Joe’s methods involve starting with a basecoat
midtone, then shading down with a wash, before
lightening back up to the midtone and beyond to the
highlight colour. Joe does it this way because it gives him a
smoother blend between layers, and it’s easier than
painstakingly blending to a darker shade. Another good tip
is, when using a colour like khaki to highlight a multi-
coloured area such as the cloak, you should mix the
highlight with the colour on the lower layer, rather than
straight across. So, in the case of the cloak, the khaki
highlight was blended with Regal Blue and then Scab Red
as Joe worked the highlights to the edge.
To really showcase his astounding skills Joe has added
some freehand design onto the Chaos Warrior’s armour
and weapons. 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,
something that can easily be painted over if a mistake is
made, but obviously Joe didn’t have that luxury here. He
first drew his design on paper and then slowly and
accurately translated it onto the figure’s armour and
weapons. We can only recommend patience and pinpoint
accuracy with a brush if you try this yourself.

Painting the Inner Cloak Painting the Gold Leaf

1 2 3 4 1 2 3 4

Step 1. The lining of the cloak
was first given a basecoat of
Astronomican Grey. This was a
solid layer that covered the entire
area of the cloak lining.
Step 2. Separate washes of Regal
Blue, Liche Purple and Chaos
Black were painted into the
recessed areas. Joe randomly
applied each colour wash.
Step 3. Joe then worked up the
raised areas back to Astronomican
Grey, this was followed by a 1:1
mix of Skull White and
Astronomican Grey.
Step 4. A final strong highlight
layer of Skull White was then
applied to finish off the cloak. This
was built up over many thin layers.
Step 1. Joe’s non-metallic gold leaf
starts with a basecoat of Snakebite
Leather. A thin line of Chaos Black
was used to enhance and separate
the design from it’s surroundings.
Step 2. The Snakebite Leather was
then shaded with a very thin wash
of Chaos Black.
Step 3. Joe started to build up the
design using a mix of Snakebite
Leather and Skull White, adding
more white into the mix over
several layers.
Step 4. Skull White was used to
edge the design. This was divided
from the design with a thin line of
Codex Grey, creating the
impression of a silver edge.

Painting the Outer Cloak Painting the Helmet

1 2 3 4 1 2 3 4

Step 1. The outside of the cloak
was first basecoated with a solid
coat of Regal Blue.
Step 2. Starting with the Regal
Blue, Joe added Scab Red to the
mix, slowly and consistently
adding more with each layer until
he had blended to pure Scab Red.
Step 3. The recesses and deep
folds of the cloak were shaded
with a wash of Chaos Black.
Step 4. The cloak was highlighted
with Kommando Khaki, mixed
with each colour it covered. This
was then given a final highlight of
Skull White.
Step 1. The helmet was painted in
a similar method to the gold leaf,
starting with a basecoat of
Snakebite Leather.
Step 2. This was followed by a
shade into the recesses with a
wash of Chaos Black.
Step 3. The Snakebite midtone was
reapplied and then worked up by
adding an increasing amount of
Skull White over several layers.
Step 4. Pure Skull White was
applied to the raised areas, and
purple and turquoise glazes were
used to achieve the same subtle
effect as the armour.

94 WHITE DWARF PAINTING MASTERCLASS www.games-workshop.com 95

 Final Details

The pendant was painted using the
same technique that Joe used for the
Chaos Lord’s golden helm.
The shield straps were painted in a
simple three-stage method: a base of
Scorched Brown, followed by a
layer of Vermin Brown and then
Bleached Bone.
The axe haft was given a base
colour of Scorched Brown. Joe
mixed this colour with Bleached
Bone, painting on the wood grain
in progressively lighter mixes.
The pouch was painted Astronomican
Grey and then given a Badab Black
wash. The Astronomican Grey was
reapplied and then highlighted with
pure Skull White.

ASK
This month we’ve received a question
from Denis (no surname supplied) who
resides in Avernes, France. He asked
about the new White Dwarf model
specifically how to paint his large beard.
Over to ’Eavy Metal’s Keith Robertson.
If you’ve ever wanted to ask an expert
painter a question or you have a painting
problem that needs solving, then send
your query to the address below.
™
Keith: Painting beards is just like painting hair. It’s
easier than many things as the rough texture of
modelled hair provides the paint lots of ridges to
cling to, naturally giving you shading and
highlighting to some extent. For a white or grey-
tinged beard I would start with a coat of
Astronomican Grey. Shade with a wash of Badab
Black, and when dry shade again with Devlan Mud.
Then you need to bring back the midtone so brush
over another coat of Astronomican Grey, avoiding
the recesses. You can then highlight from there; you
may wish to go for an Astronomican Grey and Skull
White mix, working up towards pure white, or
bypass that layer and go straight to Skull White.
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.

White Dwarf,
Games Workshop
Design Studio,
Willow Road, Lenton,
Nottingham,
NG7 2WS, The White Dwarf model is only available by
United Kingdom purchasing a Sub-in-a-Box, which you’ll find in most
Games Workshop Hobby Centres.

