Here are all my videos sorted by technique – eg Non metallic metal, rust and grime, OSL etc!
NMM
In this tutorial, I’ll be showing you how to paint a Blood Bowl Chaos Dwarf from the new Chaos Dwarf Blood Bowl box, provided by Games Workshop as an early review copy. We’ll be focusing on achieving a high tabletop standard, using a combination of classic paint colours and techniques to bring out the rich, detailed character of the model. Whether you’re painting for your next game or aiming for a display-worthy finish, this step-by-step guide will help you tackle everything from non-metallic metal gold to vibrant red armour, all while keeping the process efficient and enjoyable.
Video – How to Paint a Blood Bowl Chaos Dwarf
Step-by-Step Guide
Materials Required:
Games Workshop Paints:
Mephiston Red, Evil Sunz Scarlet, Mournfang Brown, XV-88, Morghast Bone, Bugman’s Glow, Night Lords Blue, Rhinox Hide
Vallejo Paints:
Model Colour Black, Neutral Grey
Two Thin Coats Paints:
Dark Sun YellowWhite Star
Brushes: Artis Opus Size 1 Brush, Artis Opus Size 00 Brush
Other Tools: Wet Palette, Lamp (for checking light placement), Water Jar
How to Paint a Blood Bowl Chaos Dwarf
Step 1: Priming
Start by priming the model using Mephiston Red as the base coat. You can use an airbrush or a hand brush to apply it. This will form the base of the red armour and speed up the process.
Step 2: Painting the Beard
For the beard, use Vallejo Model Colour Black to base coat it.
Highlight the beard using Vallejo Neutral Grey. Apply this in parallel strokes to follow the sculpted lines of the beard.
Add some final highlights by mixing Neutral Grey with a bit of White Star and pick out raised areas.
Step 3: Painting the Non-Metallic Gold Trim
For the gold trim, begin with XV-88 as the base colour. This provides a solid foundation for the non-metallic metal (NMM) effect.
Create your first highlight mix with Dark Sun Yellow. Layer this on top of the XV-88, leaving some of the base visible.
Gradually lighten the gold by mixing Dark Sun Yellow with White Star. Apply smaller, more precise highlights with each layer.
To give the gold a bit more warmth, you can glaze over areas with XV-88 or add subtle orange tints using Troll Slayer Orange in the shadowed areas.
Step 4: Painting the Red Armour
After the Mephiston Red base, layer on Evil Sunz Scarlet. Use a stippling or scratchy technique to give texture to the armour.
For shadowing, use Night Lords Blue in the recesses and shaded areas, being careful not to overwhelm the red.
If needed, go back with Evil Sunz Scarlet to reinforce the red and add brightness.
Step 5: Shading and Highlighting the Face
Wash the face with a thinned-down layer of Rhinox Hide (4 parts water, 1 part paint) to shade it and separate it from the rest of the armour.
Highlight the face using Bugman’s Glow, focusing on the raised areas like the nose, cheeks, and brow.
For brighter highlights, mix Bugman’s Glow with Ice Yellow (or White Star if you don’t have Ice Yellow) to add subtle highlights to key areas like the cheekbones and nose bridge.
Step 6: Painting the Eyes
Paint the whites of the eyes using a light grey rather than pure white to keep it natural.
Use black to paint the pupil and iris in one go, as these are very small details that don’t require too much fine detail.
Step 7: Painting the Teeth and Horns
Base the teeth and horns with Morghast Bone. You can use the same colour for both areas to keep consistency.
Add highlights using White Star on the tips of the teeth and horns, carefully placing small dots or lines for a shine effect.
Step 8: Painting the Leather Areas
The gloves and boots can be painted with the same colours as the horns. Start with XV-88 for the base coat, then highlight with Morghast Bone, but don’t take the highlights up to white for these areas.
Step 9: Finishing Touches
Once the main areas are painted, go back and refine any details that need sharpening, such as the edges of the armour or the highlights on the face.
If the red armour starts looking too dark or the highlights become too muted, reapply Evil Sunz Scarlet in fine marks to bring the vibrancy back.
Step 10: Final Shading and Glazing
For a final touch, glaze over the non-metallic gold areas with a thin mix of XV-88 to enhance the richness of the colour.
You can add extra depth to the shadows by applying a thin wash of Night Lords Blue in the deepest recesses of the red armour.
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Unlock the secrets to painting Rogal Dorn’s iconic armour with this comprehensive guide on the Non-Metallic Metal (NMM) technique. Learn how to master the art of simulating reflective gold without using metallic paints. This step-by-step guide, complete with tips and tricks, will walk you through every stage of the process, from priming and base layers to perfecting highlights and shadows. Whether you’re new to NMM or looking to refine your skills, this guide is your go-to resource for achieving stunning results.
How to Paint Rogal Dorn’s Armour in Non-Metallic Metal (NMM) Gold PDF will load below (please allow a few mins for it to load!). You can also access it by clicking here.
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How to Paint Rogal Dorn’s Armour in Non-Metallic Metal (NMM) Gold
In this detailed video guide you will be shown how to paint Rogal Dorn’s armour in NMM (non-metallic metal) gold. This is a higher level technique, suitable for the mighty Primarch of the Imperial Fists!
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Why Use NMM Gold for to Paint Rogal Dorn’s Armour?
Rogal Dorn, the stalwart Primarch of the Imperial Fists, is renowned for his unyielding defence of the Imperium. His armour, adorned in resplendent gold, symbolizes not only his noble duty to protect humanity but also reflects the unbreakable spirit of the Imperial Fists. The gold represents his loyalty and the shining beacon of hope he stands for in the dark times of war. Painting his armour in Non-Metallic Metal (NMM) gold captures this grandeur and allows you to highlight the brilliance and majesty of one of the Imperium’s greatest warriors!
More Tips on NMM!
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In this guide, we’ll walk through how to paint the Skaven Arch-Warlock with a grimy, non-metallic metal (NMM) effect. The focus will be on creating weathered steel armour and verdigris-weathered copper. You’ll learn to build up layers using stippling and dry brushing, while maintaining the gritty, battle-worn look typical of Skaven. This method is also ideal for quickly painting an entire army to a table-ready standard.
Video – How to Paint the Skaven Arch-Warlock: Part One
Materials Needed:
Games Workshop Paints: Doombull Brown, Bugman’s Glow, Rhinox Hide, Mournfang Brown, Abaddon Black, Warpstone Glow, Moot Green, Flash Gitz Yellow
Vallejo Paints: Neutral Grey, Ice Yellow
Brushes: Large and small dry brushes (Artis Opus recommended, or makeup brushes can suffice), size 0 brush, and others as needed
Step 1: Prime the Model
Begin by priming your assembled model with Abaddon Black,
Step 2: Base Layer with Mournfang Brown
Using a large dry brush, apply a base coat of Mournfang Brown using a stippling technique. Thin the paint by mixing it with water (about 50/50 ratio). Ensure the dry brush is damp but not wet to avoid texture buildup.
Stipple the paint all over the model, ensuring a smooth application with no unwanted texture. This will create a rough surface that adds depth to the dirty, grimy appearance of the armour.
Step 3: Add Neutral Grey Highlights
Switch to a smaller dry brush for more control, and apply Vallejo Neutral Grey. Again, thin the paint with water (50/50) and lightly stipple the paint over areas where you want the steel effect.
Focus on armour plates and metallic surfaces, building up a soft layer of grey over the brown to give it a worn metallic look. Let the initial layer of Mournfang Brown peek through to give the impression of rust and grime.
Step 4: Refine the Metallic Layers
Now, switch to your size 0 brush for more detailed work. Continue building highlights using Neutral Grey but add small amounts of Ice Yellow with each layer.
Increase the amount of Ice Yellow in each highlight as you progress, eventually reaching pure Ice Yellow for the brightest highlights. Add a final touch of white if you want to push the contrast further.
Be cautious not to overblend; the strength of this technique lies in the visible transitions between layers, adding texture and a rough, battle-worn appearance.
Step 5: Create Verdigris on Copper Sections
For the copper elements, begin with Doombull Brown as your base colour. Hold the model under a light to identify the highlight areas. Thin Doombull Brown and apply it to the copper parts of the model.
Mix Bugman’s Glow with Doombull Brown for the next layer, applying this mix to the raised areas of the copper.
Progressively add Ice Yellow to Bugman’s Glow for further highlights, working up to nearly pure Ice Yellow. If your copper starts looking too pale, glaze over with a watered-down layer of Doombull Brown to restore some warmth.
Step 6: Add Verdigris Weathering
To achieve a verdigris effect, mix Vallejo Ice Yellow and Warpstone Glow with water (about 3:1 ratio of water to paint). Apply this to recesses and areas where the copper would naturally oxidise.
Focus on the joints and edges of the copper parts. As the glaze dries, it will create a subtle verdigris patina, enhancing the aged look of the model.
Step 7: Apply Rusty Shadows and Dark Glazes
To deepen the shadows on the armour, mix Rhinox Hide with Abaddon Black, thinning it with water (4:1 water to paint). Use this glaze to darken recesses and areas where rust would gather, particularly around the joints and lower sections.
Glaze carefully to avoid losing the texture created by earlier stippling. Stay away from the brightest highlights to maintain the contrast.
Step 8: Add a Pop of Colour – Warpstone Glow Lens
For small details like lenses, start by applying Warpstone Glow to the lens, followed by a highlight of Moot Green. Finish with a small dot of Flash Gitz Yellow in the upper corner of the lens for a specular highlight.
Ensure the lens stands out from the grimy armour to give the model a bit of Skaven flare.
This stage of painting the Skaven Arch-Warlock gives you a quick and effective tabletop-ready look, perfect for gaming or as a base for further refinement. The grimy, weathered appearance suits the Skaven’s lore, while the stippling and dry brushing techniques create a realistic metallic effect without needing an airbrush.
In the next part, we’ll continue with other details such as the weapon, robe, and tail.
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Welcome to my guide on how to paint the Van Saar Heavy Weapon from the Hive Secundus box set. This video tutorial along with step-by-step guide will help you achieve a high tabletop standard, with lots of the techniques interchangeable for your other models’ weapons, too!
