WD Painting Masterclasses

PAINTING MASTERCLASS

SERGEANT LORENZO ’Eavy Metal were as keen as anyone to get their hands on the new Space Hulk miniatures, so we asked Anja Wettergren to paint Sergeant Lorenzo and show us how to achieve a perfect finish on your Blood Angels.

PAINTING MASTERCLASS

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PAINTING THE ARMOUR Anja’s technique is to choose one 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. Anja started with the Terminator

armour, as this was the largest single 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 tips in the box below.

Red Armour

or this edition of Space Hulk, Alex Hedström has 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

F

character with a detailed history and an important part to 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.

You Will Need For the techniques featured in this article, Anja has used the following colours from the Citadel Colour, Wash and Foundation ranges.

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SPACE HULK

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.

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.

Stage 5: Next, Anja applied a highlight of pure Blazing Orange, painted over the Blood Red of the previous stage.

Stage 6: For the final highlight a 2:1 Blazing Orange to Vomit Brown mix was used, carefully brushed on to the very edges.

Stage 7: To tie all the layers together, watered-down Baal Red was painted over the armour.

Stage 8: Anja then finished by retouching the highlight with the mix from Stage 6 once the wash had dried.

Wash: W Foundation: F

PAINTING RED

Chaos Black Spray

Dwarf Flesh

Skull White

Blazing Orange

Golden Yellow

Vomit Brown

Bleached Bone

Fortress Grey

Blood Red

Hawk Turquoise

F

Astronomican Grey

Boltgun Metal

Ice Blue

F

Calthan Brown

Burnished Gold

Mithril Silver

F

Dheneb Stone

Codex Grey

Regal Blue

F

Iyanden Darksun

Chainmail

Scab Red

F

Tallarn Flesh

Chaos Black

Scorched Brown

W

Baal Red

Dark Angels Green

Scorpion Green

W

Badab Black

Dark Flesh

Shining Gold

Warlock Purple

Red hasn’t always been an easy colour to paint. Being a primary colour and a notoriously thin pigment, it has always been difficult to highlight and shade, and to cover darker tones, but the addition of Mechrite Red to the Foundation range has really helped with these problems. Eagle-eyed readers will notice that Anja hasn’t used it on Lorenzo’s armour; this is because ’Eavy Metal use a tried and tested method for painting Blood Angels that they have developed over the years. Anja has used a mix of Dark Flesh and Blood Red as a personal preference to give her that bit of extra control over the exact pigment, proving that ’Eavy Metal painters really are perfectionists! As already mentioned, red can be hard to highlight satisfactorily. One of the reasons is that mixing red with

white gives you pink, which doesn’t work as a highlight. It’s best to highlight reds, especially when painting Blood Angels, with oranges. Lighter highlights can be achieved by adding neutral, ruddy tones to the oranges, such as Dwarf Flesh and Elf Flesh. Reds don’t necessarily have to be shaded with black or dark washes either. Green works for shading red because it is situated on the opposite side of the colour wheel. By the same token, a blue wash can give red a purple tone, which will cool the colour, taking out some of the severity if needed. A Baal Red glaze is highly recommended after all shading and highlighting has occurred, this will help blend the layers and give the red the intensity needed for the ceramite surface of Space Marine armour.

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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

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.

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.

Cloak & Loincloth

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 MASTERCLASS

Gold

PAINTING THE CLOAK

PAINTING THE CRUX TERMINATUS

Stage 1: The lappets were left black, before applying an initial highlight of a 1:1 mix of Chaos Black and Codex Grey.

Stage 2: The next stage built upon the first highlight, this time using a 2:1 mix of Codex Grey and Chaos Black applied to the edges.

Stage 3: Pure Bleached Bone was brushed onto the lining in the same manner as before.

The Crux Terminatus is a badge of honour that all Terminators wear. Within each badge is bound a tiny fragment of the armour that the Emperor wore onboard

Horus’ Battle Barge. Anja has reflected the importance of this badge by painting it as stone, alluding to a regal, almost monumental feel.

Stage 1: The Crux Terminatus was basecoated with a 1:1 mix of Scorched Brown and Codex Grey. The recessed areas were left black.

Stage 2: A liberal wash using a 1:1:1 mix of Scorched Brown, Chaos Black and Badab Black was then applied over it.

Stage 3: Anja used Codex Grey to start building up the layered highlights, again avoiding the recessed areas of the badge.

Stage 4: Fortress Grey was brushed on as a mid-level highlight, applying the paint to the raised areas of detail.

Stage 5: Building up the highlights, the next coat Anja applied was Dheneb Stone.

Stage 6: A highlight using a 2:1 mix of Dheneb Stone and Skull White was applied to just the raised areas.

Stage 7: The next layer used the same mix as Stage 6, but with more white, to create a 1:1 mix of Dheneb Stone and Skull White.

Stage 8: Finally, Anja used pure Skull White on the highest points of the badge such as the eye and nose ridges of the skull.

Stage 4: Anja then used a coat of pure Codex Grey for the final extreme highlight.

PAINTING METAL Most people paint the metal areas first, as they can be quite messy, before touching up the surrounding basecoat, but Anja was confident painting the metal after the armour,

painting it neatly. Remember to use a separate water pot for cleaning and thinning down metallic paint to avoid contaminating your other colours.

Metal

Stage 1: The metallic areas, predominantly the storm bolter, were given a 1:1 basecoat of Boltgun Metal and Chaos Black.

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SPACE HULK

Stage 2: Anja then washed the area with a 1:1 mix of Badab Black and Chaos Black.

Stage 3: The area was then highlighted up, first with Chainmail, which was applied to the raised areas and edges.

Stage 4: Finally, Mithril Silver was painted onto the very edge of the silver areas.

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Anja has painted Sergeant Lorenzo’s face using an aging technique, to reflect his background as a grizzled 650-yearold veteran. She started off by painting the face as normal,

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 watereddown 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 thinneddown Scorched Brown.

Stage 5: A highlight using a 1:1:1 mix of Tallarn Flesh, Dwarf Flesh and Bleached Bone was then used.

Stage 6: Anja added more Bleached Bone to the mix before applying a further highlight.

Stage 7: For the next highlight Anja then used pure Bleached Bone, painted onto the most prominent areas of the face.

Stage 8: For the final highlight, a 1:1 mix of Bleached Bone and Skull White was applied.

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).

SPECIAL DETAILS

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 Red, followed by Blood Red and then Blazing Orange. A 1:1 mix of Blazing Orange and Skull White was then applied as a highlight. Finally a dot of pure Skull White was added to the top left.

The skull insignia on the left knee pad was painted using the same method that Anja used for the Crux Terminatus badge.

PAINTING MASTERCLASS

PAINTING THE FACE

Model shown slightly larger than actual size.

Gems

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 yellow stripes on the cabling started with a basecoat of Iyanden Darksun and Vomit Brown. Golden Yellow was then used as a midtone, and this was highlighted further with a 1:1 mix of Golden Yellow and Skull White.

Stage 5: Finally, a dot of pure Skull White was carefully placed on the highest point of the gem.

The trophies on the Sergeant’s back were painted using the gold technique from page 45. The green gem started with a Dark Angels Green basecoat and this was worked up with Scorpion Green and highlighted with Skull White.

Power Sword ASK

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.

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Stage 2: Pure Ice Blue was then applied over the glowing energy lines.

SPACE HULK

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.

Have you a painting dilemma, problem or question? Well the ’Eavy Metal team are only too happy to help. You can ask them anything (related to painting miniatures, of course) and they’ll have an answer. So whether it’s about consistent basing techniques or how to paint the beard on a Dwarf, send your query to ’Eavy Metal’s painting clinic. Bear in mind we work quite far in advance of publication so it will be a good few months before you see your query in print. Send in your question to:

White Dwarf, Games Workshop, Design Studio, Willow Road, Lenton, Nottingham, NG7 2WS, United Kingdom

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'РA(ЕRPА>

Step 1, The shoulder pad was first painted with a baseсoat of Tausept Осhre, The rim of the pad was painted in the same waY as the armour.

rUR

Step 1. When painting the fur on the pelts often worn by the Spaсe Wolves, startwith a baseсoat of Sсorсhed Brown.