96 WHITE DWARF PAINTING MASTERCLASS

PRINCE IlTHRIN
High Elf army is a thing of beauty-
A ranks of perfectly dressed, elegant
soldiers in bright, crisp colours.
Marching along with the rank and file are
the charismatic leaders of the High Elves-
the Nobles and Princes. Whilst the High Elf
nobility will dabble in politics and intrigue
at court, on the battlefield they lead from
the front, using their preternatural speed
and aim to slay the enemy in droves. For
that's what they have to do, a High Elf
must kill many times his own number as
they are a dwindling race, and while
highly skilled in craft and war they will be
outnumbered on the battlefield.
When Darren, and indeed all of 'Eavy
Metal, come to paint High Elves it's always
with these traits in mind. The High Elves in
the Studio collection, whether a Spearman,
Silver Helm or Archmage, all follow the
same principles. Their garments are
painted white, with a secondary colour of
blue. The blue complements the white,
adding a defining tone to give the model
depth and shape. Finally, red tends to be
used as a third tone and spot colour. Mail,
armour and other details are painted in
suitable colours, so you'll also see lots of
bright silver and gold. This palette is used
because they are the colours of Ulthuan,
and helps give the whole collection a
uniform look. But don't mistake a cohesive
whole for looking monotonous or dull. The
placement of the colours and the varying
shades make each model different from the
last. Elven characters are perfect examples
of this; rich golds and reds are used for
armour and jewels, while cloaks are
painted with fine patterns to look bespoke
and worthy of the character's stature.
In this Masterclass Darren paints Prince
Althran on foot. What makes this
Masterclass different is the subject
represents a character that already exists in
a different form - whilst rare in
Warhammer, this is the normal state of
affairs in The Lord of the Rings, where
models are often painted both on foot and
mounted. Needless to say, the methods
described here can be applied to both, and
it's often best to paint both at the same
time to make sure they look similar.
Seeing Double
Darren took his painting cues from the
mounted version of Prince Althran that he
had already painted. But you can never
stop a figure painter tinkering, so for this
version of Prince Althran, 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. However, before we get onto that,
let's take a look at Althran's proud mount,
Sharpclaw, to provide you with
information on how to paint both models.

Sharpclaw the Griffon

As the Griffon was based upon two
real world animals, Darren used lots of
reference; wildlife photography books
and images from the Internet proved to
be great resources in this respect.
1. Brian Nelson designed the front end of the
Griffon to be a falcon so that's how Darren
painted it. Using lots of reference, he noticed how
the front of the beak is a dark blue-grey and the
base is much lighter in colour. The eye is worthy
of mention as it is a painstaking recreation of a
real falcon's. Notice the bright blue iris that
surrounds the whole cornea, and the large black
pupil in the centre - perfect for spotting prey.

2. Figure painters tend to paint claws in light

colours, often in the same style as the beak. But,
looking at wildlife pictures you notice just how
dark they actually are. With this in mind, the
talons were painted brown with black claws.

3. The Griffon's plumage was painted in

alternating light and dark brown colours, using
photographs of falcons as reference. Quills and
feather highlights were painted on with Bleached
Bone and Skull White.

4. For the rear half of the creature, Darren

immersed himself in pictures of big cats. The
black tone of the creature's markings was half
Chaos Black mixed with the main colour of the
coat. This makes the markings look like part of the
creature instead of just painted on top.

www.games-workshop.com 73
. . . . '. . . .., ',' ,
-.~...: ~~".
.
f
.. , ~.,
,......"

..':~ ,,~ ,i.~

Painting the Armour

Armour Plates

2 ~
-~.\
f·.··.'.~.\· ." ..
:

'~~~' .~.
't, ,.-
"

Step 1. Darren began by
basecoating the armour plates
with a 1:1 mix of Shining Gold
and Scorched Brown.
Step 2. He then applied a layer
of pure Shining Gold to all but
the most recessed parts of the
Prince's armour.
Step 3. Next, a layer of
Burnished Gold was added.
Darren worked this layer up
towards the raised areas. When using metallics, Darren
advises building one layer up

5 .~
over many thin coats. This will
give you a streaky effect at first,
but as you continue it will

~
gradually form into a solid,
vibrant layer. This is how he
has painted all the stages on his
armour. So, when the step calls

Step 4. Three separate washes
were then painted into the
recesses, first Baal Red, then
Devlan Mud, then Badab Black.
"'\
for a layer of Burnished Gold,
that hasn't been painted as one
solid coat, but over lots of thin
... /' applications. Due to the
pigment, gold takes longer to
do than silver in this respect.
Step 5. The armour was then Step 6. Finally, pure Mithril However, persist, as you'll get a
carefully highlighted with a 1:1 Silver was used to edge around much better finish.
mix of Burnished Gold and the armour plates.
Mithril Silver.

Silver Scale & Sword

Step 1. The scale mail
and sword blade were
basecoated with Boltgun Metal. As
with the armour, the layer was
built up over several thin coats.
Step 2. The scales were
then highlighted with
Chainmail. The sword blade
was also given an initial
highlight of Chainmail.
Step 3. A thin layer of
Asurmen Blue was then
washed over the scale mail. On
the blade, the wash was placed
to create an alternating dark
area on both sides of the sword.