Video : How to Paint the Van Saar Heavy Weapon
Materials and Paints Needed
Paints
Games Workshop:
Incubi Darkness
Daemonette Hide
Abaddon Black
P3:
Morrow White
Vallejo:
Model Colour Black
Brushes
Artist Opus Size 1 brush
Artist Opus Size 00 brush
Other Tools
Scalpel or hobby knife (for cutting the weapon if needed)
Wet palette
Preparation
Weapon Removal:
If the weapon is already attached, carefully cut it off using a scalpel or hobby knife before painting. This makes painting the back of the weapon and armour panels easier.
How to Paint the Van Saar Heavy Weapon
Base Colour
Incubi Darkness:
Apply Incubi Darkness as the base colour for the weapon. This dark colour provides a good foundation for highlights and shading.
Highlighting
Daemonette Hide:
Use Daemonette Hide for the first stage of highlighting. Apply it to the curved and flat surfaces of the gun, focusing on the areas that will catch the most light.
For curved sections, take the highlight down further to create a smooth transition.
For flat sections, add a light-dark-light modulation to create interest and depth.
Blending Highlights
Incubi Darkness:
Thin Incubi Darkness to a 50/50 paint-to-water ratio for initial blending. Apply this over the transition points to smooth out the highlights.
For final blending, thin Incubi Darkness further (3-4 parts water to 1 part paint) and glaze over the highlights to achieve a smooth finish.
Edge Highlights
Daemonette Hide:
Edge highlight the entire weapon with Daemonette Hide. This step sharpens the edges and gives definition to the weapon.
Daemonette Hide and Morrow White:
Mix Daemonette Hide with Morrow White for a second stage of highlighting. Apply this mix to the upper edges and prominent features.
Continue adding white to the mix for successive highlights, but avoid taking any highlights up to pure white to maintain contrast with non-metallic areas.
Painting the Number ‘2’
Base Colour
Light Grey:
Use a light grey mix (lighter than neutral grey) for the number ‘2’. This base colour should be off-white to avoid competing with the highlights on the weapon.
If the paint has dried and been rehydrated multiple times, consider mixing fresh paint to ensure a clean, opaque finish.
Detailing the Number
Vallejo Model Colour Black:
Use black paint to tidy up the edges and refine the shape of the number ‘2’. This will create sharp, clean lines and enhance the appearance of the freehand work.
If needed, go back and forth between the grey and black to perfect the edges.
Additional Details
Non-Metallic Metal (NMM) Sections
Neutral Grey to White:
For non-metallic metal parts, start with a mid-grey base and progressively add white for highlights.
Focus on creating strong light transitions and edge highlights to simulate a metallic finish.
Add a final white dot highlight on the sharpest edges for a polished look.
Video : How to Paint the Van Saar Heavy Weapon Part Two
Materials and Paints Needed:
Paints:
Games Workshop: Mournfang Brown, Rhinox Hide
Two Thin Coats: Dark Sun Yellow
P3: Morrow White
Brushes:
Detail brush for fine lines and highlights
A larger brush for base coating
Additional Tools:
Wet palette to keep your paints moist and workable
Scalpel for tidying up any imperfections
Kitchen roll or tissue for removing excess paint from the brush.
Step by Step – How to Paint the Van Saar Heavy Weapon (Gold and Hazard Stripes)
Preparing the Base Colour
Mixing the Base Colour: Begin by creating a 50/50 mix of Mournfang Brown and Dark Sun Yellow. This mix serves as the base colour for the NMM gold effect on the flamer cover.
Applying the Base Colour: Apply the mixture in two to three thin coats to achieve an even, opaque layer. Ensure the paint is thinned slightly to avoid texture build-up, which can cause a lumpy finish. If the paint still feels thick, consider switching to a different yellow, such as Balor Brown, for a smoother finish.
Building the NMM Gold Effect
Highlighting with Dark Sun Yellow: Once the base colour is dry, use Dark Sun Yellow on its own to add highlights. Focus on the curved areas of the flamer cover, especially the top curve where the three circles are located. These areas should have the most intense highlights to mimic light catching on the metal.
Creating a Transition: Paint a line of Mournfang Brown straight through the middle of the highlighted area. This will serve as the midpoint of the transition between the dark and light areas.
Blending the Transition: Carefully blend the Dark Sun Yellow into the Mournfang Brown by using thin layers and controlled brush strokes. If needed, create intermediary shades by mixing Dark Sun Yellow with Mournfang Brown in varying ratios to help smooth the transition.
Adding the Brightest Highlights: Mix Dark Sun Yellow with P3 Morrow White to create a lighter highlight. Apply this to the top curve of the flamer cover, just above the three circles, where the light would be most intense. You can also use Vallejo Ice Yellow or Dawn Yellow if you prefer a pre-mixed highlight.
Final Highlights with Pure White: For the final highlight, use P3 Morrow White directly on the brightest parts of the flamer cover, such as the top curve. This will enhance the NMM effect, making these areas appear as the shiniest and most reflective parts of the metal.
Adding Hazard Stripes
Base Colour for Hazard Stripes: Cover the entire cable with a solid layer of Dark Sun Yellow. Apply multiple thin coats to achieve an even coverage, avoiding any lumps or texture build-up.
Marking the Hazard Stripes: Use a fine detail brush and thinned black paint (Abaddon Black is suitable) to paint the hazard stripes. Start from the bottom of the cable and work upwards, being mindful of the curvature. As the cable curves, adjust the spacing of the stripes to account for the distortion of the material—stripes on the inner curve will be closer together, while those on the outer curve will be more spaced out.
Highlighting the Hazard Stripes: Once the black stripes are in place, mix grey by adding white to black for the black stripes’ highlights. For the yellow stripes, use the Dark Sun Yellow mixed with P3 Morrow White to create highlights. Apply these highlights along the edges of the stripes to give them dimension.
Smoothing the Highlights: If your highlights appear too stark, soften them by glazing. Create a glaze by thinning down Mournfang Brown and Rhinox Hide with water (approximately 4 parts water to 1 part paint). Lightly apply the glaze to the areas where the highlights meet the base colour, building up the layers gradually until you achieve a smooth transition.
Refining the Hazard Stripes: Use a combination of stippling, glazing, and careful brush strokes to refine the hazard stripes, ensuring they look crisp and well-blended. If necessary, go back and touch up any areas where the black and yellow meet, using the original colours to clean up any mistakes.
Final Touches
Glazing the Connecting Points: To add depth to the connecting points of the cable, apply a glaze of Mournfang Brown, followed by a glaze of Rhinox Hide. Start a few millimetres away from the connection and glaze towards it, building up the intensity near the connection. This will create a smooth gradient and enhance the overall appearance of the hazard stripes.
Review and Adjustments: Revisit any areas that need more contrast or smoother transitions. Ensure the highlights and shadows are consistent and realistic.
Final Assembly: Attach any additional pieces, such as the weapon or other parts, if not already in place.
Sealing: Apply a matte varnish to protect your work.
By following these steps, you’ll have a beautifully painted Van Saar Heavy Weapon that stands out on the tabletop. Enjoy the process and take your time to achieve the best results!
More Van Saar Tutorials!
How to Paint a Van Saar Heavy from the Necromunda Hive Secundus set
In this tutorial we look at How to Paint a Van Saar Heavy from the Necromunda Hive Secundus set, with a detailed video guide and step by step instruction and tips!
Watch Now
If you don’t have an account here on my website, please sign up here! I have over 350 video tutorials with steps and tips, plus a selection of PDFs. If you are not sure about joining, you can explore my free videos with a free membership, or take the plunge and become a full subscriber for full access.
If you’d prefer to support me on Patreon, please visit: https://www.patreon.com/RichardGray [...]
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In this tutorial we look at How to Paint a Van Saar Heavy from the Necromunda Hive Secundus set, with a detailed video guide and step by step instruction and tips!
Video Part One: How to Paint a Van Saar Heavy from the Necromunda Hive Secundus setPaints and Materials NeededStep by Step : How to Paint a Van Saar Heavy from the Necromunda Hive Secundus set Base Colour ApplicationHighlightingDetailing with BlacksPainting the VisorEdge Highlights and Final TouchesVideo: How to Paint the Van Saar Heavy WeaponMaterials and Paints NeededPaintsBrushesOther ToolsPreparationStep by Step – How to Paint the Van Saar Heavy WeaponBase ColourHighlightingBlending HighlightsEdge HighlightsPainting the Number ‘2’Base ColourDetailing the NumberAdditional DetailsNon-Metallic Metal (NMM) SectionsVideo : How to Paint the Van Saar Heavy Weapon (Gold and Hazard Stripes)Materials and Paints Needed:Step by Step – How to Paint the Van Saar Heavy Weapon (Gold and Hazard Stripes)Preparing the Base ColourBuilding the NMM Gold EffectAdding Hazard StripesFinal Touches
Video Part One: How to Paint a Van Saar Heavy from the Necromunda Hive Secundus set
The techniques and steps covered should help you achieve a high-quality finish on the armour panels and visor.
Paints and Materials Needed
Paints:
Games Workshop: Dark Reaper, Sybarite Green, Abaddon Black, Mournfang Brown, Rhinox Hide
Vallejo: Model Colour Black
Two Thin Coats: Dark Sun Yellow
P3: Morrow White
Brushes:
Size 1 Artis Opus
Size 0 Artis Opus
Additional Tools:
Wet palette
Lamp for lighting guidance
Step by Step : How to Paint a Van Saar Heavy from the Necromunda Hive Secundus set
Base Colour Application
Base Colour: Start by applying Dark Reaper as the base colour. This colour should cover all the armour panels.
Tip: Use a wet palette to keep your paints fresh and to mix colours easily.
Highlighting
First Highlight Mix: Create a 50/50 mix of Dark Reaper and Sybarite Green.
Apply this mix to the raised areas of the armour, focusing on where the light naturally hits.
Paint towards the highlight points to ensure the finish is opaque and the colours are strong.
Second Highlight: Use pure Sybarite Green for the next layer.
Apply this in smaller areas within the previously highlighted sections.
For best results, use the lamp as a rough guide for light placement.
Final Highlight: Mix Sybarite Green with P3 Morrow White to achieve the final highlight colour.
Apply this sparingly to the highest points of the armour.
Ensure the transitions between layers are smooth. If necessary, go back with the darker mix to blend the steps.
Detailing with Blacks
Glazing Shadows: Use Abaddon Black to glaze shadows and enhance depth.
This paint is slightly satin and has less coverage, making it ideal for subtle shading.
Apply it to the chest panel and other large armour sections where you want the darkest areas.