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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 definethe foсal point. hе|psthе eye immеdiatеIy 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 that s w iI I 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 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 stageshe didn'twork the hair,but with the subsequent 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 of Vermin Brown and Sсorсhed Brown,

Step2. Next,a 2:1:1 mix of Dwarf Flesh,Vermin Brown and Scorсhed Brown was used. This was applied to all but the reсessedareas.

Step 3. Pure Dwarf Flesh was then applied, brushed onto the face as a mid-tone - once again it was left out of the reсessedareas.

Step 4. The face was then highlighted, first with a 1:I mix of Dwarf Fleshand Skull White, applied to the raised areas.

Step5. А 3:1 miх of SkullWhitе and Bleaсhed Bone was then applied, followed bу a 1:1 wash of Gryphonne Sepia and Ogryn Flesh.

Step 6. The eуes and teethwere paintеd with Bleached Bone, while the highlight was retouсhed using the mix from Step5.

Step2. The hair was then given tvvoconseсutive washes of Ogryn Flesh,followed by a highlight of Dwarf Flesh applied to eaсh hair strand.

Step 3. Bleaсhed Bone was then applied as a final highlight. тo finish, a glaze of Baal Red was brushed over the whole area.

Thе Hair

Step l. The hair was first painted with Bestial Brown followed bу a layer of Blazing Orange.

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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, Тhis is and so the top edgeshavea more intensehighIight. on the fist shown in the stepsbelow.You bestdemonstrated 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 сo]ours.This is normally they makegood сontrasting 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 Khaki, Shadow crey and Space Wolves Greу was applied to the power armour.

Step 4. Pure Space Wolves Grey was worked onto the edges of the armour| сreating a d i stinct edge highIight.

Step2. A 1:1 mix of Shadow crey and Sсorched Brown was сarefully brushed into the reсesses between the armour seсtions.

Step5. Devlan Мud was washed into the reсesses between the plates of armour'

90 WH!тEDWARF ,ЕАVYМЕТАLМАsТЕRсLАss

Step 3. Next, a 2:1:1 Space Wolves Grey, Shadow Grey and Kommando Khaki was applied towards the edges of the armour.

Step 6. A final highlight using a 1:1 mix of Space Wolves Crey and Skull White was applied, with a stronger application on the top edges.

The wolf tails get Iighteras they taper towards the end, but otherwise use the technique below.

easy,as the texturеis idеalfor Paintingfur is reIativeIy givingyou a p|еasingеffесtwith minimal drybrushing, effort.However,this is an ,ЕavyМetal-paintedmodе|/so it Won/tsurprisеyou to |еarnthat insteadof drybrushing the fur,Neil piсkedout the separateсlumpsand high|ightеd The only exсeptionto this Wasa Very them aссordingly. 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, photosand, as a|ways,the Intеrnеtis a great high-quality tool for findingsuitableimages.

Keeping the backpack separateallows Nei/ to paint the tails without obstruction.

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|iсated this 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 Scorched Brown. А solid сoat was created usinя several thin layers.

Step 2. Bestial Brown was then used to piсk out the fur, this was more heavily applied towards the еdges of the pelt.

Step 3. Vomit Brown was used for the next laуer; the сentre of the pelt was given a light drybrush, while the fur along the edges was painted.

Step 4. Bleaсhed Bone was lightly drybrushed in the centre of the pelt, but paintеd onto the clumps of fur around the edges.

Step 5, Skull White was the final highlight, applied over the whole pelt with a slightlу heavier сoating on the edges.

Step 6, Two washes were then brushed over the pelt; the first was Gryphonne Sepia,followed by Ogryn Flesh when the first wash had dried.

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The pair of wolf сlaws are a real defining featureof the Wolf Guard, and onсe painted really bring the model together.

Both sides of the wolf сlaws were painted with the energy effeсt, as the model,s open posture makes every angle visible.

Nе i I h as pai nt e da b ri ||i a nf tr е e h a n de n e rg yf i e l dd esign plаyingaсrossthе woIf сlaws.You,Ilsеe simiIareffeсtson many ,EavуМetal paintedmodе|sthatfеaturepowеr Wеaponsin onе form or anothеr. 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 basесoatto the с|aws.Тhis mеansthe paint,whilе t h i nne dd o wn ,wa s a p p |i е di n a n a I m o s t re r nai n i ng roughshodway, lettingthatpaintrun onto the unсontrol|ed, staterathеrthan bеingсontroIIеd areaand dry in a naturaI ,l, by the brush(sеeStep be|ow).Whеn dry,this formedthe basisof the frееhanddesign.Тhе nеxtstagеwas to painton thе initia|energyIinеs;thesеwere paintеdusingthе pattеrn

We featured an alternative energy field oaftern in last month's masterclass - this effect *'ill n,ork with a varietY of сolours,

сreatedin the prеviousstepas a guide.trom thereit,sa сasеof bui|dingup the freehаndwork bу addingto the сo lo ur sand mix еs,еaсh enеr gyI inesw ith thе subsеquеnt stagеshouldhavea finеr Iinethanthe previousonе. Aftеr thin g|azеof thе eaсh Iayеr,NeiI app|iedan еxtreme|y sameсo|ourand washеdit ovеr the еntirес|aw.Тhis helps and addsa сеrtainеthеrеal сrеatеthе ,frosting,еffeсt qualityto the lo o k o f thе mo dеl. Nеil has paintedthе еner gylinesin a mo r еtightIy paсkedand densеrpattеrnon the undersidеof the сlaws, the powerof the wolf сIawsis foсusеdon the suggesting areaof thе weaponthatwi|l do thе mostdamagе.

Тhe Wolf Claws

Step l. Thinned-down Regal Blue was applied to the wolf сlaws in a haphazard, ,blotchу,fashion, as desсribed above.

Step 2. Lines were painted onto the claws with Hawk Turquoise, using the pattern created in the previous stage as a guide.

Step 3, А З:1 mix of Hawk Turquoise and Bleaсhed Bone was painted over the lines. А glaze of the same mix was then applied.

Step4, А 1:1 mix of Bleaсhed Bone and Hawk Turquoisewas used on the lines, then turned into a glaze and brushed over the area.

Step5. Next,a З:1 mix of Bleaсhed Bone and Нawk Turquoisewas used. onсe again this was thinned to a glaze and applied to the whole area.

Step 6. Finallу SkullWhite was painted onto the verу edges and points of the сIaws as an extreme highlight.

92 WHIТE DWARF

,ЕАVY МЕTAL МAsТЕRсLAss

lIAttlAG] BП]TIE

PaintingbattIedamagеonto power armourсan add rеal сharaсterto a modе|,suggеstingtheseare anсient,wellworn 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

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.

see a fair sharеof sсratсhеsand сhips from walking Тhе armouron the amongstthe debrisof a batt|еfield. 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 older throughthe ages.Creatingdeeperсhips suggests damage,whi|e lightsсratсhesor brightsilverсhips infer more reсentinсidents.

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 White Sсars Vanguard Veteranwears an ancient suit of power armour, the age of which is suggestedby the heavy chipping.

This SalamandersDreadnought shows heavу battlefield wear and tear.Severe metalliс scratchesсan be achieved with a baseсoatof Boltgun Мetal and then a following laуer of Мithril Silver. A wash of Badab Black makesthe chip look older.

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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 interesting teсhniqueas it is on|ythrееstagеs, 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 of the shoulder pad betvveenthe rim and the raised creat Сompany symbol.

Step 2. This was highlighted with a 1:I mix of Buboniс Brown and Bleaсhed Bone' then washed with ogryn Flesh and Оryphonne Sepia.

Step 3. A highlight of Bleaсhed Bone, followed by a 1:1mix of Bleaсhed Bone and Skull White was applied. The icon was repainted black.

Step 2. А wash of Devlan Мud was then applied to the rim. Be careful when applying the wash so run-off doesn,t contaminate the уellow area.