Darren views silver in a similar

way to white. It's a blank
canvas, and so he uses the
washes to add tone and
character to the area. For
Althran, Asurmen Blue was
used to give the mail and
sword a clean, polished look.
On the blade itself, Darren has
actually employed a non-
metallic metal technique but
using metallic paints. Step 4. Darren then Step 6. Finally, the
Obviously, the properties of applied Badab Black scales were edge
metallic paints mean you don't between the segments of mail. highlighted with Mithril
have to paint in a non·metallic The wash was also placed in the Silver. For the blade, Darren
style to get a shiny look, but centre of the Asurmen Blue created a Mithril Silver glaze and
using the mirrored effect here patches on the blade. applied that over the whole area.
adds real depth to the blade,
making it stand out.

74 WHITE DWARF 'EAVY METAL MASTERCLASS

Painting the Cloth

The Cloak

Step 1. Darren basecoated the
cloak with a 1:1 mix of
Enchanted Blue and Regal Blue.
Step 4. Next, the cloak was
highlighted using a 1:1 mix of
Enchanted Blue and Space
Wolves Grey, with a touch of
Kommando Khaki.
Step 2. To shade the area he
then used a 1:1 mix of Regal
Blue and Chaos Black, applying
this into the recesses.
Step 5. A further highlight was
then applied, using the mix from
the previous step, only with
more Space Wolves Grey and
Kommando Khaki added.
Step 3. Darren then used pure
Enchanted Blue and layered it
onto the raised areas over
several thin coats.
Step 6. For the final, crucial
highlight, Darren used pure
Space Wolves Grey on the most
prominent creases and folds of
the cloak.
To give the cloak a rich, silky
look keep your paints thin and
build the layers up, exactly as
described for the metallic
paints on the previous page.
Highlight the cloak as if the
light is coming directly from
above. Resist the urge to over
highlight the bottom ripples in
the cloak, as this can confuse
the eye as to the source of
illumination and diminish the
effect you're trying to achieve.
The other point of interest is the
use of Kommando Khaki in the
highlight steps. This is used to
improve the flow of the mix
and reduce impurities as the
pigment gets mixed.

The Sash

Step 1. A 1:1 mix of Step 2. Darren then applied a Step 3. He then layered on pure
Astronomican Grey and Fenris 1:1 mix of Fenris Grey and Astronomican Grey building up
Grey was used as a basecoat for Chaos Black, directly into the the raised areas.
the sash. depressions of the sash.
The sash was painted in a pure,
clean white, to reinforce the
High Elf aesthetic, 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.
To achieve this Darren used
Foundation colours wherever
he could, as the increased
pigment means you can get a
smoother coverage, reducing
the amount of layers needed
and giving you a solid white.
Step 4. Next, Darren Step 5. As a final highlight, he Step 6. The freehand designs on
highlighted the raised areas used pure Skull White on the the tassels were painted in Scab
with a 1:1 mix of Astronomican prominent parts of the sash. Red. For reference, Darren used
Grey and Skull White. the High Elf army book.

www.games-workshop.com 75
 Painting the Head
The Face
rl~
":PI
~,
Step 1. The face was first
painted with a 1:1 mix of
Tallam Flesh and Dwarf Flesh.
Step 4. Darren then started to
highlight up, beginning with a
coat of Elf Flesh.
The Hair
High Elves are fair of aspect so
blond hair is a good choice as
it suits their complexion well.
The key to blond hair is to not
actually use bright yellow
paint; 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, so the paler Elven
shades work well in this
respect. Finally, beware of
black key lines separating the
hair and face, especially with
blond hair as this will make the
paint work look artificial.
76 WHITE DWARF 'EAVY METAL MASTERCLASS
2~
,. "; ~.. J~
~l
=". . i
Step 2. Darren then brushed on
a liberal wash of Dark Flesh,
followed by a further wash mix
of Scorched Brown and Chaos
Black around the eyes and nose.
Step 5. A highlight using a 1:1
mix of Elf Flesh and Skull White
was then applied. A Scab Red
and Regal Blue glaze was
brushed around the eyes, nose
and bottom lip.
Step 4. Gryphonne Sepia was
washed over the hair, followed
by a wash of Devlan Mud
directly into the recesses.
Step 3. The 1:1 mix of Tallam
Flesh and Dwarf Flesh was then
reapplied, layered onto the
raised areas.
Step 6. A final highlight of Skull
White was used. The eyes and
teeth were also painted in with
Skull White.
Step 2. He then layered on
Desert Yellow, following the hair
strands with his brush.
Step 5. The strands of hair were
then all highlighted with
Bleached Bone.
Darren is a master at painting
faces and you can read his
advice in previous issues of
White Dwarf over three
informative Painting
Workshops. If you haven't got
those issues then you can find
them as part of the White
Dwarf Archive online. When
painting Elven faces, the
important points are to give the
face definition - the high
cheekbones and eye lines
should be well-shaded, to give
the face shape and reference.
Light tones are needed but
should not be at the expense of
losing distinct facial features.
Step 3. A 1:1 highlight of Desert
Yellow and Bleached Bone was
then applied.
Step 6. A fine highlight of Skull
White was then painted to the very
ends, giving the hair a shine, to
make it look clean and well kept.
Painting the Shield
Shield Back
Step 1. Darren started by
basecoating the area with
Scorched Brown.
Step 4. The lines and other
details, like knots and ridges,
were highlighted with pure
Snakebite Leather.
Shield Front
To balance out the colour of
the figure, the shield was
painted a purplish red. Darren
painted the front of the shield
to be stretched red leather over
the wooden shield. To
emphasise this he has
incorporated scratches, scuffs,
and other 'soft marks'. This not
only helps reinforce the leather
effect but also puts the model
in context of a battle. Placing
High Elves in such a context
can be challenging, as this can
undermine the clean-cut image.
If you apply the damage to the
equipment, rather than the
garments, then you don't have
to make them look grubby.
Step 2. He then applied lines
using a 1:1 mix of Scorched
Brown and Snakebite Leather,
going from top to bottom.
Step 5. Darren then used a finer
highlight of Bubonic Brown to
the wood grain effect.
Step 1. A 1:1 mix of Scab Red
and Warlock Purple was painted
onto the front of the shield.
Step 4. Using the mix from Step
3, he added in some Space Wolf
Grey and started to highlight the
top and edges.
Step 3. Thinned down Chaos
Black was painted between the
lines, to add further definition.
Step 6. To finish, he applied a
very fine highlight of Bleached
Bone, to the wood grain and
edges of the shield.
Step 2. Darren added a little
Chaos Black and Regal Blue to
the previous mix, watered it
down into a wash and then
applied it around the icon and
bottom of the shield.
Step 5. More Space Wolves
Grey was added into the
previous mix and this was used
as a finer highlight and to add
scuffs and scratches.
Darren has created a wood
grain effect for the back of the
shield. The method described
here can be used any time you
need a wood effect. Darren
went for a very neutral-
coloured wood - a darkish oak,
but the same method can be
used with lighter colours for,
say, beech, or used with even
darker shades. When painting
wood grain, draw the brush
downwards, but don't be too
regular in the thickness and
straightness of the line - it can
be wobbly! Incorporate knots
and other details as you go,
rather than adding them in at
the end.
Step 3. He then prepared a fresh
1:1 mix of Scab Red and Warlock
Purple, with a touch of Kommando
Khaki added, and layered it on.
Step 6. Pure Space Wolves Grey
was the final highlight. The
scratches were given definition
with a 1:1 Scorched Brown and
Chaos Black mix.
www.games-workshop.com 77
 The Finishing Touches