Rubber Effect: For a stronger black mark, use Vallejo Model Colour Black.
This paint is more opaque and covers better, perfect for small details and corrections.
Painting the Visor
Base Coat: Apply Mournfang Brown to the visor as a base.
This will help establish a rich, warm undertone.
Highlighting the Visor: Use the following sequence for the visor highlights:
Mix Mournfang Brown with Two Thin Coats Dark Sun Yellow (50/50) and apply.
Pure Dark Sun Yellow for the next layer.
Mix Dark Sun Yellow with P3 Morrow White for the final highlight.
Adding Contrast: To enhance the visor’s shine, add a touch of Rhinox Hide to the upper highlight areas.
This creates a quick transition to a nearly white highlight for a shiny effect.
Edge Highlights and Final Touches
Edge Highlights: Use the highlight mixes to edge highlight the armour panels.
Keep the lines sharp and neat, cutting into them with the darker base colours if needed.
Blending: Go back and forth between the highlight and base colours to blend any visible transitions.
For small, detailed areas, use the tip of the brush and work slowly.
Additional Reflections: Add subtle reflections to the visor and armour panels for a more realistic effect.
Use Mournfang Brown and Rhinox Hide to darken areas as needed, enhancing the 3D effect.
Video: How to Paint the Van Saar Heavy Weapon
Learn how to apply a smooth base coat using Incubi Darkness and create striking highlights with Daemonette Hide. We cover mastering blending techniques for seamless transitions and edge highlighting for sharp, clean details. Additionally, you’ll learn how to freehand the number ‘2’ for a personalised touch and paint non-metallic metal (NMM) sections for realistic metal effects.
Materials and Paints Needed
Paints
Games Workshop:
Incubi Darkness
Daemonette Hide
Abaddon Black
P3:
Morrow White
Vallejo:
Model Colour Black
Brushes
Artist Opus Size 1 brush
Artist Opus Size 00 brush
Other Tools
Scalpel or hobby knife (for cutting the weapon if needed)
Wet palette
Preparation
Weapon Removal:
If the weapon is already attached, carefully cut it off using a scalpel or hobby knife before painting. This makes painting the back of the weapon and armour panels easier.
Step by Step – How to Paint the Van Saar Heavy Weapon
Base Colour
Incubi Darkness:
Apply Incubi Darkness as the base colour for the weapon. This dark colour provides a good foundation for highlights and shading.
Highlighting
Daemonette Hide:
Use Daemonette Hide for the first stage of highlighting. Apply it to the curved and flat surfaces of the gun, focusing on the areas that will catch the most light.
For curved sections, take the highlight down further to create a smooth transition.
For flat sections, add a light-dark-light modulation to create interest and depth.
Blending Highlights
Incubi Darkness:
Thin Incubi Darkness to a 50/50 paint-to-water ratio for initial blending. Apply this over the transition points to smooth out the highlights.
For final blending, thin Incubi Darkness further (3-4 parts water to 1 part paint) and glaze over the highlights to achieve a smooth finish.
Edge Highlights
Daemonette Hide:
Edge highlight the entire weapon with Daemonette Hide. This step sharpens the edges and gives definition to the weapon.
Daemonette Hide and Morrow White:
Mix Daemonette Hide with Morrow White for a second stage of highlighting. Apply this mix to the upper edges and prominent features.
Continue adding white to the mix for successive highlights, but avoid taking any highlights up to pure white to maintain contrast with non-metallic areas.
Painting the Number ‘2’
Base Colour
Light Grey:
Use a light grey mix (lighter than neutral grey) for the number ‘2’. This base colour should be off-white to avoid competing with the highlights on the weapon.
If the paint has dried and been rehydrated multiple times, consider mixing fresh paint to ensure a clean, opaque finish.
Detailing the Number
Vallejo Model Colour Black:
Use black paint to tidy up the edges and refine the shape of the number ‘2’. This will create sharp, clean lines and enhance the appearance of the freehand work.
If needed, go back and forth between the grey and black to perfect the edges.
Additional Details
Non-Metallic Metal (NMM) Sections
Neutral Grey to White:
For non-metallic metal parts, start with a mid-grey base and progressively add white for highlights.
Focus on creating strong light transitions and edge highlights to simulate a metallic finish.
Add a final white dot highlight on the sharpest edges for a polished look.
Video : How to Paint the Van Saar Heavy Weapon (Gold and Hazard Stripes)
Materials and Paints Needed:
Paints:
Games Workshop: Mournfang Brown, Rhinox Hide
Two Thin Coats: Dark Sun Yellow
P3: Morrow White
Brushes:
Detail brush for fine lines and highlights
A larger brush for base coating
Additional Tools:
Wet palette to keep your paints moist and workable
Scalpel for tidying up any imperfections
Kitchen roll or tissue for removing excess paint from the brush.
Step by Step – How to Paint the Van Saar Heavy Weapon (Gold and Hazard Stripes)
Preparing the Base Colour
Mixing the Base Colour: Begin by creating a 50/50 mix of Mournfang Brown and Dark Sun Yellow. This mix serves as the base colour for the NMM gold effect on the flamer cover.
Applying the Base Colour: Apply the mixture in two to three thin coats to achieve an even, opaque layer. Ensure the paint is thinned slightly to avoid texture build-up, which can cause a lumpy finish. If the paint still feels thick, consider switching to a different yellow, such as Balor Brown, for a smoother finish.
Building the NMM Gold Effect
Highlighting with Dark Sun Yellow: Once the base colour is dry, use Dark Sun Yellow on its own to add highlights. Focus on the curved areas of the flamer cover, especially the top curve where the three circles are located. These areas should have the most intense highlights to mimic light catching on the metal.
Creating a Transition: Paint a line of Mournfang Brown straight through the middle of the highlighted area. This will serve as the midpoint of the transition between the dark and light areas.
Blending the Transition: Carefully blend the Dark Sun Yellow into the Mournfang Brown by using thin layers and controlled brush strokes. If needed, create intermediary shades by mixing Dark Sun Yellow with Mournfang Brown in varying ratios to help smooth the transition.
Adding the Brightest Highlights: Mix Dark Sun Yellow with P3 Morrow White to create a lighter highlight. Apply this to the top curve of the flamer cover, just above the three circles, where the light would be most intense. You can also use Vallejo Ice Yellow or Dawn Yellow if you prefer a pre-mixed highlight.
Final Highlights with Pure White: For the final highlight, use P3 Morrow White directly on the brightest parts of the flamer cover, such as the top curve. This will enhance the NMM effect, making these areas appear as the shiniest and most reflective parts of the metal.
Adding Hazard Stripes
Base Colour for Hazard Stripes: Cover the entire cable with a solid layer of Dark Sun Yellow. Apply multiple thin coats to achieve an even coverage, avoiding any lumps or texture build-up.
Marking the Hazard Stripes: Use a fine detail brush and thinned black paint (Abaddon Black is suitable) to paint the hazard stripes. Start from the bottom of the cable and work upwards, being mindful of the curvature. As the cable curves, adjust the spacing of the stripes to account for the distortion of the material—stripes on the inner curve will be closer together, while those on the outer curve will be more spaced out.
Highlighting the Hazard Stripes: Once the black stripes are in place, mix grey by adding white to black for the black stripes’ highlights. For the yellow stripes, use the Dark Sun Yellow mixed with P3 Morrow White to create highlights. Apply these highlights along the edges of the stripes to give them dimension.
Smoothing the Highlights: If your highlights appear too stark, soften them by glazing. Create a glaze by thinning down Mournfang Brown and Rhinox Hide with water (approximately 4 parts water to 1 part paint). Lightly apply the glaze to the areas where the highlights meet the base colour, building up the layers gradually until you achieve a smooth transition.
Refining the Hazard Stripes: Use a combination of stippling, glazing, and careful brush strokes to refine the hazard stripes, ensuring they look crisp and well-blended. If necessary, go back and touch up any areas where the black and yellow meet, using the original colours to clean up any mistakes.
Final Touches
Glazing the Connecting Points: To add depth to the connecting points of the cable, apply a glaze of Mournfang Brown, followed by a glaze of Rhinox Hide. Start a few millimetres away from the connection and glaze towards it, building up the intensity near the connection. This will create a smooth gradient and enhance the overall appearance of the hazard stripes.
Review and Adjustments: Revisit any areas that need more contrast or smoother transitions. Ensure the highlights and shadows are consistent and realistic.
Final Assembly: Attach any additional pieces, such as the weapon or other parts, if not already in place.
Sealing: Apply a matte varnish to protect your work.
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This is part 2 in a series for how to paint a Grey Seer from the Skaventide box that Games Workshop sent me. This video focuses on the metal sections of the staff, particularly the top symbol, and how to paint it in NMM and add verdigris.
Video: How to paint a Grey Seer – NMM and Verdigris
Paints Used
Games Workshop: Rhinox Hide, Mournfang Brown, XV-88, Morghast Bone, Screaming Skull, Sotek Green, Sybarite Green
Vallejo: Ice Yellow
Two Thin Coats: Dark Sun Yellow
Inverted Highlighting and Verdigris
We’ll start by finishing the verdigris around the runes on the dagger. This involves inverted highlighting, where the darkest areas are actually the lightest. The mix for this is Sybarite Green and Sotek Green, with a touch of white added for the highlight layer. Remember this mix, as we’ll use it later on the staff and symbol.
How to paint a Grey Seer Staff
Base Colours:
If you airbrushed the model with brown, you can use XV-88 as your starting point for highlights.
For areas not covered by XV-88, use Mournfang Brown to blend the edges.
Remember, the goal is a scratched, rough metal look, not a perfectly smooth finish.
Highlighting:
Start by mixing XV-88 with Dark Sun Yellow and apply it to the curves of the staff, focusing on areas where light would naturally hit.
Gradually add more Dark Sun Yellow to your mix for subsequent highlights, building up the brightness.
For the final highlights, use pure Dark Sun Yellow or Ice Yellow mixed with Dark Sun Yellow.
Remember to paint the entire staff, including the back and sides, but focus the brightest highlights on the front.
Adding Depth and Contrast:
Use Rhinox Hide to darken areas and create contrast.
Thin the Rhinox Hide and Mournfang Brown for smoother blending.
Don’t worry about being too precise with the scratches; they’ll add to the overall texture.
Painting the Symbol
Flat Surfaces:
Painting NMM on flat surfaces can be tricky, but focus on edge highlights and texture.