Step 3. A lvlithril Silver highlight was applied to the edges of the rim, onto the rivets, and as small sсratсheson the metal areas'

Step 2. The heads were highlighted with Shining Gold, followed by a wash of Ogryn Flesh.

Step 3. А highlight of Burnished Gold was applied, followed by a highlight with a 1:1 mix of Burnished cold and Мithril Silver.

МеtaI

Step l. The metal rims of the shoulder pads baseсoated with a layer of Boltgun Мetal.

Thе Baсkpaсk

Step l. The ornate wolf heads were firstpainted with a З:1 baseсoat mix of Shining cold and Bestial Brown.

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,ЕАVY МЕТАL MАsТЕRсLАss

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. layershouldthen be Iighterin tonе and Еасhsubsequеnt shrinktowаrdsthe sourсeof the iIlumination.

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.

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.

Step 2. Next, theу were painted with a 1:1 mix of Regal Blue and lсe Blue; this was followed by laуer of pure lсe 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.

Step 3. The runeswere highlighted with Space Wolves Crey and then a 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.

Painted by Kirsten Mickelburgh

BLACK LEGION DAEMON PRINCE

PREPARATION Before painting any multi-part model it’s a good idea to check that all of the parts will be accessible to paint once it’s assembled. 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 was painted in the colours of the Black Legion, black with gold trim on the shoulder guards and greaves. All of the raised areas of the black armour were highlighted with a 50/50 mix of Chaos Black and Codex Grey, then Codex Grey was used on its own, before a final highlight of Fortress Grey was applied over the very top ridges of the contours in the Daemon’s armour. Once these highlights had been applied, thinned-down Black Ink was washed over the armour to tone down the 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 thinneddown coat of Chestnut Ink was washed over this to blend the highlights together. Once this had dried, a little Shining Gold was used to highlight the metal before a 50/50 mix of Shining Gold and Mithril Silver was applied to the very edges of the trims. As a final touch, a tiny amount of Mithril Silver was painted onto the furthest edges of the detailing where the light would catch it.

DAEMONIC FLESH The Daemon Prince was once a mighty Chaos Space Marine Champion, and his flesh and armour have melded together. This meant that the skin tones chosen for the model would need to blend back into the colour of his armour. Starting with the Daemon’s neck, an 80/20 mix of Chaos Black and Red Gore was painted where the armour and flesh join, to create the effect that they had merged. This was applied down either side of the spine and across the shoulders towards the elbows where it fades to black again.

This effect was achieved by painting away from the armour and adding more Red Gore to the mix as the brush strokes moved further from the armour until the ratio was 20/80 Chaos Black/Red Gore on the tops of the muscles and cheeks of the model. Once the basic blended colours had been applied, the raised ridges of flesh were highlighted with Red Gore, then Blood Red before a final fine line of Blazing Orange was added.

To bring the brightness of the orange highlights down and smooth the blending lines, a watered-down glaze of Red Ink was used. Starting from a point halfway between where the red and black merge, the ink was painted towards, and over, the red areas of the model. It was important not to go onto the black as the blended effect would be lost.

HORNS AND CLAWS The Daemon Prince’s horns merged with the red flesh of his head and were blended from red to black at the base of the horns using the same method as was used to blend the join of flesh and armour. Using a combination of gradually brighter colours created the effect of the horn lightening from its thickest part to the tip. Firstly a 50/50 mix of Scorched Brown and Chaos Black was painted in lines from the black part of the horn to its tip. The paint on the horns was applied in lines down the length of the horn, as this is how real horns colour as they grow from an animal’s head (for reference material, we sourced pictures of Highland Cattle). Next, Scorched Brown on its own was painted to the horn’s tip, though the lines were started further away from the base of the horn, so that some of the first coat was still visible there. The process was repeated using a 50/50 mix of Scorched Brown and Bestial Brown, starting the lines even further from the base so that the previous coat of paint was still visible. Bestial Brown was used next, followed by Snakebite Leather then Bubonic Brown, each time starting closer to the horn’s tip. Following this, a coat of Bleached Bone, followed by Skull White was applied to the very end of the horn.

DETAILING THE ARMOUR The metallic pipes on the Daemon Prince’s belly were painted with Tin Bitz then given a wash of equally mixed Black and Brown Ink. Chainmail was lightly drybrushed across the pipes, just enough to highlight them yet still give the impression of corrupted, rusty metal. There were a few areas on the model that used the same green: the captured Space Marine helmet, the piping on the Daemon Prince’s head

and arms and the eye on his shoulder guard and breastplate. These areas were painted with a 50/50 mix of Dark Angels Green and Chaos Black. This was first highlighted with Dark Angels Green, then a mix of Goblin Green and some Dark Angels Green, and lastly a final highlight of Goblin Green on its own. The Space Marine helmet was given an extra highlight of Goblin Green equally mixed with Bleached Bone. All these areas were then given a thinned-down glaze of Green Ink to blend all the highlights together. The bony ridges along the top edge of the Daemon’s backpack vanes and left forearm were painted with a 50/50 mix of Scorched Brown and Bestial Brown. These were then highlighted with Bestial Brown followed by Snakebite Leather then Bubonic Brown. Finally, some Bleached Bone was applied followed by Skull White.

the blade’s length and, once this had dried, Yellow Ink was used to give the runes the appearance of glowing heat. Orange Ink was then dabbed in the corners to give the impression that the centre of the blade was the hottest (as metal glows brighter the hotter it is) and finally, a tiny dot of Blood Red was painted into the very edge of each rune. Once the runes were painted, any areas where the colours had spilled over onto the blade were tidied up with Chaos Black. The sword blade itself was painted by blending the Chaos Black outwards with Hawk Turquoise towards the weapon’s edges. The edges of the sword were then highlighted with a 50/50 mix of Skull White was added and Hawk Turquoise before a final highlight of Skull White along the very tip and barbs of the blade.

BASING Watered-down PVA glue was spread evenly over the model’s base before being sprinkled with sand. Some stone chips were also glued to the base. This was drybrushed with Codex Grey then Bleached Bone, though some of the larger stones had Skull White brushed over them. Some small areas of Static Grass were glued to the base with PVA glue, clustered at the base of the rocks, since this is where mosses and lichens generally prefer to grow.

The skulls decorating the Daemon Prince’s armour were painted with a 50/50 mix of Codex Grey and Fortress Grey then highlighted with Fortress Grey. Final highlights were added by painting Skull White along the raised edges of the skulls.

DAEMON WEAPON The Daemon Prince’s weapon glows with inner fires, and this effect was achieved relatively simply. A watereddown layer of Skull White was brushed into the depressions of the runes along

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IRON WARRIORS DAEMON PRINCE

Last, but not least, the plastic dragon wings were glued into place on the 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!

Painted and converted by Tammy Haye

DAEMON ARMOUR

ASSEMBLY AND CONVERSION The Iron Warrior’s Daemon Prince was assembled as normal, but it was converted to make him stand out from the Black Legion Daemon Prince. The gun barrel on the left arm was extended using Green Stuff to make it more prominent and emphasise the mechanised nature of the Iron Warriors. Then the sword blade and hilt were clipped from the top and bottom of the Daemon Prince’s hand and a hole drilled through to allow the insertion of an aluminium rod to serve as the haft of an axe. A blade from the Bloodthirster’s axe was clipped off and the detailing on both sides of the blades filed flat. This was glued to the aluminium rod and the spear point from the skeleton warriors plastic regiment was glued to the top. The back blade was also from the Bloodthirster’s axe, clipped and filed to fit on the back of the haft. Since this Daemon Prince was going to have wings instead of the jump pack vanes, the skull on the end of one of these vanes was

56 ’EAVY METAL MASTERCLASS

sawn in half and removed. These were then glued to the flat of each side of the axe blade and Green Stuff sculpted around them to give the impression that the axe was raw, bloody and alive itself. To finish off the axe, the base of the haft was given a Green Stuff end piece. The left shoulder guard had the skulls and spikes clipped off, leaving only the edge trims. The centre of the shoulder guard was filed flat and an Iron Warriors’ symbol was sculpted on using Green Stuff. To really emphasise that this Daemon Prince was once an Iron Warrior, it was given a visor sculpted from Green Stuff. Once this had dried, it was filed into its final, angular shape and holes were drilled through in one side with a pin vice to mirror the helmets of the Iron Warriors themselves.