Cloak Lining

Step 1. Darren painted on his pre-
designed pattern with thinned-down
Vomit Brown, in a very thin line,
wiping away mistakes.
Step 4. Darren then layered on
Bubonic Brown over the design to
add in some yellow and 'bridge' the
intersecting lines.
Step 2. Once he was happy with
how the design was plotted, he
thickened up the line with more
Vomit Brown.
Step 5. Bleached Bone was used as a
highlight on the design itself and
along the raised contours.
Step 3. He then shaded the line with
Vermin Brown. The shade was
applied to the depressions where the
lines intersected.
Step 6. To complete the freehand,
Darren applied Skull White as the
final highlight.
As with any freehand
design, you must plan it out
before tackling the model.
Don't be tempted to wing
it. On Althran, Darren drew
a couple of designs, before
picking the one he liked
best. He then used
watered-down Vomit
Brown to plot out the
design with a thin line. This
way when he made a
mistake he could quickly
wipe it off, and continue
on. Once he had the
plotting line down, he
thickened up the line with
Vomit Brown. With the
design in place, the
highlight and shading were
applied. And, using the
sketch, Darren could work
out where the design
entwined and was the most
intricate. Don't forget the
cloak has contours, 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. He has also experimented
with how he has painted these gems because they are
larger than normal, giving him more surface area to play
around with. 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. This gives the gems
extra depth, making them look deeper and darker.

Step 1. He started by Step 2. Thinned Chaos Step 3. A 1:1 mix of Step 4. Darren then Step 5. A second Step 6. A 1:1 mix of
basecoating the gems Black was used to Scab Red and Blood applied pure Blood highlight of Blazing Skull White and
with Scab Red. shade the top of the Red was then layered Red as a highlight to Orange was then Blazing Orange was
gem and create a line on, avoiding the the raised surface of carefully painted on. then used, followed by
two thirds of the way blackened areas. the gem. pure Skull White
down its surface. placed as thin lines
and dots for reflection.

78 WHITE DWARF 'EAVY METAL MASTERCLASS

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, or building
a number of
sub-assemblies
and painting each of these separately.
The Mortis Engine has been beautifully
designed, with lots of negative space

•
throughout the model. In order to make
these areas easier to paint (or, in some
cases, possible to paint at all), I recommend
building the seven sub-assemblies (shown
on the ri ght) at this early stage.
Over the next few pages, I' ll be

•
explaining how to paint each of these
sub-assemblies, and also how the simple

•
techniqu es he used to paint them can be
replicated on other models in the Vampire
Counts army. By doing so, you can really
help to unify the overall look of your army.