Use the same colors and techniques as for the staff, but pay attention to the light source and where the brightest highlights should be.
Leave the sides of the symbol dark to enhance contrast.
Verdigris:
Mix Sotek Green and Sybarite Green (50/50) and heavily water it down (70% water, 30% paint).
Apply the verdigris to the recesses and darker areas of the symbol.
Remember, this is for visual effect, not realism, so focus on what looks best.
Additional Tips for How to Paint a Grey Seer
Use a size 1 Artist Opus brush for the scratchy marks.
Don’t worry about perfect transitions; the scratches will help blend the colours.
Consider the overall lighting of your model and adjust highlight placement accordingly.
For a more desaturated gold, add more white to your Dark Sun Yellow mixes.
More videos on how to paint a Grey Seer!
How to Paint a Skaventide Grey Seer
My series of video tutorials on How to Paint a Skaventide Grey Seer!
Watch Now
How to Build a Skaventide Grey Seer
In this video and step-by-step guide, I’ll walk you through the process of building and preparing a Grey Seer miniature for painting
Watch Now
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This step-by-step guide provides a comprehensive overview of the process for how to paint the Abraxia Mount NMM Armour Panel. By following these steps, you can achieve a stunning NMM (non-metallic metal) finish which you can use on your Abraxia, or anything that has this distinctive curved armour or carapace shape!
Video: How to Paint the Abraxia Mount NMM Armour Panel
Materials
Games Workshop paints: Rhinox Hide, Mournfang Brown, XV-88, Abaddon Black, Sons of Horus Green, Barak-Nar Burgundy
Vallejo paints: Ice Yellow, Neutral Grey, Heavy Grey
Two Thin Coats paint: Dark Sun Yellow
P3 paint: Morrow White
Various Artist Opus brushes, including size 1 and size 2
Steps to Follow
Step 1: Block in the Colours
Begin by roughly blocking in the colours on the entire model using a size 1 brush. This helps to establish the overall colour scheme and provides a base for the highlights.
Use Neutral Grey for the armour plates and XV-88 for the gold trim.
Apply Sons of Horus Green and Barak-Nar Burgundy to the skin areas.
Step 2: Refine the Armour Plates
Choose an armour panel to focus on and begin refining the NMM effect.
Start with Neutral Grey and gradually add Ice Yellow to create a series of increasingly lighter highlights.
Use a variety of brush strokes to create texture and variation in the reflections, ensuring a “micro texture” that is smooth and detailed.
Consider the overall lighting of the model and place the highlights accordingly.
Glaze with Mournfang Brown and Rhinox Hide to add depth and warmth to the shadows.
Use P3 Morrow White for the final highlights, creating smooth transitions and a bright, opaque finish.
Step 3: Add Weathering and Details
Use a smaller brush to add scratches, dents, and other details to the armour plates, turning the marks from the initial blocking in into realistic battle damage.
Vary the colours of the weathering based on the surrounding area, using darker greys or black in shadowed areas and lighter greys or white in highlighted areas.
Glaze with white to create a smooth, opaque finish on the brightest highlights, enhancing the illusion of reflected light.
Step 4: Repeat for Additional Panels
Repeat the process for the remaining armour panels, adjusting the placement and intensity of the highlights to match the overall lighting scheme.
Remember that the highlights should become smaller and darker as you move away from the main focal point of the model.
Additional Tips:
Don’t be afraid to experiment with different colours and techniques.
Consider the overall composition of the model and how the different elements will interact with each other – what will be on your base? Who will be around it? Colours will reflect off these objects onto the shiny armour.
Building your Abraxia
How to Build Abraxia, With Tips!
This video and step by step guide shows the whole process how to build Abraxia, building and cleaning up the new model from Games Workshop in preparation for painting. I go over lots of little tips and tricks to hide join lines, remove mould lines etc.
Watch Now
Read PDF Guide
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This how to paint a Red Techmarine NMM Axe guide aims to help you achieve a realistic non-metallic metal effect on your Techmarine’s axe, with a focus on contrast, texture, and light reflection.
For all of the videos on how to paint a Red Techmarine, follow the link below, or scroll down here for just the axe guide!
Red Techmarine
A series for how to paint a Primaris Techmarine by Games Workshop.
Watch Now
Video: How to Paint a Red Techmarine – NMM Axe
This guide aims to help you achieve a realistic non-metallic metal effect on your Techmarine’s axe, with a focus on contrast, texture, and light reflection.
Materials Needed:
Fine detail brushes for precise application. (I use the Artis Opus range, but any decent quality brush works!)
A wet palette to keep your paints hydrated.
Vallejo and Games Workshop paints: Doombull Brown, Mournfang Brown, Balor Brown, XV-88, Ice Yellow, Pale Grey Blue, and P3 Morrow White (or any white).
Preparing the NMM Axe:
Metal Pole: Begin by painting the metal pole using the same NMM techniques detailed in the previous video. This ensures consistency across metallic elements of the miniature.
Painting the Circular Detail on the NMM Axe:
Base Colour: Start with the darker brown (Doombull Brown), applying it as the base for the small circular detail on the pole. This connects the colour scheme with the axe head, adding warmth and interest.
Highlighting: Gradually build up the highlights transitioning from dark (Doombull Brown) to light (XV-88 to Ice Yellow) from the top to the bottom of the circular detail. Finish with a thin edge highlight at the top for definition.
Painting the NMM Axe Blade:
Vertical Lines: Initially, paint vertical lines across the blade with a mixture of 50:50 water to paint. This underlayer softens the stark contrast between subsequent horizontal lines and the dark primer.
Adding Texture: Apply horizontal lines over the vertical ones to create a cross-hatching effect. This technique adds texture and subtlety to the blade, avoiding harsh contrasts.
Defining Highlights: Focus on creating a diagonal highlight across the axe head, marking the primary light reflection. This line should be brighter at the top edge of the blade, tapering and becoming more subtle as it crosses the blade.
Building Up the Blade’s Texture:
Further Highlights: Use Mournfang Brown to add more texture and depth, emphasizing the top of the blade where the light is strongest. The aim is to make the top appear lighter than the bottom, enhancing the NMM effect.
Ice Yellow Highlights: Progress to Ice Yellow for the highest highlights, concentrating on areas that would catch the most light. Ensure these lines are fine and precise to maintain the textured look.
Detailing the Axe Head:
Base Texturing: With Mournfang Brown, create scribbly, textured marks on the flat of the axe head, focusing on creating a light to dark modulation from one edge to the other.
Enhancing Texture: Progress through Balor Brown and XV-88, adding finer, more controlled highlights to build up the texture. These should be more focused and less extensive than the base texture, adding depth and interest to the surface.
Final Highlights: Use Ice Yellow and Pale Grey Blue for the final highlights, paying particular attention to areas like the skull and the circle on the axe head. These colours should only be applied to the blade for differentiation, so don’t go too crazy with them, adding a cool tone to contrast with the warmer body of the axe head.
Finishing Touches:
Neatening Edges: Go back and tidy up any overspill or overly broad lines with the base colours, ensuring the texture remains coherent and the contrasts sharp.
Evaluation: Step back and review the entire piece, making any necessary adjustments to ensure the NMM effect is convincing and the textures and contrasts work together harmoniously.
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This video shows how to paint Dante’s axe NMM. This is my second try at the axe NMM, as I wasn’t happy with the first result!
Video – How to Paint Dante Axe NMM
Materials and Paints Used
Paints
Games Workshop Paints:
Baharroth Blue
Rhinox Hide
Mournfang Brown
Vallejo Paints:
Ice Yellow
Neutral Grey
German Grey
Kimera Colours Paint:
Diarylide Yellow (Note: You can create a similar effect by mixing Yriel Yellow with a small amount of orange)
Materials
Black Primer: For the initial coat on the axe.
Wet Palette: For mixing and maintaining paint consistency.
Fine Detail Brushes: Essential for applying precise highlights and details – I use Artist Opus brushes, but any high-quality fine-detail brush is fine
Sanding Tools: For modifying and smoothing the cutting edge of the axe.
Step 1: Preparing the Axe
Initial Assessment: Note that The Cutting Edge is blunt, almost a millimeter wide.
Modification: Carefully shave down The Cutting Edge for a more realistic, thin look. Ensure evenness to avoid wonky highlights.
Step 2: Base Painting
Primer: Apply a light coat of black primer.
Base Colours:
For the flat side of the axe, start with a base of Neutral Grey (Vallejo).
For The Cutting Edge, use Rhinox Hide (Games Workshop) at the top, blending into Mournfang Brown towards the bottom.
Step 3: Sky Earth Non-Metallic Metal (NMM) Technique
Sky Representation: Mix Baharroth Blue (Games Workshop) with Ice Yellow (Vallejo) to create a sky-like gradient on the flat side of the axe. Start darker at the top, gradually lightening towards the bottom.
Earth Representation: At the bottom of The Cutting Edge, use a mix of Rhinox Hide and Mournfang Brown (Games Workshop) for the earth reflection. Blend Neutral Grey (Vallejo) into this mix for lighter shades towards the bottom.
Adding Highlights: Gradually add more Ice Yellow (Vallejo) to the Baharroth Blue mix for the sky, and more Mournfang Brown for the earth, to create a sense of depth and reflection.
Reflection Details: Add subtle warped shapes and lines to mimic trees or mountains in the reflection, enhancing the mirror-like quality.
Step 4: Refining the Metallic Look
Glare Effect: Identify the primary light source and add a glare effect on the axe. This will be higher up on the axe blade.
Shine Spots: Paint independent shine spots to enhance the metallic effect. Use a mix of Neutral Grey and German Grey (Vallejo) for darker areas, and a mix of Ice Yellow and Baharroth Blue for lighter areas.
Step 5: Edge Highlights and Final Touches
Edge Highlights: Apply thin highlights along The Cutting Edge and other prominent edges of the axe. Use a mixture of the base colors for a consistent look.
Lightning Effect (Optional): If desired, add a subtle lightning effect, particularly in darker areas. Use saturated colors with minimal highlights.
Final Glazing: Use thinned down Ice Yellow (Vallejo) and Diarylide Yellow (Kimera Colors) or a similar mix for warm glazing over the highlights.
Pure White Highlights: Add small dots of pure white paint at the brightest points of the shine spots for maximum impact.
Now, you’re all set to bring Dante’s axe to life with a stunning NMM effect that mimics the intricate play of light on metal surfaces! While you are here, check out more NMM tutorials to try.