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 along the line of the grain. This technique was used on all the silver metal areas, such as the axe blade, visor, Necron head and Iron Warriors’ icon. The edge trims of the armour were left at this point until after the Daemon Prince’s flesh had been totally painted.

DAEMONIC FLESH The techniques used on the fleshy areas of the Daemon Prince were applied to all the areas of the model where its flesh had morphed with its armour and burst through, such as the wing muscles, axeflesh, hands, head, knee guard and arms.

Firstly, a basecoat of Dark Flesh was used as an undertone for the flesh colours. This was then blended to the areas where it morphs back into the armour by applying the paint then using a clean, damp brush to render the paint at the edges semi-transparent so that it will appear to blend with all the colours underneath. The first highlight was applied using Dwarf Flesh, then a glaze of Red Ink and Flesh Wash mixed with a little water was washed over all the fleshy parts of the Daemon Prince. This was also applied over some of the metallic parts of the model, to emphasise the raw, impending changes warping through the Daemon Prince and to suggest that more flesh could burst through his armour at any time. The flesh was now re-highlighted with Dwarf Flesh followed by another highlight of Dwarf Flesh mixed equally with Bleached Bone.

DETAILING THE ARMOUR One of the most obvious means of identifying a model as belonging to the Iron Warriors is the painting of yellow and black chevrons on its armour or weapons. In this case, the cables running over the Daemon Prince’s head and from his left arm were picked out in these colours. They were painted Vomit Brown first, and then highlighted with Bleached Bone before being given a wash of Yellow Ink. The black stripes were then painted over the yellow pipes.

The skulls mounted on the model’s armour were painted Snakebite Leather then highlighted with Bubonic Brown. This was then given a further highlight of Bleached Bone, before a final highlight of Skull White was applied. The same method used to paint the yellow of the cables was applied to the Space Marine helmet, with an extra highlight of Bleached Bone to give the edges of the helmet more definition. The eyes of the Daemon Prince as well as those on his armour were picked out in Snot Green then highlighted with Bilious Green followed by a final highlight of 50/50 Bilious Green and Bleached Bone. The green eyes on the model’s armour were also given thin lines of Chaos Black for the slit pupils.

A final highlight was applied over the highest portions of the flesh with Bleached Bone.

ARMOUR TRIMS The interiors of the shoulder guards were left black and the metallic trims around the Daemon’s shoulder guards and greaves were painted with Dwarf Bronze. These were then highlighted with Shining Gold before applying a glaze of Flesh Wash to blend the highlights together. Once this had dried, a highlight of equally mixed Shining Gold and Mithril Silver was painted on the very edges of the trims.

The gun barrel, chains and spine of the model were painted Dwarf Bronze then highlighted with Shining Gold. Chestnut Ink was washed over this and a final highlight of Mithril Silver was painted on the highest areas.

WINGS Areas where the fleshy colours from the Daemon Prince’s wing muscles had spilled onto the wing membranes

themselves were cleaned up with Chaos Black. The scaled parts along the wing muscles were repainted black where the painting of the flesh here had gone over them. To highlight the wings, a fine line of Codex Grey and Chaos Black was painted along the back edge of the grooves in the wing membranes, as this is where they would catch the light. To make this highlight subtler, a fine line of Codex Grey was applied in the very centre of this line before an extremely watered-down Black Ink was glazed all over the wing’s membranes. To make the horns at the ends of the wings and the scales stand out, they were given a coat of Gloss Varnish.

HORNS Where the Daemon Prince’s horns met its head, Bleached Bone mixed with a 50/50 mix of Red Ink and Flesh Wash was applied. Then, moving further along the horn, Bleached Bone was painted and blended back towards the Daemon Prince’s head. This was done again, even further along the length of the horn, using Bleached Bone mixed with a dot of Chaos Black. This process was repeated, each time moving further down the horn and adding more Chaos Black to the mix until the tip was completely black. To finish off the horns, some Gloss Varnish was applied to the very tips.

BASING The Iron Warriors’ Daemon Prince was based in the same way as the Black Legion one, using watered-down PVA glue spread evenly over the model’s base, which was then sprinkled with sand. This was drybrushed with Codex Grey then Bleached Bone. Some small areas of static grass were also glued to the base with PVA glue to break up the uniform colour of the base and make it suitable for use on both green and urban battlefields.

DARK SKIN – Intermediate

MASTERCLASS

FACES REDUX

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

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Back in February 2009 we showed you how to paint human 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.

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

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 figure is placed in. All of this will add to the depth and background of the miniature. 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 colours. Skin is the living part of the figure and should have tones and nuances added to it to give it life – I’ll cover this in more detail in a moment.

You Will Need For the techniques featured in this article Darren has used the following colours from the Citadel Colour, Wash and Foundation ranges.

Wash: W Foundation: F

TM

In February 2009 we published an ’Eavy Metal Masterclass on painting faces. Darren Latham, assures us he has much more to say on the subject.

Chaos Black Spray

Kommando Khaki

Space Wolves Grey

Bleached Bone

Liche Purple

Vomit Brown

Codex Grey

Regal Blue

Chaos Black

Rotting Flesh

F

Fenris Grey

Dark Flesh

Scab Red

F

Knarloc Green

Dwarf Flesh

Scorched Brown

F

Orkhide Shade

Elf Flesh

Shadow Grey

F

Tallarn Flesh

Fortress Grey

Skull White

W

Badab Black

Goblin Green

Snakebite Leather

W

Thraka Green

an edge highlights to give it definition, 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.

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Step 1. First of all the face was basecoated with Dark Flesh.

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Step 2. A wash using a 1:1 mix of Scorched Brown and Badab Black was applied all over the face area.

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Step 3. A 2:1 mix of Dark Flesh and Vomit Brown was then layered on to the face.

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Step 4. Next, a 1:1:1 mix of Dark Flesh, Vomit brown and Kommando Khaki was applied as a first highlight.

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Step 5. Scab Red was washed around the bottom lip while a 1:1 mix of Regal Blue and Dark Flesh was washed around the eyes.

Step 6. Finally, Bleached Bone was used as a highlight, applied to accentuate the model’s dour expression.

Ageing Showcase

AGEING With the two age examples shown here, the aim is to 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 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.

Warlock Purple

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B This model represents an older version of Griff – the paint has been applied in a sympathetic way, with grey tones to wash out

the colour. In the other example, Bilbo’s age has been alluded to with the addition of expression 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.

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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.

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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, which can sometimes appear too bright. For this stage by stage I started with a midtone green rather than a dark green and washed colour into the face for shade. I 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

1 Step 1. The face was first basecoated with a 4:1 mix of Tallarn Flesh and Scab Red.

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Step 2. This was followed by a wash of Dark Flesh and then followed by a further wash of Scorched Brown.

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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. The cheeks were painted with a 1:1:1 mix of Scab Red, Tallarn Flesh and Warlock Purple.

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.

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Step 3. Highlighting started with a 2:1 mix of Tallarn Flesh and Elf Flesh.

6 Step 1. The face was first basecoated with Knarloc Green.

Step 4. A further highlight of pure Elf Flesh was then applied.

TECHNIQUE

Step 6. The eye shadow was painted with Tanned Flesh. Finally the face was highlighted with Skull White.

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Step 2. A wash using a 1:1 mix of Dark Flesh and Catachan Green was then applied all over the face and head.

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Step 3. This was followed by a second wash using a 2:2:1 mix of Scorched Brown, Catachan Green and Chaos Black.

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Female/Elf Showcase

Step 4. Knarloc Green was then built up round the face in several thin layers.