KEY
1. Spectral steeds and spirit horde
2. Banshees
3. The Mortis Engine
4. Lectern
5. Mortis Engine cage
6. The Reliquary
7. The Corpsemaster

www.games-workshop.com 99
 SPECTRAL STEEDS AND SPIRIT HORDE
First of all, apply a basecoat of
Astronomican Grey, before washing
with a watered-down mix of 1: 1
Hawk Turquoise and Asurmen Blue.
Edge highlight the raised areas with
Skull White.
100 WHITE DWARF PAINTI NG WORKS HOP: MORTIS ENG INE
When the wash has dried, drybrush
with Astronomican Grey.
Basecoat the weapons and armour
with Chainmail.
Using a 1: 1 mix of Astronomican
Grey and Skull White, drybrush this
area again, followed by another
drybrush of pure Skull White.
Wash the weapons and armour
with Asurmen Blue, then apply a
few spots of Gryphonne Sepia.
Wash the recesses with a watered-
down 1: 1 mix of Hawk Turquoise,
Asurmen Blue, then wash Thraka
Green into a few depressions when
the previous wash has dried.
Edge highlight the metal areas with
Mithril Silver for an unearthly glint.
 BANSHEES
ROBES AND HAIR
To begin with, basecoat the
Banshee with Astronomican Grey.
BANSHEE SKIN
Basecoat the skin with a 7: 7 mix of
Dark Flesh and Fortress Grey, then
carefully basecoat the armour with
Chaos Black.
Layer with a thin coat of
Fortress Grey, then edge highlight
with Skull White.
Wash the whole area with watered-
down Shadow Grey.
Wash with Devlan Mud when to
shade the flesh.
Basecoat the Banshee's teeth with
Khemri Brown, then layer with
Bleached Bone. Basecoat the eyes
with Dark Angels Green before
highlighting with Snot Green.
Layer with Space Wolves Grey.
When dry, layer with a 7: 7 mix of
Space Wolves Grey and
Skull White.
Layer with the same 7: 7 mix of
Dark Flesh and Fortress Grey.
Paint the armour using the same
method as for Stages 6-8 opposite,
but without the Gryphonne Sepia.
Edge highlight with Skull White,
then wash a few of the recesses
with some watered-down
Hawk Turquoise.
TOMB BANSHEES
The Banshees that circle
the Mortis Engine are,
in practise, 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).
You can use the same
painting techniques
displayed on this page
for any Tomb Banshees in
your army, or any other
such ghostly models.
www.games-workshop.com 101
 THE MORTIS ENGINE

Whilst gluing the components of this sub-

assembly together, I decided that I'd leave
the front and left sides of the bone cage as a
separate, L-shaped corner piece. This allowed
me greater access to every angle of the bone
cage for the purposes of painting it. After
finishing this stage, 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. I chose to paint this frame as
if it had been sculpted from bone, but there's no
reason why it couldn't be made of dark metal,
crystal, 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).
If you're feeling really brave or are suitably
confident in your painting skills, you could
even try object source lighting, emanating from
the balefire or the arcane artefact. The Mortis
Engine painted by 'Eavy Metal's Mark Holmes
features just such a technique (see page 6).

STONEWORK

2 ~lllllji ' 3 fJIIIIi

I
l ~ 'I I

To start off, basecoat the stone Now apply a thick drybrush of Wash the whole area with Devlan When dry, apply another drybrush
steps with Charadon Granite. Kh emri Brown. Mud to shade it. of Khem ri Brown, b ut a bit lighter
this time round.

Apply a light dr ybrush with Stipple the area sparingly with Wash a few of the flagstones with Similar techniques can be used
Dheneb Stone, then apply an edge Gretchin Green to pro vide the area either Ogryn Flesh or Thraka Green on gravestones or other similar
highlight with Oheneb Stone to with a mouldy look. to help weather and age them. components throughout the army.
help add furth er de finition .

102 W HITE DWARF PAINTING WORKSHOP: MORTIS ENGINE

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

Heavily drybrush the cloak with Layer the edges of the cloak with a Repeat Stage 2, but this time with a
Dark Angels Green to start with. 1: 1 mix of Dark Angels Green and 1:3 mix of Dark Angels Green and
Rotting Flesh. Rotting Flesh.

Edge highlight the raised areas of Drybrush the bottom of the cloak For the hood, repeat Stages 1-5 for
the cloak with Rotting Flesh. with Graveyard Earth for a dirtier painting the robes, but substituting
overall look. Scorched Brown in place of Dark
Angels Green.

DYING FLESH

Basecoat the flesh with Wash this area with Apply a second wash, Layer the flesh with First layer the flesh Edge highlight the
Dheneb Stone. Ogryn Flesh to shade. but this time with Kommando Khaki, with Bleached Bone, blindfold with Codex
Leviathan Purple. then carefully pick then edge highlight Grey, the tongue with
out the blindfold with with Skull White. Leviathan Purple and
Chaos Bla ck. teeth, Bleached Bone.

MATTED HAIR THE DREAD STAFF

Basecoat the hair with Wash the hair with Edge highlight the hair Basecoat the staff with Wash with Devlan Highlight with a 1: 1
Khemri Brown. Badab Black, then with Codex Grey. Scorched Brown. Mud. When dry, layer mix of Bestial Brown
Devlan Mud when dry. with Bestial Brown. and Bleached Bone.

104 WHITE DWARF PAINTI NG WORKSHOP: MORTIS ENG INE

 THE FINISHED MORTIS ENGINE

With all the sub-assemblies now full y pa inted, 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.

The balefire effect can also be used I used the same effect for the
on Corpse Carts or Hexwraiths to balefire on this lantern for an eerie
name but a few other units. light effect.