More NMM Tutorials
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A series looking at how to paint Commander Dante, which was sent to me for early review purposes by Games Workshop. The model is being painted to a high standard and will be covered in large amounts of NMM (Non Metallic Metal)
Quick Jump To:
Materials and Paints Needed for the NMMVideo – How to Paint Commander Dante NMM: Part OneVideo – How to Paint Commander Dante NMM: Part TwoVideo – How to Paint Commander Dante NMM: Part ThreeSteps and Tips on Commander Dante: NMMBase LayerDeveloping Mid-TonesRefining HighlightsEnhancing BrightnessDeepening ShadowsFinal Highlights and Sharp DetailsGlazing and SmoothingClean UpTips for Success:Video – NMM Axe (First Version)Materials NeededStepsTipsVideo – NMM Axe (Second Version)Materials and Paints UsedPreparing the AxeBase PaintingSky Earth Non-Metallic Metal (NMM) TechniqueRefining the Metallic LookEdge Highlights and Final TouchesVideo – Head, Eyes, Blood GemMaterials and Paints Needed:Steps for Commander Dantes Head and DetailsVideo – Red Shoulder NMMPaints NeededStepsTips
Materials and Paints Needed for the NMM
Fine Detail Brushes: Essential for precise work on NMM effects.
Black Primer: To create a solid base for your colours.
Palette: For mixing your paints and achieving the right consistency.
Paints:
Base and Mid-Tones: Mournfang Brown, XV-88, Balor Brown (Games Workshop)
Highlights: Ice Yellow (Vallejo; you can substitute with Dorn Yellow from GW), Troll Slayer Orange, Flash Gitz Yellow (Games Workshop)
Shadows and Deep Recesses: Rhinox Hide (Games Workshop)
Final Highlights and Sharp Details: Morrow White (P3; any high-quality white paint will suffice)
Video – How to Paint Commander Dante NMM: Part One
All videos are recorded in HD 1080p or higher – use full screen for the full effect and let the video load completely. Click the cog icon to choose speed, if I’m too fast or slow!
Video – How to Paint Commander Dante NMM: Part Two
Video – How to Paint Commander Dante NMM: Part Three
Steps and Tips on Commander Dante: NMM
Base Layer
Paint: Mournfang BrownApplication: Apply Mournfang Brown as a base layer over the areas you intend to paint gold. This forms a foundational layer that aids in building depth.
Developing Mid-Tones
Paints: Mournfang Brown, XV-88, Balor BrownApplication: Begin layering XV-88 over the Mournfang Brown base, focusing on raised areas. Then, use Balor Brown to start defining the mid-tones, enhancing the dimensional appearance.
Refining Highlights
Paints: Mix of Balor Brown and Ice YellowApplication: Create a lighter shade by mixing Balor Brown with a small amount of Ice Yellow. Apply this mixture to the highest points of the highlighted areas, where light naturally catches more intensely.
Enhancing Brightness
Paints: Ice Yellow, Troll Slayer Orange, Flash Gitz YellowApplication: Gradually add brighter highlights using these colours. Focus on areas where light would hit the strongest, such as edges and prominent features.
Deepening Shadows
Paint: Rhinox HideApplication: Use Rhinox Hide to deepen the shadows and add contrast. Apply it in recessed areas and where different parts of the model meet, to give more definition and depth.
Final Highlights and Sharp Details
Paint: Morrow WhiteApplication: Apply Morrow White for the brightest highlights and sharp details, accentuating the most raised edges where the light would be most intense.
Glazing and Smoothing
Technique: GlazingApplication: If necessary, use glazing with the lighter colours to smooth out transitions between highlights and mid-tones, ensuring a more natural progression of colour.
Clean Up
Action: Tidy any overspill or mistakes with appropriate base colours. This step is crucial for a neat and professional finish.
Tips for Success:
Consistency is Key: Maintain the right paint consistency. For NMM, a slightly thicker mix can be preferable for vibrant colours, but it should still flow smoothly.Consider Lighting: Always consider the overall lighting and direction of your model. Your highlights should consistently reflect this light source.Brush Care: Look after your brushes. Use a separate brush for mixing paints to maintain the fine tips of your detail brushes.Patience Pays Off: Allow each layer to dry thoroughly before proceeding to the next. NMM is a technique that benefits greatly from patience and careful layering.
Video – NMM Axe (First Version)
Materials Needed
Paints:
Games Workshop: Sotek Green, Rhinox Hide, Mournfang Brown, Wazdakka Red
Vallejo: German Grey, Neutral Grey, Ice Yellow
P3: Morrow White
Brushes:
A variety of sizes including 00 for fine details
Palette: For mixing colours
Water pot: For thinning paints and cleaning brushes
Steps
Initial Blocking In:
Start by applying a mix of Neutral Grey and Mournfang Brown at the lower part of the axe for the Earth section of SENMM.
Above that, apply a mix of Sotek Green and Neutral Grey. However, this will be lightened later on for blending purposes.
Lightening the Blue-Green Mix:
Mix Ice Yellow with the Sotek Green and Neutral Grey mix to lighten it, allowing for smoother blending with the lighter colours in the middle.
Painting the Upper and Lower Sections:
Use various mixes of Neutral Grey and Ice Yellow to create gradients and highlights.
For the Earthy sections, use Mournfang Brown and Rhinox Hide.
Creating Specular Highlights:
Apply Morrow White for the brightest highlights on the most raised edges.
Be mindful of the light source and the reflective qualities you’re trying to achieve with NMM.
Adding Lightning Effect:
Use Wazdakka Red, gradually adding white for the lightning effects.
Focus on creating dynamic, jagged lines emanating from the power nodes of the axe.
Glazing and Smoothing:
Use glazing techniques with lighter colours to smooth out transitions and refine highlights.
Adjust the consistency of your glazes depending on the humidity and temperature of your painting environment.
Final Touches:
Refine the edges and any rough areas.
If necessary, add more layers to enhance depth and realism.
Tips
Paint Consistency: Adjust the paint consistency based on your environment. Hotter conditions may require more frequent watering of paints.
Brush Care: Use a separate brush for mixing paints to preserve the tips of your detail brushes.
Light Reflection: Constantly refer back to how light naturally interacts with metal surfaces to guide your highlight placement.
Patience and Layers: Build up your layers gradually and allow each to dry before applying the next.
Video – NMM Axe (Second Version)
This is my second try at the axe NMM, as I wasn’t happy with the first result! You can use whichever you prefer.
Video – How to Paint Dante Axe NMM (V2)
Materials and Paints Used
Paints
Games Workshop Paints:
Baharroth Blue
Rhinox Hide
Mournfang Brown
Vallejo Paints:
Ice Yellow
Neutral Grey
German Grey
Kimera Colours Paint:
Diarylide Yellow (Note: You can create a similar effect by mixing Yriel Yellow with a small amount of orange)
Materials
Black Primer: For the initial coat on the axe.
Wet Palette: For mixing and maintaining paint consistency.
Fine Detail Brushes: Essential for applying precise highlights and details – I use Artist Opus brushes, but any high-quality fine-detail brush is fine
Sanding Tools: For modifying and smoothing the cutting edge of the axe.
Preparing the Axe
Initial Assessment: Note that The Cutting Edge is blunt, almost a millimeter wide.
Modification: Carefully shave down The Cutting Edge for a more realistic, thin look. Ensure evenness to avoid wonky highlights.
Base Painting
Primer: Apply a light coat of black primer.
Base Colours:
For the flat side of the axe, start with a base of Neutral Grey (Vallejo).
For The Cutting Edge, use Rhinox Hide (Games Workshop) at the top, blending into Mournfang Brown towards the bottom.
Sky Earth Non-Metallic Metal (NMM) Technique
Sky Representation: Mix Baharroth Blue (Games Workshop) with Ice Yellow (Vallejo) to create a sky-like gradient on the flat side of the axe. Start darker at the top, gradually lightening towards the bottom.
Earth Representation: At the bottom of The Cutting Edge, use a mix of Rhinox Hide and Mournfang Brown (Games Workshop) for the earth reflection. Blend Neutral Grey (Vallejo) into this mix for lighter shades towards the bottom.
Adding Highlights: Gradually add more Ice Yellow (Vallejo) to the Baharroth Blue mix for the sky, and more Mournfang Brown for the earth, to create a sense of depth and reflection.
Reflection Details: Add subtle warped shapes and lines to mimic trees or mountains in the reflection, enhancing the mirror-like quality.
Refining the Metallic Look
Glare Effect: Identify the primary light source and add a glare effect on the axe. This will be higher up on the axe blade.
Shine Spots: Paint independent shine spots to enhance the metallic effect. Use a mix of Neutral Grey and German Grey (Vallejo) for darker areas, and a mix of Ice Yellow and Baharroth Blue for lighter areas.
Edge Highlights and Final Touches
Edge Highlights: Apply thin highlights along The Cutting Edge and other prominent edges of the axe. Use a mixture of the base colors for a consistent look.
Lightning Effect (Optional): If desired, add a subtle lightning effect, particularly in darker areas. Use saturated colors with minimal highlights.
Final Glazing: Use thinned down Ice Yellow (Vallejo) and Diarylide Yellow (Kimera Colors) or a similar mix for warm glazing over the highlights.
Pure White Highlights: Add small dots of pure white paint at the brightest points of the shine spots for maximum impact.
Video – Head, Eyes, Blood Gem
Materials and Paints Needed:
Fine Detail Brush: Crucial for precision work on small areas like eyes and gems.
Magnification Tool (Optional): Can be useful for extremely detailed areas.
Palette: Necessary for mixing and thinning your paints.
For Gold Tones: XV-88, Balor Brown, Rhinox Hide (Games Workshop)
Highlights for Gold: Troll Slayer Orange, Ice Yellow (Vallejo)
Eyes Base Colour: Sotek Green (Games Workshop)
Eyes and Gem Highlights: Morrow White (P3)
Blood Gem: Mephiston Red, Wild Rider Red (Games Workshop)
Steps for Commander Dantes Head and Details
Refining the Gold: Enhance the gold’s depth by adding more orange reflections, especially on the cheeks and ear muffs. This technique replicates the way gold reflects on gold, creating an orange hue.
Eyes Detailing: Start with Sotek Green for the base. For the highlights, progressively mix in Morrow White with Sotek Green. Focus on the lower edge of each eye, adding more intense highlights near the tear duct and finishing with a small white dot at the back for a gem-like appearance.