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With blonde hair, the features on the face need to be even subtler. Skin should also be kept pale, or else it will tend to look overly pink when contrasted against the yellow in the hair. Any make-up should barely be hinted at. This is especially true with The Lord of The Rings models, where a hint of realism is desired – this Galadriel model is a good example. In general, the rule of thumb is that the lighter the hair, the lighter the skin needs to be.

94 WHITE DWARF

PAINTING FACES

To enhance the fantastical look of Warhammer models, your painting needs to be bold and striking. You should still be mindful of the things we’ve already talked about, but you don’t need to ensure that they are as life-like as The Lord of The Rings figures.

Step 7. A wash of Scab Red and Knarloc Green was used around the lip and scar, while a mix of Regal Blue and Knarloc Green was brushed around the eyelids.

Step 5. A highlight using a 2:1 mix of Knarloc Green and Vomit Brown was then applied.

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Step 8. The raised areas were then highlighted with Bleached Bone.

Step 6. Bleached Bone was added to the previous mix in a 1:1 ratio and applied as the next layer of highlighting.

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Step 9. Skull White was used as the final highlight and also applied to the teeth.

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

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UNDEAD SKIN – Intermediate 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.

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Step 1. The entire face was first basecoated with Fenris Grey.

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Step 2. A wash using a 1:1:1 mix of Liche Purple, Scorched Brown and Badab Black was then applied all over.

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Step 4. A highlight using a 1:1:1 mix of Shadow Grey, Fortress Grey and Kommando Khaki was then applied.

Step 3. The skin was then layered up with Shadow Grey.

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Step 5. The skin was highlighted further with pure Kommando Khaki.

Step 6. The final stage was to highlight the most prominent areas with Skull White.

Tau 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.

96 WHITE DWARF

PAINTING FACES

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

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Step 1. A 2:1 mix of Tallarn Flesh and Liche Purple was used as a basecoat.

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Step 4. A highlight using a 2:1 mix of Rotting Flesh and Tallarn Flesh was then applied.

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.

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Step 2. This was followed by a wash using a 1:1:1:1 mix of Scorched Brown, Liche Purple, Scab Red and Badab Black.

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Step 3. A 2:1 mix of Tallarn Flesh and Rotting Flesh was then layered onto the skin.

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Step 5. A 1:1 mix of Liche Purple and Tallarn Flesh was washed around the eyes. At the same time a 1:1 mix of Scab Red and Warlock Purple was washed around the mouth and nose.

Step 6. A final highlight of Rotting Flesh was applied to the skin. Gore was then splattered on the face with Scab Red and Badab Black.

Joe Tomaszewski’s brilliant Vampire has a face painted in blue tones for a very washed out, 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.

Undead Showcase

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.

www.games-workshop.com 97

MARAUDER TATTOO – Advanced

FACIAL DETAILS

It is important to sketch out the design out on paper before you start to paint the tattoo – it’s easier to correct potential mistakes on paper! Real-world reference can be useful – the Internet or specialist tattoo books are obvious places to look. 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

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.

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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.

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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

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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.

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Step 1. The lower part of the face was washed with a 1:1:1:1 mix of Tallarn Flesh, Fortress Grey, Scorched Brown and Chaos Black.

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Step 2. This was followed with a wash using a 1:1:1:1 mix of Tallarn Flesh, Codex Grey, Scorched Brown and Chaos Black.

Step 3. The skin was then re-highlighted with Tallarn Flesh and, finally, Bleached Bone.

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

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Step 1. The Dwarf was washed with a 1:1:1 mix of Tallarn Flesh, Scab Red and Warlock Purple.

98 WHITE DWARF

until you reach the desired effect. After the colour was added to the nose and cheek the areas were then rehighlighted to pull the colours back into the skin and tone them down a little. 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.

PAINTING FACES

Step 2. Next, layers were built up with a wash consisting of a 1:1:1 mix of Scab Red, Tallarn Flesh and Regal Blue.

Step 1. The outline of the tattoo was painted using a thin 1:1 mix of Scorched Brown and Chaos Black.

Step 2. Next, the outline was thickened up with a 1:1:1 mix of Tallarn Flesh, Regal Blue and Chaos Black.

SPOTS AND ROT

HAIR SHINE & GREYING

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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

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Step 3. The skin was re-highlighted with Dwarf Flesh and then Bleached Bone.

Step 3. The tattoo was then highlighted with a 1:1:1:1 mix of Tallarn Flesh, Regal Blue, Chaos Black and Bleached Bone.

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.

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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 other techniques for that matter – 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 his hands and face were exposed.

Codex: Tau Empire includes the full background o f the army, detailing their 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.

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MASTERCLASS

CHAOS LORD

Painting the Armour

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

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f you’re attending this year’s Games Day, be it in the UK, the US, Europe or anywhere else, then you’ll be in the enviable position to purchase this fantastic Games Day-exclusive miniature. The 2009 model is a mighty Chaos Lord sculpted by Martin Footitt. A miniature like this is the perfect subject to be picked out for some special treatment, and we tasked ’Eavy Metal’s Joe Tomaszewski to really go to town on it. Joe saw this as an exquisite display model, something for show rather than the rigours of gaming.

With this in mind, Joe wanted to give the model a scenic base to make it even more imposing and paint it in a very advanced technique that is particularly suitable for displaying miniatures. The technique is non-metallic metal. This is challenging to achieve but in the hands of an ’Eavy Metal painter the finished effect will be stunning. That’s not to say you have to be an expert, on the following pages we’ll show and explain exactly how Joe achieved the armour effect, so the step-bysteps along with some painting experience and a steady brush will see you through.

Step 1. After undercoating the entire model Chaos Black, Joe began by basecoating the armour plates with Codex Grey.

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Step 2. Watered-down Chaos Black was applied as a rough, heavy wash around the joins and raised areas of the armour.

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Glazing the Armour

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Step 3. After the wash, Codex Grey was applied again to the raised areas to neaten up and form the basis of the highlight stages.

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Step 1. A glaze, made from watered-down Liche Purple, was applied around the bottom portions of the armour plates.

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You Will Need For this issue’s ’Eavy Metal Masterclass we’ve really got something really special as Joe Tomaszewski paints the 2009 Games Day Miniature.

All of these paints are available from the Citadel Colour, Wash and Foundation ranges.

Wash: W Foundation: F

Chaos Black Spray

Kommando Khaki

Bleached Bone

Liche Purple

Skull White

Codex Grey

Regal Blue

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Astronomican Grey

Chaos Black

Scab Red

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Dheneb Stone

Hawk Turquoise

Scorched Brown

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Baal Red

Snakebite Leather Step 4. A 2:1 mix of Codex Grey and Skull White was next, finely applied along the angle lines of the armour plates.

Step 5. For the next layer the mix was reversed, so it was a 2:1 mix of Skull White and Codex Grey, again working up the highlight lines already established.

Step 6. Dots of pure Skull White were then applied at points where the highlight lines met to represent points of direct reflection.

Step 2. A light glaze using Hawk Turquoise overlaid this. It’s a very subtle layer but gives the armour an arcane quality.

www.games-workshop.com 91

NON-METALLIC METAL

Painting the Horns and Shield

The fur was basecoated Astronomican Grey and then given a wash using a 1:1 mix of Hawk Turquoise and Chaos Black. It was highlighted back up to Astronomican Grey, and then highlighted further with Skull White.

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

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 that uses paints without metallic pigments to create reflective, mostly metal-looking surfaces. Shades and highlights are created in a pictorial fashion using the same methods that artists have been doing on canvas for centuries. In effect, you’re using a two dimensional technique on a three dimensional model. That’s quite a challenging prospect and for this reason painting with non-metallic metal is a very advanced technique that requires mastery of many other expert techniques, such as rich blending and advanced colour theory. Nevertheless, the ’Eavy Metal team get asked a lot about how to achieve such an effect and so we’ll attempt to cover the basics here. Whilst reading this page will give you some foundation in the technique, practice and solid brush control are the keys to getting this effect right. Models painted up in non-metallic metals are primarily for display. It’s rarely used on models intended for use in the gaming environment where the chance of such a precisely painted model being chipped is much higher. The best way to showcase a miniature with nonmetallic metal painting is in a lighted display cabinet, 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.