The Corpsemaster's potion was also I picked out some details on the
painted using a similar method, but ancient tome with a Fine Detail
using successive blends instead. Brush for a more authentic look.

www.games-workshop.com 1 05
 ELTHARION THE GRIM
he Warden of Tor Yvresse is one of
T the greatest Elf lords to have lived.
Known as Eltharion the Grim due to
his extremely dour personality, 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.
It's hard to believe that jes Goodwin's
brilliant miniature of Eltharion on his noble
Griffon, Stormwing, is over 15 years old.
Yet even now, 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.
With the recent re-release of Eltharion
in his classic form, we thought it was a
great opportunity for 'Eavy Metal to give
this model the masterclass treatment.
Preparing the model
Anja Wettergren was tasked with
assembling and painting this model. Her
first job was to clean up all the
components. Using a Hobby Knife and
Modelling Files, Anja carefully went over
every metal component, removing flash
and filing away the mould lines that are an
inevitable part of the metal casting process.
Once the separate components were
ready, Anja set about assembling the
model. Anja divided the model into three
distinct sub-assemblies: Stormwing, the
legs and saddle, and Eltharion's torso.
Anja prefers to isolate areas of her
models when painting, completing a
section such as the Griffon's wings, before
moving onto the beak, for example. You'll
see this approach on the following pages.

For this month's

'Eavy Metal
Masterclass, Anja
Wettergren tackles
one of most fondly
remembered Citadel
miniatures: Eltharion
the Grim, Warden of
Tor Yvresse.
 Constructing the Griffon
Before Anja could begin painting, she needed to clean up the components and assemble Stormwing, the Griffon. She
stuck the body, tail and claw parts together with superglue and, when dry, blended the joints and filled in the gaps with
Green Stuff. The wings were then added, being pinned into place with the aid of paperclip wire and a hobby drill.

Blending the Joins

When you have assembled Stormwing, there
may be gaps where the large metal
components join together - this is due to the
metal cooling as it leaves the mould. These
small joins can easily be covered with Green
Stuff. Once you've mixed the blue and green
parts of the putty together, roll it out into a
thin sausage shape. Carefully drape the putty
over the gaps and then, using a Sculpting
Tool, gently smooth the Green Stuff into the
gap. Keep working the putty until the join is
disguised. Keep the ends of the Sculpting
Tool wet to prevent it sticking to the putty.

Anja painted Eltharion in three

different parts and only
assembled the model when all
the painting was completed.
1) Storm wing
2) Eltharion's torso
3) Legs and saddle.

Pinning the Griffon Green Stuff

It is best to pin both the wings Green stuff is a two-part
and the talon to the Griffon's epoxy putty that the
body. Using the Hobby Drill, Citadel designers use the
bore holes in both the wing m~jority of the time to
connecting tabs and the sculpt their models.
sockets on the Griffon's back. As illustrated on this
It's important that the holes page it is also perfect for
match up when the wings are filling gaps, and to use for
in place. Cut some paperclip sculpting work for your
wire to about 10mm in length own conversions.
and glue this into the hole in You can find blisters
the socket. Now stick the wing of Green Stuff in our
onto the Griffon, using the Hobby Centres and
wire to join them. through GW Direct.

www.games-workshop.com 91
 Griffon - 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. For Stormwing's feathers, Anja used a basecoat then a shade, and then highlighted
the feathers with drybrushed layers until she was happy with the finish.

To get a strong contrast on the

wings and upper body, Anja
used two colour schemes: dark
brown and off-white.

Painting the Feathers

e Light Basecoat
1:1 mix of Khemri
Brown and
Bleached Bone.
•
Light Shade
Flesh Wash. O Light Highlight
Bleached Bone.

Dark Basecoat Dark Highlight

I
Dark Shade
• Scorched Brown. If--'~"_ • Black Ink. ~.:.- ....r 1:2 mix of
Scorched Brown
and Graveyard
Earth.
Basecoat. The feathers are painted in alternate Shade. Black Ink was used for shading the dark 1st Highlight. Using a Small Drybrush, apply
stripes. Paint the light areas first, as the feathers while Flesh Wash was applied the first highlights as a heavy drybrush - or
Foundation colour provides a strong base. sparingly to the base and stem of each feather. overbrushed - layer.

8
Light Highlight Light Highlight
1:1 mix of O Skull White.

-.,;'--....
I
Bleached Bone
and Skull White.

Dark Highlight
1:2 mix of Scorched
Brown and
Graveyard Earth.
,;:.; .,. .r. Dark Highlight
Graveyard
Earth.

2nd Highlight. Successive highlight layers Final Highlight. The light feathers have a final
require a lighter drybrush - wipe off even more drybrush of Skull White. The dark feathers had
of the paint before applying the technique. a drybrush of pure Graveyard Earth.

92 WHITE DWARF 'EAVY METAL: ELTHARION

 Griffon - Painting the Fur

The hindquarters of a griffon resemble those of a large cat, and Stormwing in particular is part leopard. When painting
animal fur it's good to use real life reference material, so Anja used the infinite resources of the Internet to get some
leopard photos before she tackled this part of the model.

By Joe Tomaszewski

A Leopard's spots are not

actually "spots" but are Lion. Lion fur uses Snow Leopard. This
more of a "U" shape. lighter, more muted dramatic colouration
browns, such as uses a pale grey base,
Snakebite Leather. highlighted up to pure
Obviously there are white before adding
no spots! the markings.

Tiger. The contrast White Lion. This

between the light and Chracian Griffon is
dark parts of the fur painted in the same
are more pronounced, way as a regular lion,
but the basic palette is but with a much paler
the same. colour palette.