Blood Gem on Forehead: Use Mephiston Red as the base color for the gem. Apply Wild Rider Red on the lower right section to simulate light reflection within the gem. Mix a small amount of Morrow White with Wild Rider Red for the edge highlights, ensuring a realistic gem look.
Layering for NMM Gold Effect: Apply layers of XV-88, Balor Brown, and Rhinox Hide, using the translucency of the paints to create depth and warmth in the gold. Troll Slayer Orange is key for achieving reflective properties and varied tones in the gold.
Detailed Facial Features: Paint a dark line from below the nose over both lips down to the chin. This creates a division on the face, adding to the realism. Make sure the right side of the face is slightly lighter than the left.
Fine Touches on Eyes and Gem: Ensure the eyes are fully covered in blue to maintain their vibrancy. For the blood gem, detail the top left of the gem with a sharp edge and a line running down, symbolizing light reflection.
Reviewing and Balancing: Regularly step back to assess the overall look. It’s essential to balance the details with the overall aesthetics of the miniature.
Assembling and Final Review: Once all the parts are painted, assemble the head and do a final review. Make any necessary adjustments for a polished look.
Video – Red Shoulder NMM
Paints Needed
Games Workshop: Mephiston Red, Evil Sunz Scarlet, Mournfang Brown, Balor Brown, Trollslayer Orange, Rhinox Hide
Vallejo: Ice Yellow, Black
Steps
Base and Mapping:
Start with Mephiston Red mixed with a small amount of black to map out where the shiny parts will be.
Apply this mix to create the initial shape of the reflection on the shoulder pad.
Building Layers:
Use gradually lighter mixes of Mephiston Red and Evil Sunz Scarlet, adding Ice Yellow for the lighter tones.
Focus on smooth layering to build up the red tones, paying attention to how light naturally reflects on a curved surface.
Defining the Shine:
For the brightest shine spot, use a combination of XV-88, Balor Brown, and Ice Yellow from Games Workshop.
Apply these colours carefully to create a realistic reflection effect.
Painting the Gold Trim:
Start with Mournfang Brown and Rhinox Hide for darker areas.
Progressively mix in Trollslayer Orange and Ice Yellow for brighter sections.
Ensure a smooth transition between the red of the shoulder pad and the gold trim to maintain a cohesive look.
Adding Additional Reflections:
Insert additional shine spots in both the red and gold areas for more depth and realism.
Use stippling techniques to create a diffused yet shiny highlight on the brightest parts.
Be mindful of the shape and direction of these additional reflections to maintain consistency with the light source.
Final Touches:
Use a mix of Mephiston Red and Evil Sunz Scarlet for the final glazes to enhance the vibrancy of the red.
Add final highlights with the lightest mix of Ice Yellow and white for the brightest points.
Refinement:
Go back and refine any areas as needed, especially the transitions between highlights and shadows.
Add intricate details such as reflected light on the gold trim to enhance the NMM effect.
Tips
Paint Consistency: Adjust the paint-to-water ratio to around 60% water for smoother application and finish.
Reflection Logic: Consider the shape of the shoulder pad and how light interacts with it. Use a lamp to guide your reflection placement.
Edge Highlights: Be careful with edge highlights; ensure they are consistent with the overall light reflection and texture of the surface.
Patience and Layers: Build up the layers gradually for a smooth transition. This is crucial for achieving a realistic NMM effect.
Stippling Technique: Use stippling in the brightest areas to create a diffused highlight, adding depth and realism.
Harmonizing Colours: Ensure the reds and golds complement each other, keeping the overall look cohesive.
Reflective Details: Consider adding subtle reflective details in surrounding areas, like reflected red light on nearby silver parts, to enhance realism.
Rest and Review: Sometimes stepping away from the model and returning with fresh eyes can help spot areas needing refinement or a different approach.
More Tutorials to Explore
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This video shows how to paint the Cities of Death Arch Knight from the Freeguild Command Corps. The colours are selected to achieve an aquatic feel to match the style of the armour and are painted using NMM (Non-Metallic Metal) The set was sent to me for review by Games Workshop.
How to Paint Cities of Death Arch Knight
The following paints were used:Games Workshop: Sotek Green Vallejo: Neutral Grey, Ice Yellow, Heavy Blackgreen P3: Morrow White
Top Tips on How to Paint Cities of Death Arch Knight
Choosing the Axe: If you prefer the look of the axe over the hammer, go for it. The lack of specific details on the axe allows for creative freedom in painting a fancy cutting blade.
Colour Scheme: Opt for a green, blue, and turquoise colour scheme to complement the fish theme. Use paints like Sotek Green, Ice Yellow, and Vallejo Heavy Blackgreen for reflections.
Mapping Highlights with Vallejo Neutral Grey: Begin by mapping out highlight points using Vallejo Neutral Grey. This will serve as a base for the non-metallic metal style.
Blocking In: Use a larger brush initially, like a size 3, for quick blocking of colours. This helps cover large areas efficiently, but be aware it may result in a more translucent finish.
Layering Colours for Non-Metallic Effect: Layer Sotek Green mixed with Neutral Grey and Ice Yellow for the non-metallic effect. Adjust the mix for a gradual transition and blend as needed.
Reflective Surfaces and Angles: Consider the angles and reflective surfaces carefully. Downward-facing parts should reflect the chosen colours, but keep in mind the realism of the light source and its impact on reflections.
Focus on Head, Chest, and Shoulder Area: Concentrate on painting the head, chest, and shoulder areas. This not only emphasises the most interesting parts of the model but also guides the viewer’s attention.
Highlighting Techniques: Use careful brush marks for highlights, especially on intricate shapes like the fish helmet. Sharp, harsh brush marks can create a textured and reflective surface.
Balancing Reflections and Colours: Strike a balance between the upward-facing and downward-facing reflections. Consider the colour wheel for harmonious combinations, avoiding overly contrasting colours.
Refining and Detailing: The refining phase is crucial. Continuously refine and add details to elevate the model’s overall finish. This process can take the model from a basic finish to a Golden Demon standard with dedication.
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Here is the shorter version of my Alchemite Warforger video, which is available to watch on here or Youtube for free. For more detail, check out the longer version!
The following paints were used: Games Workshop: Rhinox Hide, Mournfang Brown, Balor Brown, Daemonette Hide, Slaanesh Grey, Mephiston Red, Yriel Yellow, Wild Rider Red, Troll Slayer Orange, Bugman’s Glow, Cadian Fleshtone, Morghast Bone, XV88.Vallejo: Ice Yellow, German Grey, Neutral GreyP3: Morrow White Grass: Mininatur Spring Moss Pads
Step-by-Step Guide to the Alchemite Warforger
Preparation:
Assemble your Cities of Sigmar Alchemite Warforger model from the Cities of Sigma box set.
Prime the model with black primer.
Omit the cube with smoke for easier painting (add it back when you’ve painted the model!)
Helmet Painting:
Use XV88 to block in highlights for a bronzy colour on the helmet.
Apply the paint loosely with a size 2 Artist Opus brush, focusing on where light naturally falls.
Thin the paint to around 1.5 parts water to 1 part paint for easy layering.
Metal Painting:
Use a gray base colour (Neutral Gray or Mechanicum Standard Gray) for most steel-colored objects.
Optionally, add colour with Daemonette Hide for a purpley-gray tone.
Apply the paint loosely and scribbly to create texture.
Use smaller brushes for refined marks in specific areas.
Consider adding Daemonette Hide and Slaanesh Gray for additional colour on metal pieces for reflections.
Leather Parts:
Base the leather apron and other leather parts with Rhinox Hide.
Apply the paint loosely with a mix of around 1.5 parts water to 1 part paint.
Keep the paint flowing with the shape of the sculpt for a harmonized look.
Highlighting:
Highlight the metal parts with Slaanesh Gray, applying smaller and more refined marks.
For leather, use Mornfang Brown for additional layers, creating a distinct color difference.
Glaze with Mourning Brown on top of the highlights for added contrast.
For leather straps, use larger black marks at the edges and smaller marks towards the core.
Skin Painting:
Base the skin with Rhinox Hide and layer with Mornfang Brown.
Highlight using the following sequence: XV88, Guardian Flesh Tone mixed with Baneblade Brown and a bit of white.
Keep the skin texture smooth, differentiating it from the heavily textured leather.
Final Details:
Apply Verdigris to metal clasps for a weathered look.
Add OSL (Object Source Lighting) with plain flesh tone for the rune effect.
Optionally, use Rhinox Hide for a runic effect.
Consider the placement of the cube with smoke for potential obstructions.
Remember, these steps are a guide, and you can adjust them based on your preferences and painting style. Happy painting!
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This full video shows how to paint an Alchemite Warforger from the Cites of Sigmar, which Games Workshop sent to me as an early review copy.This guide will cover various techniques such as non-metallic metal effects (NMM), leather texture, and object source lighting (OSL).
How to paint an Alchemite Warforger Video
You’ll Need:
Alchemite Warforger.
A range of brushes (including a size 3 Artist Opus M brush).
Paints from Games Workshop: Rhinox Hide, Mournfang Brown, Balor Brown, Daemonette Hide, Slaanesh Grey, Mephiston Red, Yriel Yellow, Wild Rider Red, Troll Slayer Orange, Bugman’s Glow, Cadian Fleshtone, Morghast Bone.
Vallejo paints: Ice Yellow, German Grey, Neutral Grey.
P3 paint: Morrow White.
Mininatur Spring Moss Pads for basing.
Let’s Get Started:
Base Coating: Initiate with a base layer of XV-88. This creates an ideal foundation for both gold and bronze non-metallic metal (NMM) effects. Apply these base colours in a relaxed manner; perfection isn’t the goal at this stage.
Non-Metallic Metal (NMM) Bronze/Gold: Use a combination of XV-88, Balor Brown, Ice Yellow, and a touch of Rhinox Hide. Mix these colours in various ratios to achieve the desired NMM effect.
Leather Textures: For the leather apron and straps, start with a base of Rhinox Hide. Then, build up the texture and highlights with Bugman’s Glow and Cadian Fleshtone, adding Morghast Bone for the lighter areas.
Skin Tones: Begin with Mournfang Brown as the base for the skin. Gradually layer up the skin tones using a mix of Mournfang Brown and Cadian Fleshtone, finishing with lighter highlights.