Illustrations, from fantasy art in particular, also show how artists achieve reflective surfaces in two-dimensional form. In this case real world references are not very useful, as they don’t convey the exaggerated highlighting and shading you need to make the technique effective. Following a real-world reference will just leave you with a drab grey or yellow area rather than the metallic-look you’re trying to achieve. Left. Dave Gallagher’s illustration is a perfect example of how artists paint metal in twodimensional form.

Below. A graphical representation of how light falls on simple geometric shapes, giving you a rough guide about how to add highlights and shading to your nonmetallic metals.

Light Sourcing Painting the Shield

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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.

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.

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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.

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Step 4. Skull White was used to add nuanced highlights on the shield, applied mainly along the edges but also to create tiny ‘scratches’ on the surface.

Painting the Horns

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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 nonmetallic metal will react according to where the light points are on the miniature. The geometric diagrams on this page illustrate how light reflects off different shapes. When he painted his Harry the Hammer, Darren Latham imagined four light sources around the miniature. This helped him visualise where the highlights and shades should be.

Contrast When paining non-metallic metal, contrast is the key. Each surface needs to go from black to white. Normally you highlight with a lighter version of the midtone. So for, say, Regal Blue, you might highlight with Enchanted Blue. However, when painting in a non-metallic metal technique you should always shade and highlight with black and white no matter what the midtone is. The 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.

Have a Go 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.

92 WHITE DWARF

Step 2. Next, Bleached Bone was overlaid along the Snakebite Leather stripes, tapering out towards the tips.

PAINTING MASTERCLASS

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.

Step 4. Joe then added nicks and chips with carefully applied Chaos Black and Skull White. Finally, a thin wash of Chaos Black was brushed over the ends of the horns.

These are just guidelines, the real results will come from practice and learning the theory. Don’t forget artists have been doing this for years in pictures so take inspiration from them and don’t be afraid to just give it a go.

www.games-workshop.com 93

Painting the Cloak

Painting the Armour Details

The loincloth started with a Regal Blue basecoat, which had Scab Red slowly blended into it for the first highlights. It was then highlighted with Kommando Khaki, before Skull White was added to the mix for a final, layered highlight.

The bandages were painted with Dheneb Stone followed by a Baal Red and Devlan Mud wash. The area was then highlighted with Dheneb Stone, with a final highlight of Skull White.

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 multicoloured 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.

Painting the Inner Cloak

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Step 2. Separate washes of Regal Blue, Liche Purple and Chaos Black were painted into the recessed areas. Joe randomly applied each colour wash.

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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.

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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.

Painting the Outer Cloak

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94 WHITE DWARF

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.

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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.

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Step 2. The Snakebite Leather was then shaded with a very thin wash of Chaos Black.

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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.

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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 Helmet

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Step 1. The outside of the cloak was first basecoated with a solid coat of Regal Blue.

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,

Painting the Gold Leaf

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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.

The skulls were painted using a very similar method to the bandages, the only difference being the wash, which was pure Devlan Mud instead of Baal Red.

The intricate freehand design on the axe head was replicated on both the axes and across various parts of the Chaos Lord’s armour.

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.

PAINTING MASTERCLASS

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Step 3. The recesses and deep folds of the cloak were shaded with a wash of Chaos Black.

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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.

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Step 1. The helmet was painted in a similar method to the gold leaf, starting with a basecoat of Snakebite Leather.

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Step 2. This was followed by a shade into the recesses with a wash of Chaos Black.

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Step 3. The Snakebite midtone was reapplied and then worked up by adding an increasing amount of Skull White over several layers.

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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.

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.

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.

White Dwarf, Games Workshop Design Studio, Willow Road, Lenton, Nottingham, NG7 2WS, United Kingdom

96 WHITE DWARF

PAINTING MASTERCLASS

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.

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 greytinged 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.

The White Dwarf model is only available by purchasing a Sub-in-a-Box, which you’ll find in most Games Workshop Hobby Centres.

PRINCE IlTHRIN

High Elf army is a thing of beautyranks of perfectly dressed, elegant soldiers in bright, crisp colours. Marching along with the rank and file are the charismatic leaders of the High Elvesthe 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,

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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

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Painting the Armour

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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.

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Step 4. Three separate washes were then painted into the recesses, first Baal Red, then Devlan Mud, then Badab Black.

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Step 5. The armour was then carefully highlighted with a 1:1 mix of Burnished Gold and Mithril Silver.

Step 6. Finally, pure Mithril Silver was used to edge around the armour plates.

When using metallics, Darren advises building one layer up 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 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. However, persist, as you'll get a much better finish.

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. 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 nonmetallic metal technique but using metallic paints. Obviously, the properties of metallic paints mean you don't have to paint in a non·metallic style to get a shiny look, but using the mirrored effect here adds real depth to the blade, making it stand out.

74

WHITE DWARF

Step 4. Darren then applied Badab Black between the segments of mail. The wash was also placed in the centre of the Asurmen Blue patches on the blade.

'EAVY METAL MASTERCLASS

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.

Step 6. Finally, the scales were edge highlighted with Mithril Silver. For the blade, Darren created a Mithril Silver glaze and applied that over the whole area.

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 3. Darren then used pure Enchanted Blue and layered it onto the raised areas over several thin coats.

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 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 Astronomican Grey and Fenris Grey was used as a basecoat for the sash.

Step 2. Darren then applied a 1:1 mix of Fenris Grey and Chaos Black, directly into the depressions of the sash.

Step 3. He then layered on pure Astronomican Grey building up the raised areas.

Step 4. Next, Darren highlighted the raised areas with a 1:1 mix of Astronomican Grey and Skull White.

Step 5. As a final highlight, he used pure Skull White on the prominent parts of the sash.

Step 6. The freehand designs on the tassels were painted in Scab Red. For reference, Darren used the High Elf army book.

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.

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75

Painting the Head The Face

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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.

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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 3. The 1:1 mix of Tallam Flesh and Dwarf Flesh was then reapplied, layered onto the raised areas.

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 6. A final highlight of Skull White was used. The eyes and teeth were also painted in with Skull White.

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.

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.

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WHITE DWARF

Step 4. Gryphonne Sepia was washed over the hair, followed by a wash of Devlan Mud directly into the recesses.

'EAVY METAL MASTERCLASS

Step 2. He then layered on Desert Yellow, following the hair strands with his brush.

Step 3. A 1:1 highlight of Desert Yellow and Bleached Bone was then applied.

Step 5. The strands of hair were then all highlighted with Bleached Bone.

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.

Step 2. He then applied lines using a 1:1 mix of Scorched Brown and Snakebite Leather, going from top to bottom.

Step 3. Thinned down Chaos Black was painted between the lines, to add further definition.

Step 5. Darren then used a finer highlight of Bubonic Brown to the wood grain effect.

Step 6. To finish, he applied a very fine highlight of Bleached Bone, to the wood grain and edges of the shield.

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 neutralcoloured 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.

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 1. A 1:1 mix of Scab Red and Warlock Purple was painted onto the front 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 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 4. Using the mix from Step 3, he added in some Space Wolf Grey and started to highlight the top and edges.

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.

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.

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77

The Finishing Touches Cloak Lining

Step 1. Darren painted on his pre-

Step 2. Once he was happy with

Step 3. He then shaded the line with

As with any freehand

designed pattern with thinned-down Vomit Brown, in a very thin line, wiping away mistakes.

how the design was plotted, he thickened up the line with more Vomit Brown.

Vermin Brown. The shade was applied to the depressions where the lines intersected.

Step 4. Darren then layered on

Step 5. Bleached Bone was used as a highlight on the design itself and

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.

Bubonic Brown over the design to add in some yellow and 'bridge' the intersecting lines.

along the raised contours.

Step 6. To complete the freehand,

Darren applied Skull White as the final highlight.

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

78

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 with Scab Red.

Black was used to shade the top of the gem and create a line two thirds of the way down its surface.