Painting the Fur

Light Basecoat Light Shade
1:1 mix of Khemri • Scorched Brown.
Brown and Calthan
Brown.

Orange Basecoat Orange Shade Orange Highlight

1:1 mix of Fiery • Scorched Brown. 2:1 mix of Fiery
Orange and Orange and
Scorched Brown. Scorched Brown.

Basecoat. The underside was given a basecoat of Shade. Scorched Brown was applied as a 1st Highlight. For the first highlight layer, Anja
Khemri Brown and Calthan Brown. The haunch, shading wash on both the underside and the added more Fiery Orange to the base mix. The
back and tail was painted with the orange mix. orange areas of the fur. light fur received a Khemri Brown highlight.

~
Light Highlight Light Wash Light Highlight
1:1 mix of Khemri
Brown and
Bleached Bone.
• Snakebite wash.
8 1:1 mix of
Bleached Bone
and Skull White.

Orange
O Orange Highlight
Fiery Orange. Orange Highlight
Highlight
3:1 mix of Fiery
Orange and
Scorched Brown. •
Orange Glaze
Dark Flesh
8 1:1 mix of
Fiery Orange
and Elf Flesh.

2nd Highlight. Try applying several thin layers of 3rd Highlight. The wash over the light areas, Final Highlight. After the final highlights are
each stage instead of one thick layer, to achieve and the glaze over the orange areas were applied to both parts of the fur, it's time to paint
a natural, blended effect. applied to mute the tones. on the spots - see above for details.

www.games-workshop.com 93
 Painting the Talons Griffon - Painting the Beak and Claws
Basecoat
1:1:1 mix of
After the griffon's body was complete, Anja started work on the beak, tongue
Codex Grey, and claws respectively. Again, Anja worked on each area separately, only
Chaos Black and moving on to the talons once the beak and tongue had been completed.
Graveyard Earth.

Basecoat. For the first stage Anja painted the

claws with a basecoat of the above mix.

Highlight
1:1:1:1 mix of
Codex Grey,
Chaos Black,
Graveyard Earth
and Bleached
Bone.

1st Highlight. The first highlight layer was

applied in rough stripes.

Highlight

I 1:1 mix of
Codex Grey and
Graveyard Earth.

2nd Highlight. The stripes were defined,

getting lighter towards the points.

Highlight
O Bleached Bone.

Highlight
O Skull White.

Final Highlights. The claws were given a final

highlight of Bleached Bone and then thin lines
of Skull White were carefully added.

Painting the Beak

2nd Beak Beak Shade
O Basecoat
Golden Yellow.
_ 1:1 mix of
Golden Yellow
and Scorched
Brown.
Tongue Basecoat Tongue Shade Tongue
1:1 mix of Tanned
Flesh and Liche
Purple.
I 1:1 mix of
Regal Blue and
Liche Purple.
• Highlight
Tanned Flesh.

Basecoat. The beak's basecoat was built up 2nd Basecoat. The Bronzed Flesh provides a Shade. The shading is applied in thin layers,
with several layers of Bronzed Flesh. strong base for the thinner yellow pigment. blended towards the beak's point.

Final Beak
2nd Beak Shade Beak Highlight
O
I Scorched Brown
and Chaos Black. 8 1:1 mix of
Golden Yellow
and Skull White.
Highlight
Skull White.

~
2nd Tongue
Final Tongue
Highlight
1:1 mix of Tanned
Flesh and
O 3rd Tongue
Highlight
Bleached Bone.
O Highlight
Skull White.
Bleached Bone.

2nd Shade. A Scorched Brown/Black mix was Highlight. The first highlight was applied to Final Highlight. Skull White was added to the
then applied towards the tip of the beak. the top and edges of the beak. very edges of the beak.

94 WHITE DWARF 'EAVY METAL: ELTHARION

 Eltharion - Painting Metallics Ithilmar Weapons
Basecoat
When it came to Eltharion himself, Anja started work by first picking out the Boltgun Metal.
•
metallic parts of the model and working them up in lots of stages to get a
highly polished sheen, worthy of a High Elf hero of Eltharion's stature.

Basecoat. Anja used Boltgun Metal

to provide a solid, flat basecoat.

2nd Basecoat
O Chainmail.

Painting the metal areas first Don't forget to paint the

means there's less danger of greaves, saddle edge,
catching the face, chest plate or sword hilt and spear
helmet feathers metallic paints decoration in gold as well. 2nd Basecoat A second basecoat of Chainmail
and their related washes. was added to brighten the metal areas.

Wash
1:1 wash of Blue
and Black Ink.

Wash. Two washes were then applied to

provide a bluish, polished effect.

Highlight
O Mithril Silver.

Highlight. When dry, a thin coat of Mithril

Silver was added for the highlight.

Painting Gold
Basecoat 2nd Basecoat
1:1 mix of
Scorched Brown
O Shining Gold.

and Shining Gold. Wash

1:1 wash of
Scorched
Brown and
Liche Purple.

Basecoat. Adding Scorched Brown to the gold 2nd Basecoat. Pure Shining Gold was then Wash. The brown wash provides shading,
paint makes the colour look less artificial. applied over the top of the first basecoat. while the purple enriches the colour.