Object Source Lighting (OSL): For the glowing effects, such as the pot’s contents, start with Mephiston Red and build up to Yriel Yellow and Wild Rider Red for the intense glow.
Detailing: Use Slaanesh Grey and Daemonette Hide for the cooler tones, and Vallejo’s Ice Yellow and Neutral Grey for the metallic areas. German Grey can be used for darker shadows.
Finishing Touches: Use Morrow White for the brightest highlights and final touches. The base can be detailed with Mininatur Spring Moss Pads to add a natural touch.
Remember, painting is about building up layers and textures, so take your time and enjoy the process. Each layer adds depth and character to your Alchemite Warforger.
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This video looks more at the head of Commander Dante and shows his Eyes, and Blood Drop as well as more NMM Gold of the face. Commander Dante is being painted as a Golden Demon entry.
Video Tutorial: Commander Dante Head and Details
Materials and Paints Needed:
Fine Detail Brush: Crucial for precision work on small areas like eyes and gems.
Magnification Tool (Optional): Can be useful for extremely detailed areas.
Palette: Necessary for mixing and thinning your paints.
Paints:
For Gold Tones: XV-88, Balor Brown, Rhinox Hide (Games Workshop)
Highlights for Gold: Troll Slayer Orange, Ice Yellow (Vallejo)
Eyes Base Colour: Sotek Green (Games Workshop)
Eyes and Gem Highlights: Morrow White (P3)
Blood Gem: Mephiston Red, Wild Rider Red (Games Workshop)
Steps for Commander Dantes Head and Detail:
Refining the Gold: Enhance the gold’s depth by adding more orange reflections, especially on the cheeks and ear muffs. This technique replicates the way gold reflects on gold, creating an orange hue.
Eyes Detailing: Start with Sotek Green for the base. For the highlights, progressively mix in Morrow White with Sotek Green. Focus on the lower edge of each eye, adding more intense highlights near the tear duct and finishing with a small white dot at the back for a gem-like appearance.
Blood Gem on Forehead: Use Mephiston Red as the base color for the gem. Apply Wild Rider Red on the lower right section to simulate light reflection within the gem. Mix a small amount of Morrow White with Wild Rider Red for the edge highlights, ensuring a realistic gem look.
Layering for NMM Gold Effect: Apply layers of XV-88, Balor Brown, and Rhinox Hide, using the translucency of the paints to create depth and warmth in the gold. Troll Slayer Orange is key for achieving reflective properties and varied tones in the gold.
Detailed Facial Features: Paint a dark line from below the nose over both lips down to the chin. This creates a division on the face, adding to the realism. Make sure the right side of the face is slightly lighter than the left.
Fine Touches on Eyes and Gem: Ensure the eyes are fully covered in blue to maintain their vibrancy. For the blood gem, detail the top left of the gem with a sharp edge and a line running down, symbolizing light reflection.
Reviewing and Balancing: Regularly step back to assess the overall look. It’s essential to balance the details with the overall aesthetics of the miniature.
Assembling and Final Review: Once all the parts are painted, assemble the head and do a final review. Make any necessary adjustments for a polished look.
Continue Painting Commander Dante!
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This video shows how to paint the Dante’s axe using NMM or SENMM (Sky Earth Non Metallic Metal.) The video also covers some of the challenges of painting in hot weather!
Materials Needed:
Paints:
Games Workshop: Sotek Green, Rhinox Hide, Mournfang Brown, Wazdakka Red
Vallejo: German Grey, Neutral Grey, Ice Yellow
P3: Morrow White
Brushes:
A variety of sizes including 00 for fine details
Palette: For mixing colours
Water pot: For thinning paints and cleaning brushes
Steps:
Initial Blocking In:
Start by applying a mix of Neutral Grey and Mournfang Brown at the lower part of the axe for the Earth section of SENMM.
Above that, apply a mix of Sotek Green and Neutral Grey. However, this will be lightened later on for blending purposes.
Lightening the Blue-Green Mix:
Mix Ice Yellow with the Sotek Green and Neutral Grey mix to lighten it, allowing for smoother blending with the lighter colours in the middle.
Painting the Upper and Lower Sections:
Use various mixes of Neutral Grey and Ice Yellow to create gradients and highlights.
For the Earthy sections, use Mournfang Brown and Rhinox Hide.
Creating Specular Highlights:
Apply Morrow White for the brightest highlights on the most raised edges.
Be mindful of the light source and the reflective qualities you’re trying to achieve with NMM.
Adding Lightning Effect:
Use Wazdakka Red, gradually adding white for the lightning effects.
Focus on creating dynamic, jagged lines emanating from the power nodes of the axe.
Glazing and Smoothing:
Use glazing techniques with lighter colours to smooth out transitions and refine highlights.
Adjust the consistency of your glazes depending on the humidity and temperature of your painting environment.
Final Touches:
Refine the edges and any rough areas.
If necessary, add more layers to enhance depth and realism.
Tips:
Paint Consistency: Adjust the paint consistency based on your environment. Hotter conditions may require more frequent watering of paints.
Brush Care: Use a separate brush for mixing paints to preserve the tips of your detail brushes.
Light Reflection: Constantly refer back to how light naturally interacts with metal surfaces to guide your highlight placement.
Patience and Layers: Build up your layers gradually and allow each to dry before applying the next.
Now, you’re all set to bring Dante’s axe to life with a stunning NMM effect that mimics the intricate play of light on metal surfaces!
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How to Paint a Vampire Lord from the Soulblight Gravelord Armies! This includes NMM shiny steel armour, face and hair, skeleton base tutorial plus a dripping gore-covered mace! Read on to watch the comprehensive set of How to Paint a Vampire Lord tutorials plus key steps, paints and materials guide.
Quick Jump to:
Video – How to Paint a Vampire Lord Steel ArmourPaints and MaterialsStep-by-Step Guide and Tips for the NMM ArmourVideo – How to Paint a Vampire NMM ShieldPaints and MaterialsStep-by-Step Guide and Tips for the NMM ShieldVideo – Non Metallic Metal Mace with added GorePaints and MaterialsStep-by-Step Guide and Tips for the Gory MaceVideo – Vampire Lord Face and HairPaints and MaterialsStep-by-Step Guide and Tips for the Face and HairVideo – Skeleton Base Part OnePaints and MaterialsStep-by-Step Guide and Tips for the Skeleton BaseBuilding the BasePainting the BaseFinishing TouchesVideo – Skeleton Base Part Two (Painting the Skeleton)Paints and MaterialsStep-by-Step Guide and Tips for Painting the Skeleton BasePainting the SkeletonPainting the SwordPainting the ClothAdding VegetationVideo – Simple Freehand DragonPaints and MaterialsStep-by-Step Guide and Tips for the Freehand Dragon
Video – How to Paint a Vampire Lord Steel Armour
All videos are recorded in HD 1080p or higher – use full screen for the full effect and let the video load completely. Click the cog icon to choose speed, if I’m too fast or slow!
Paints and Materials
Paints:
Vallejo Neutral Grey: Used for mapping out highlights and base tones on the armour.
Vallejo Ice Yellow: Applied for initial highlights, gives a warm, off-white effect.
Games Workshop Mournfang Brown: Used sparingly for adding depth and richness in transitions.
Games Workshop Abaddon Black: Thinned down and used for glazing to deepen shadows and smooth transitions.
P3 Morrow White: For final bright highlights. Thinned down considerably for a subtle effect.
Brushes:
Fine Detail Brushes: Essential for applying precise highlights and for the stippling technique. I used the Artis Opus range, but any high-quality fine brush will work.
Glazing Brushes: Preferably also with a fine tip, used for applying thinned down glazes of Mournfang Brown and Abaddon Black.
Primer:
Ultimate Primer (Black): Used for priming the model before painting.
Step-by-Step Guide and Tips for the NMM Armour
Preparation: Assemble the model but avoid gluing areas like the shield or head that might obstruct painting. Prime the model in black. For this, Ultimate Primer is a good choice.
Base Layer: Start with Vallejo Neutral Grey to map out highlight points on the armour. This colour is ideal for desaturated, steel-like effects.
Light Direction and Armour Detailing: Consider the light source and how it hits the model. Focus on areas like the hip covers and rib cage, and map out light and reflections. The Neutral Grey will be useful for creating the base tones.
Initial Highlights: Apply Vallejo Ice Yellow for the highlights. Despite its name, Ice Yellow will give a desaturated, warm white appearance, especially when applied thinly. This is perfect for adding a subtle warmth to the steel.
Refining the Highlights: Use a stippling technique with Neutral Grey and Ice Yellow, building up the texture and refining the highlights. Remember, this is a gradual process, and patience is key.
Adding Depth with Mournfang Brown: Introduce Games Workshop Mournfang Brown sparingly at transition edges or darker areas for a richer tone. Be cautious not to overdo it, as too much brown can detract from the steel effect.
Glazing for Smoothness: Thin down Mournfang Brown and Abaddon Black with water (about 5-6 parts water to 1 part paint) and apply them as glazes. This step will help in smoothing out transitions and adding depth.
Final Highlights with Morrow White: Use P3 Morrow White for final bright highlights. Ensure the white is thinned down and apply it very carefully to the highest points of the armour.Adjusting and Blending: Keep adjusting the highlights and shadows, blending the colours where necessary. This might involve going back and forth between the different shades to achieve a smooth transition.Finish and Review: Once satisfied, review the model under different lighting to ensure the non-metallic metal effect is consistent and realistic.
Throughout this process, keep your paint thin and apply multiple layers for the best results. The key to NMM is patience and gradual building of layers. Remember, each step contributes to the overall metallic effect, so take your time and enjoy the process!
Video – How to Paint a Vampire NMM Shield
Paints and Materials
Games Workshop: Mournfang Brown, Abaddon Black, Mephiston Red, Balor BrownVallejo: Neutral Grey, Ice YellowP3: Morrow White
Step-by-Step Guide and Tips for the NMM Shield
Priming and Preparation: The shield should be primed black. The use of Ultramar Varnish is optional.
Base Layering: Start with Vallejo Neutral Grey, using scribbly strokes to create a rough and scratchy base.Add a darker grey mixture by blending Neutral Grey with Abaddon Black. This can be substituted with other dark greys like Vallejo German Grey.
Creating Texture: Continue with Neutral Grey, making irregular, scratchy marks. These marks will contribute to a subtle textured look.Focus on building up layers and refining the texture.