Scab Red and Blood Red was then layered on, avoiding the blackened areas.

applied pure Blood Red as a highlight to the raised surface of the gem.

highlight of Blazing Orange was then carefully painted on.

Skull White and Blazing Orange was then used, followed by pure Skull White placed as thin lines and dots for reflection.

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. 2. 3. 4. 5. 6. 7.

• •

•

Spectral steeds and spirit horde Banshees The Mortis Engine Lectern Mortis Engine cage The Reliquary The Corpsemaster

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SPECTRAL STEEDS AND SPIRIT HORDE

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First of all, apply a basecoat of Astronomican Grey, before washing with a watered-down mix of 1: 1 Hawk Turquoise and Asurmen Blue.

When the wash has dried, drybrush with Astronomican Grey.

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 recesses with a watereddown 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 raised areas with Skull White.

Basecoat the weapons and armour with Chainmail.

Wash the weapons and armour with Asurmen Blue, then apply a few spots of Gryphonne Sepia.

Edge highlight the metal areas with Mithril Silver for an unearthly glint.

WHITE DWARF

PAINTI NG WORKS HOP: MORTIS ENG INE

BANSHEES

ROBES AND HAIR

To begin with, basecoat the Banshee with Astronomican Grey.

Wash the whole area with watereddown Shadow Grey.

Layer with Space Wolves Grey. When dry, layer with a 7: 7 mix of Space Wolves Grey and Skull White.

BANSHEE SKIN

Edge highlight with Skull White, then wash a few of the recesses with some watered-down Hawk Turquoise.

TOMB BANSHEES

Basecoat the skin with a 7: 7 mix of Dark Flesh and Fortress Grey, then carefully basecoat the armour with Chaos Black.

Wash with Devlan Mud when to shade the flesh.

Layer with the same 7: 7 mix of Dark Flesh and Fortress Grey.

Layer with a thin coat of Fortress Grey, then edge highlight with Skull White.

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.

Paint the armour using the same method as for Stages 6-8 opposite, but without the Gryphonne Sepia.

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.

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THE MORTIS ENGINE Whilst gluing the components of this subassembly 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 I

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To start off, basecoat the stone steps with Charadon Granite.

Now apply a thick drybrush of Kh emri Brown.

Wash the whole area with Devlan Mud to shade it.

When dry, apply another drybrush of Khem ri Brown, b ut a bit lighter this time round.

Apply a light dr ybrush with Dheneb Stone, then apply an edge highlight with Oheneb Stone to help add furth er de finition .

Stipple the area sparingly with Gretchin Green to pro vide the area with a mouldy look.

Wash a few of the flagstones with either Ogryn Flesh or Thraka Green to help weather and age them.

Similar techniques can be used on gravestones or other similar components throughout the army.

W HITE DWARF

PAINTING WORKSHOP: MORTIS ENGINE

SKELETONS AND BONE FRAMING

To begin with, basecoat the bone sections with Dheneb Stone.

Wash the whole area with a 1: 1 mix of Devlan Mud and water.

Drybrush with Bleached Bone, then apply a drybrush with a 1: 1 mix of Bleached Bone and Skull White.

THE ARTEFACT

Basecoat the locks and casket with Boltgun Metal, then basecoat the candle wax with Khemri Brown.

BONES AND SKELETONS

11 11 Wash the metal with Badab Black, then wash the wax with Gryphonne Sepia.

Apply a wash of Devlan Mud to the metal. Layer Desert Yellow onto the surrounding areas of wax.

Edge highlight the metal with Mithril Silver. Layer the wax with a 1: 1 mix of Desert Yellow and Bleached Bone, then pure Bleached Bone.

Wash these areas with Thraka Green.

Layer with Snot Green, then highlight with a 1: 1 mix of Snot Green and Scorpion Green.

Highlight with Scorpion Green before carefully edge highlighting with a 1: 1: 1 mix of Scorpion Green, Skull White and Sunburst Yellow.

Layer with Desert Yellow when dry for a parched look.

Using a 1: 1 mix of Desert Yellow and Bleached Bone, layer the pages, then edge highlight with Skull White when dry.

BALE FIRE

Firstly, basecoat the flames and in between the skeletal brazier's ribs with Snot Green.

Wash the recesses with Devlan Mud, then sparingly apply Thraka Green to some of these areas. Edge highlight with Skull White to fin ish .

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 army. From the hordes of Skeleton Warriors and Wights of the Grave Guard to the fanged skull of the Cairn Wraith or even the dread countenance of Krell himself, 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 areas, so you needn't be overly neat!

TOME OF THE DAMNED

Basecoat the pages with Khemri Brown.

Wash the pages with Devlan Mud to shade them and provide some depth .

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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 Dark Angels Green to start with.

Layer the edges of the cloak with a 1: 1 mix of Dark Angels Green and Rotting Flesh.

Repeat Stage 2, but this time with a 1:3 mix of Dark Angels Green and Rotting Flesh.

Edge highlight the raised areas of the cloak with Rotting Flesh.

Drybrush the bottom of the cloak with Graveyard Earth for a dirtier overall look.

For the hood, repeat Stages 1-5 for painting the robes, but substituting Scorched Brown in place of Dark Angels Green.

DYING FLESH

Basecoat the flesh with Dheneb Stone.

Wash this area with Ogryn Flesh to shade.

Apply a second wash, but this time with Leviathan Purple.

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WHITE DWARF

Wash the hair with Badab Black, then Devlan Mud when dry.

First layer the flesh with Bleached Bone, then edge highlight with Skull White.

Edge highlight the blindfold with Codex Grey, the tongue with Leviathan Purple and teeth, Bleached Bone.

THE DREAD STAFF

MATTED HAIR

Basecoat the hair with Khemri Brown.

Layer the flesh with Kommando Khaki, then carefully pick out the blindfold with Chaos Bla ck.

Edge highlight the hair with Codex Grey.

PAINTI NG WORKSHOP: MORTIS ENG INE

Basecoat the staff with Scorched Brown.

Wash with Devlan Mud. When dry, layer with Bestial Brown.

Highlight with a 1: 1 mix of Bestial Brown and Bleached Bone.

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 on Corpse Carts or Hexwraiths to name but a few other units.

I used the same effect for the balefire on this lantern for an eerie light effect.

The Corpsemaster's potion was also painted using a similar method, but using successive blends instead.

I picked out some details on the ancient tome with a Fine Detail Brush for a more authentic look.

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1 05

ELTHARION THE GRIM he Warden of Tor Yvresse is one of 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.

T

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.

For this month's 'Eavy Metal Masterclass, Anja Wettergren tackles one of most fondly remembered Citadel miniatures: Eltharion the Grim, Warden of Tor Yvresse.

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.

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 and the talon to the Griffon's body. Using the Hobby Drill, bore holes in both the wing connecting tabs and the sockets on the Griffon's back. It's important that the holes match up when the wings are in place. Cut some paperclip wire to about 10mm in length and glue this into the hole in the socket. Now stick the wing onto the Griffon, using the wire to join them.

Green stuff is a two-part epoxy putty that the Citadel designers use the m~jority of the time to sculpt their models. As illustrated on this page it is also perfect for filling gaps, and to use for sculpting work for your own conversions. You can find blisters of Green Stuff in our Hobby Centres and through GW Direct.

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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.

•

Dark Basecoat Scorched Brown.

Basecoat. The feathers are painted in alternate stripes. Paint the light areas first, as the Foundation colour provides a strong base.

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8

Light Highlight 1:1 mix of Bleached Bone and Skull White.

I

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

2nd Highlight. Successive highlight layers require a lighter drybrush - wipe off even more of the paint before applying the technique.

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WHITE DWARF

'EAVY METAL: ELTHARION

•

Light Shade Flesh Wash.

If--'~"_ •

Dark Shade Black Ink.

Shade. Black Ink was used for shading the dark feathers while Flesh Wash was applied sparingly to the base and stem of each feather.

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Light Highlight Skull White.

Dark Highlight Graveyard Earth.

Final Highlight. The light feathers have a final drybrush of Skull White. The dark feathers had a drybrush of pure Graveyard Earth.