Highlight
O Burnished Gold.
8
Highlight
1:1 mix of
Burnished Gold
O Highlight
Mithril Silver.

and Mithril Silver.

Highlight. The first highlight Anja 2nd Highlight. Adding Mithril Silver to Final Highlight. Pure Mithril Silver
applied was of pure Burnished Gold. gold is a great way to get a polished effect. was added as a fine edging highlight.

www.games-workshop.com 95
 Eltharion - Painting the White and Blue
Painting white, especially on something as elegant as this model, can be tricky. Anja's advice is to use a light basecoat,
and build up lots of thinned down layers of Skull White. Even when you think you have applied the final coat, 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.

White and Blue

Blue Basecoat
• Regal Blue.

White Basecoat
O Astronomicon
Grey.
A steady hand is needed to get The quiver has been painted using
Basecoat. The blue areas were given a tothe feathers of the helmet the same techniques as the rest of
basecoat of Regal Blue while Astronomicon wings behind Eltharion's the blue and white elements.
Grey was used for the white basecoat. outstretched right arm.

Blue Highlight
1:1 mix of
Regal Blue and
Enchanted Blue.

1st Highlight. The blue areas had a highlight,

using a 1:1 mix of Regal Blue and Enchanted
Blue. The white parts were shaded grey.

Blue Highlight
1:1:1 mix of regal
Blue, Enchanted
Blue and Space
Wolves Grey.

2nd Highlight. At this stage, start to build up

the thin layers of Skull White and add the
penultimate highlight layer to the blue areas.

Blue Highlight
O Space Wolves
Grey

White Highlight
O Skull White.

Final Highlight. Apply Space Wolves Grey as a

very fine edging highlight to the blue areas.
Continue to build up the white layers.

Painting Gemstones
When painting gems, 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, while the highlights fall
towards the bottom. Finally, a small
dot of Skull White in the top corner
represents reflected light.
Red Gore. Blood Red. Blazing Orange. Fiery Orange. Skull White.

96 WHITE DWARF 'EAVY METAL: ELTHARION

 Eltharion - Painting the Face and Saddle Back
Anja tends to paint faces last, so as to match the
contrast with the rest of the model. If you paint the Painting the Face
face first, you might make it too dark, which will look
out of place on a model as light as this one. Basecoat Shade
• Vermin 7:7:7 mix of
Brown. Scorched
Brown, Liche
Purple and
Chaos Black.

Basecoat. Aim to get a flat, even Shade. The shade is applied as

coat of Vermin Brown, leaving the a wash, and set the tone for the
eyes and mouth black. subsequent highlight layers.

Highlight 1 Highlight 2
O Dwarf Flesh.
§ 1:7:7 mix of
Dwarf Flesh,
Bronzed Flesh
and Bleached
Bone.

Highlight. Start to block in 2nd Highlight. Continue to build

all of the raised areas with the up the highlights, concentrating
highlight mix. on the raised areas.

Highlight 3 Glaze
O Bleached
Bone I 1:7 mix of
Purple Ink
and Scorched
Brown.

3rd Highlight. Apply the fine Glaze. Re-establish the fey,

highlights on the most prominent Elven skin tone with a very thin
parts of the face using a fine brush. purplish glaze.

Final

8 Highlight
3:7 mix of
Bleached
Bone and
Skull White.

Final Highlight. Again, reset the final

highlights. All that's left now are the
eyes and teeth.

Painting the Saddle Rest

I
Basecoat 2 Shade Highlight 1

I 2:2:7 mix of
Mechrite Red,
Scab Red and
Liche Purple. \~
1:7 mix of
Scab Red and
Chaos Black.
I 7:7 mix of
Scab Red and
Blood Red.

Basecoat. Start with a deep red Shade. Add definition to the Highlight. Highlight the panels
basecoat mixed from the above creases in the saddle back with with a bold, deep red.
colours. a dark shading wash.

Highlight 2 Highlight 3 Final

7:7:7 mix of • Blazing Highlight
Scab Red, Orange. 7:7 mix of
Blood Red Blazing
and Blazing Orange and
Orange. Elf Flesh.

2nd Highlight. Start to pick out the 3rd Highlight. As the highlight Final Highlight. Only the sharpest
creases and edges of the panels. layers get lighter, they should edges should be highlighted with
also get finer and more precise. this very pale mix.

www.games-workshop.com 97
 Eltharion - Finishing Touches
A character model painted to this high standard will make a fantastic centrepiece for any High Elf army. Even with the
great new Dragon and High Elf character models in the same force, Jes Goodwin's classic Eltharion sculpt has stood the
test of time, and should take pride of place in any budding High Elf Noble's force.

Face details. The eyes and teeth

were painted with very thin
bands of Skull White. Finally,
Anja added tiny dots of Chaos
Black for the pupils.

Hair. The hair was first given a Gloves and sword detail. The
Bronzed Flesh basecoat, black gloves were highlighted up
followed by a Bestial Brown from Chaos Black by adding
wash. It was then highlighted, increasing amounts of Space
first with a 1:1 mix of Bronzed Wolves Grey. The sword grip
Flesh and Bleached Bone, then was painted in the same way as
pure Bleached Bone, and finally the saddle back. Finally, the
Skull White. gemstone was painted as
described on page 98.

qR WHITF nWARF 'FAVY MFTAI . FIl:HARlnN