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Light Highlight Bleached Bone.

I

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

1st Highlight. Using a Small Drybrush, apply the first highlights as a heavy drybrush - or overbrushed - layer.

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 more of a "U" shape.

Lion. Lion fur uses lighter, more muted browns, such as Snakebite Leather. Obviously there are no spots!

Snow Leopard. This dramatic colouration uses a pale grey base, highlighted up to pure white before adding the markings.

Tiger. The contrast between the light and dark parts of the fur are more pronounced, but the basic palette is the same.

White Lion. This Chracian Griffon is painted in the same way as a regular lion, but with a much paler colour palette.

Painting the Fur Light Basecoat 1:1 mix of Khemri Brown and Calthan Brown.

•

Light Shade Scorched Brown.

Orange Basecoat 1:1 mix of Fiery Orange and Scorched Brown.

•

Orange Shade Scorched Brown.

Basecoat. The underside was given a basecoat of Khemri Brown and Calthan Brown. The haunch, back and tail was painted with the orange mix.

~

Light Highlight 1:1 mix of Khemri Brown and Bleached Bone. Orange Highlight 3:1 mix of Fiery Orange and Scorched Brown.

2nd Highlight. Try applying several thin layers of each stage instead of one thick layer, to achieve a natural, blended effect.

Shade. Scorched Brown was applied as a shading wash on both the underside and the orange areas of the fur.

•

Light Wash Snakebite wash.

O

Orange Highlight Fiery Orange.

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Orange Glaze Dark Flesh

3rd Highlight. The wash over the light areas, and the glaze over the orange areas were applied to mute the tones.

Orange Highlight 2:1 mix of Fiery Orange and Scorched Brown. 1st Highlight. For the first highlight layer, Anja added more Fiery Orange to the base mix. The light fur received a Khemri Brown highlight.

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Light Highlight 1:1 mix of Bleached Bone and Skull White.

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Orange Highlight 1:1 mix of Fiery Orange and Elf Flesh.

Final Highlight. After the final highlights are applied to both parts of the fur, it's time to paint on the spots - see above for details.

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Griffon - Painting the Beak and Claws

Painting the Talons Basecoat 1:1:1 mix of Codex Grey, Chaos Black and Graveyard Earth.

After the griffon's body was complete, Anja started work on the beak, tongue and claws respectively. Again, Anja worked on each area separately, only moving on to the talons once the beak and tongue had been completed.

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.

I

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

2nd Highlight. The stripes were defined, getting lighter towards the points.

O O

Highlight Bleached Bone. Highlight 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

Tongue Basecoat 1:1 mix of Tanned Flesh and Liche Purple. Basecoat. The beak's basecoat was built up with several layers of Bronzed Flesh.

I

2nd Beak Shade Scorched Brown and Chaos Black.

~

2nd Tongue Highlight 1:1 mix of Tanned Flesh and Bleached Bone.

2nd Shade. A Scorched Brown/Black mix was then applied towards the tip of the beak.

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WHITE DWARF

'EAVY METAL: ELTHARION

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2nd Beak Basecoat Golden Yellow.

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Tongue Shade 1:1 mix of Regal Blue and Liche Purple.

2nd Basecoat. The Bronzed Flesh provides a strong base for the thinner yellow pigment.

_

•

Beak Shade 1:1 mix of Golden Yellow and Scorched Brown. Tongue Highlight Tanned Flesh.

Shade. The shading is applied in thin layers, blended towards the beak's point.

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Beak Highlight 1:1 mix of Golden Yellow and Skull White.

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Final Beak Highlight Skull White.

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3rd Tongue Highlight Bleached Bone.

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Final Tongue Highlight Skull White.

Highlight. The first highlight was applied to the top and edges of the beak.

Final Highlight. Skull White was added to the very edges of the beak.

Eltharion - Painting Metallics

Ithilmar Weapons

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

Basecoat Boltgun Metal.

•

Basecoat. Anja used Boltgun Metal to provide a solid, flat basecoat.

O Painting the metal areas first means there's less danger of catching the face, chest plate or helmet feathers metallic paints and their related washes.

Don't forget to paint the greaves, saddle edge, sword hilt and spear decoration in gold as well.

2nd Basecoat Chainmail.

2nd Basecoat A second basecoat of Chainmail 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.

O

Highlight Mithril Silver.

Highlight. When dry, a thin coat of Mithril Silver was added for the highlight.

Painting Gold Basecoat 1:1 mix of Scorched Brown and Shining Gold.

Basecoat. Adding Scorched Brown to the gold paint makes the colour look less artificial.

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Highlight Burnished Gold.

Highlight. The first highlight Anja applied was of pure Burnished Gold.

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2nd Basecoat Shining Gold. Wash 1:1 wash of Scorched Brown and Liche Purple.

2nd Basecoat. Pure Shining Gold was then applied over the top of the first basecoat.

8

Highlight 1:1 mix of Burnished Gold and Mithril Silver.

2nd Highlight. Adding Mithril Silver to gold is a great way to get a polished effect.

Wash. The brown wash provides shading, while the purple enriches the colour.

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Highlight Mithril Silver.

Final Highlight. Pure Mithril Silver was added as a fine edging highlight.

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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 •

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Blue Basecoat Regal Blue.

White Basecoat Astronomicon Grey. A steady hand is needed to get

Basecoat. The blue areas were given a basecoat of Regal Blue while Astronomicon Grey was used for the white basecoat.

the feathers of the helmet wings behind Eltharion's outstretched right arm. to

The quiver has been painted using the same techniques as the rest of the blue and white elements.

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.

O

Blue Highlight Space Wolves Grey

O

White Highlight 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.

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WHITE DWARF

'EAVY METAL: ELTHARION

Blood Red.

Blazing Orange.

Fiery Orange.

Skull White.

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 face first, you might make it too dark, which will look out of place on a model as light as this one.

Painting the Face Shade 7:7:7 mix of Scorched Brown, Liche Purple and Chaos Black.

Basecoat Vermin Brown.

•

Basecoat. Aim to get a flat, even coat of Vermin Brown, leaving the eyes and mouth black.

O

Highlight 1 Dwarf Flesh.

Highlight. Start to block in all of the raised areas with the highlight mix.

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

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2nd Highlight. Continue to build up the highlights, concentrating on the raised areas.

Highlight 3 Bleached Bone

3rd Highlight. Apply the fine highlights on the most prominent parts of the face using a fine brush.

8

Shade. The shade is applied as a wash, and set the tone for the subsequent highlight layers.

I

Glaze 1:7 mix of Purple Ink and Scorched Brown.

Glaze. Re-establish the fey, Elven skin tone with a very thin purplish glaze.

Final 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 2:2:7 mix of

Mechrite Red, Scab Red and Liche Purple.

Basecoat. Start with a deep red basecoat mixed from the above colours. Highlight 2 7:7:7 mix of Scab Red, Blood Red and Blazing Orange. 2nd Highlight. Start to pick out the creases and edges of the panels.

I

2

Shade 1:7 mix of Scab Red and Chaos Black.

\~

Shade. Add definition to the creases in the saddle back with a dark shading wash.

•

Highlight 3 Blazing Orange.

3rd Highlight. As the highlight layers get lighter, they should also get finer and more precise.

I

Highlight 1 7:7 mix of Scab Red and Blood Red.

Highlight. Highlight the panels with a bold, deep red.

Final Highlight 7:7 mix of Blazing Orange and Elf Flesh. Final Highlight. Only the sharpest edges should be highlighted with 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 Bronzed Flesh basecoat, followed by a Bestial Brown wash. It was then highlighted, first with a 1:1 mix of Bronzed Flesh and Bleached Bone, then pure Bleached Bone, and finally Skull White.

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WHITF nWARF

'FAVY MFTAI . FIl:HARlnN

Gloves and sword detail. The black gloves were highlighted up from Chaos Black by adding increasing amounts of Space Wolves Grey. The sword grip was painted in the same way as the saddle back. Finally, the gemstone was painted as described on page 98.