Highlighting:Apply a mix of Neutral Grey and Ice Yellow for initial highlights.Move to Ice Yellow, applying it thinly (1.5 parts water to 1 part paint) to avoid a chalky finish.Apply the Ice Yellow in a stippling manner to refine the highlights and cover uneven areas.Painting the Dragon:Base the dragon with Mephiston Red.Create shadows by adding a small amount of Abaddon Black to Mephiston Red.For highlights, mix Mephiston Red with P3 Morrow White (or another white) and apply to raised areas and facets of the dragonGlazing and Refining: Use a heavily diluted mixture of Mournfang Brown, Abaddon Black, and P3 Morrow White for glazing.Apply the Mournfang Brown for a soft yellow-brown hue in certain areas.Use Abaddon Black to darken and dull areas and to create shadows.Use P3 Morrow White to soften and blend the highlighted areas.
Adding Scratches and Imperfections:Add random scratch-like marks using a very light application for realism.Apply small white dots to suggest nicks and imperfections.
Final Highlights and Adjustments:Go over the shield and dragon, adding final highlights and making adjustments as necessary.Focus on achieving a balanced look from different viewing angles.
Painting the Trim: Paint the trim using a mix of Abaddon Black and Mephiston Red as a base.Layer with Balor Brown, and then add highlights with a mix of Balor Brown and Mournfang Brown.Add final edge highlights and details to match the overall lighting and contrast of the shield.Finishing Touches:
Tidy up any rough edges or over-painted areas.Ensure that the shield’s various sections harmonize in terms of light and contrast.Remember to let each layer dry thoroughly before applying the next, and adjust the thickness of your paints with water to maintain control and avoid a textured buildup.
Video – Non Metallic Metal Mace with added Gore
Paints and Materials
Primer: Black
Paints:
Vallejo Neutral Grey
Vallejo Black
Vallejo Basalt Grey
Vallejo German Grey
Games Workshop Rhinox Hide
Games Workshop Blood for the Blood God
P3 Morrow White
Brushes: Fine detail brushes
Additional: Gloss varnish, super glue, fishing wire for gore effect
Step-by-Step Guide and Tips for the Gory Mace
Priming: The mace should be primed in black.
Base Layering:
Start with Vallejo Neutral Grey. This can be created with a mix of black and white.
Use Pearl Grey Blue for slight colour variation, though this is optional.
German Grey can also be added to the mix.
Highlighting and Texture:
Focus on picking out angles and curves on the mace.
Ensure brighter parts on surfaces facing you, with darker shades on less visible parts.
Use a combination of different greys to build up layers and create a realistic metal effect.
Detailing:
Pay attention to the many facets of the mace, including chamfered edges and curves.
Use fine brushes for precision in highlighting these small, detailed areas.
Glazing:
Mix Rhinox Hide with a significant amount of water for a thin glaze.
Apply this to mid-tones to shadows, avoiding the brightest highlights.
This step enhances contrast and adds a hint of colour to the mace.
Adding the Gore Effect:
Attach thin strands of fishing wire to the mace using super glue to create dangling gore.
Apply gloss varnish to the connection points for added strength and flexibility.
Once the varnish is dry, cover the fishing wire with “Blood for the Blood God” paint.
Ensure the gore effect is applied in a realistic manner, considering where blood would naturally accumulate and drip from the mace.
Final Touches:
Revisit any areas that need refining or additional highlights.
Make sure the gore effect blends seamlessly with the painted mace.
Allow all layers to dry completely before handling.
Tips:
Take your time with each facet of the mace; precision is key to a realistic look.
Ensure your paint consistency is right for each step – thinner for glazing, thicker for opaquer details.
Be cautious when applying the gore effect; it’s a focal point but shouldn’t overwhelm the detailed painting beneath.
Video – Vampire Lord Face and Hair
Paints and Materials
Games Workshop: Calgar Blue, Cadian Fleshtone, Ushabti Bone, Yriel Yellow, Khorne Red, Mephiston RedVallejo: Neutral Grey, Black
Step-by-Step Guide and Tips for the Face and Hair
Painting the Face:Base Coat: Start with a base coat of Calgar Blue over the black primer. Expect poor coverage initially. Thin the paint with approximately 1.5 parts water to 1 part paint. Apply 3-4 layers to achieve an opaque finish.
Highlighting: Create a mix of 50/50 Calgar Blue and Cadian Fleshtone. Apply this mix to specific areas of the face, considering the natural light fall. Key areas include the forehead, cheekbones, and areas between the eyes and nose. This mix will start to give a flesh tone, retaining a hint of blue for the undead look.
Further Detailing: Use Cadian Fleshtone and a mix of 50/50 Ushabti Bone and Cadian Fleshtone for additional highlighting. Focus on raised areas and consider how light interacts with facial features. Apply highlights gradually, using a heavily diluted mix for soft transitions.
Eyes and Mouth: Paint the eyes and the inside of the mouth in black. This step ensures these areas are defined and helps balance the highlights on the face.
Painting the Hair:Base Coat: Apply Neutral Grey from Vallejo over the black primer. Switch to Khorne Red for a vibrant, contrasting colour to the skin. Thin the paint slightly and apply multiple coats for an even, opaque finish.
Highlighting: Use Ushabti Bone to highlight the hair. Mix it with Khorne Red in varying proportions, increasing the Ushabti Bone content for brighter highlights. Focus on areas where light would naturally hit, creating a shiny, luxurious look.
Glazing for Colour Depth: After highlighting, the hair may appear too desaturated. To bring back the richness of the red, glaze over the hair with a heavily diluted Mephiston Red. This step enhances the red colour while maintaining the shine.
Final Touches on Hair: Optionally, add Abaddon Black to the corn red to create darker shades in the hair, increasing the depth and contrast.
Video – Skeleton Base Part One
Paints and Materials
A skeleton figure from Warhammer Underworlds Warbands
Milliput and Fimo (or slate pieces)
Green stuff (50/50 mix of blue and yellow)
Super glue
Sand (variety in particle size, not sharp sand)
PVA glue (diluted with water)
Base brush (flat Games Workshop brush or equivalent)
Neutral Grey (Vallejo), Deathworld Forest, Morghast Bone, Agrax Earthshade, Athonian Camoshade, Astronomicon Grey (Games Workshop)
Water for thinning paints
Rock material guide by the fantastic Julien Casses:https://www.juliencasses.com/2012/11/how-to-make-rocks
Step-by-Step Guide and Tips for the Skeleton Base
Building the Base
Prepare Skeleton: Start by preparing your skeleton figure, ensuring it has a ‘rising from the ground’ appearance.
Create Stone Slabs: Mix Milliput and Fimo, bake at 120°C for 30 minutes, then break into slabs to represent stones. Alternatively, use slate pieces. Attach these slabs to the base with super glue.
Apply Green Stuff: Mix blue and yellow Green Stuff and use it to create a ridge around the skeleton, giving the illusion of a hole from which the skeleton emerges. Embed the Vampire Lord’s rock into the Green Stuff to integrate it with the base.
Add Texture: Sculpt some small, round rocks using Green Stuff for added detail.
Sand Application: Cover the base in beach sand, avoiding sharp sand. Use various particle sizes for a natural look.
Painting the Base
Seal Sand: Brush diluted PVA glue over the sand to seal it and prevent flaking.
Base Colour for Sand: Dry brush the entire base with Deathworld Forest, focusing on sandy areas.
Highlighting Sand: Apply a lighter dry brush of Morghast Bone to the sand for highlights.
Defining Rocks: Use Agrax Earthshade as a thick glaze around the sculpted rocks to define their shapes.
Enhancing Greenery: Apply Athonian Camoshade to enhance the green tones on the base.
Rock Painting: Begin detailed painting on rocks using Neutral Grey. Focus on highlighting angles and adding scratchy details for texture.
Additional Rock Highlights: Use Pelgrave Blue, potentially mixed with white, to highlight rocks further. Remember not to overpower the model with the base’s contrast.
Enhancing Edges: Add lighter edges around rocks using Astronomicon Grey to define shapes.
Finishing Touches
Consider adding other details like small flowers or greenery to the base.
Reflect these colours onto the Vampire Lord for cohesion.
Ensure the base matches the quality and style of your painted model.
Video – Skeleton Base Part Two (Painting the Skeleton)
Paints and Materials
Paints: XV-88, Balor Brown, Moot Green, Deathworld Forest, Ushabti Bone, Mournfang Brown, Trollslayer Orange (Games Workshop); Neutral Grey, Pale Grey Blue, Black (Vallejo); Iosen Green, Morrow White (P3)
Mininatur Moss Pads and Flowers
Water for thinning paints
Brushes with fine tips
PVA Glue
Jeweler’s tweezers
Step-by-Step Guide and Tips for Painting the Skeleton Base
Painting the Skeleton
Eyes: Start by painting the eye sockets with white paint, thinned down. Apply 2-3 layers for an opaque finish. Avoid overloading to prevent the paint from pooling.
Adding Color to Eyes: Use Pro Acryl Golden Yellow (or any similar yellow) around the edges of the eye sockets, leaving the back white to mimic a light source. Then, use Moot Green, thinned down, around the yellow, ensuring smooth transitions.
Skeleton Bone: Use XV-88 to paint the skull and bones. Apply the paint thinly and unevenly to create a natural, weathered look. Emphasize areas where light would naturally hit, based on the light source direction.
Highlighting Bone: Apply Ushabti Bone for highlights, focusing on raised areas and edges. Keep the paint thin for a smooth finish.
Additional Details: Add small scratches or battle damage marks for realism.
Final Highlights on Bone: Use white (Morrow White) for the final highlights on the most raised areas.
Painting the Sword
Base Colour: Use Neutral Grey to paint the entire sword, including the hilt and blade.
Weathering: Add Mournfang Brown to the blade for a rust effect, focusing on recessed areas and pitted holes.
Highlighting the Blade: Use Pale Grey Blue for highlighting and adding scratchy details, focusing on areas that would catch light.
Rust Details: Add Trollslayer Orange in the deepest recesses for an inverted highlight effect.
Refining Highlights: Go back with Neutral Grey and Pale Grey Blue to refine the highlights and add more detail to the weathered look.
Painting the Cloth
Base Layer: Apply Deathworld Forest over black primer, focusing on raised folds and areas that would catch light.
Highlighting: Use Balor Brown for further highlights, keeping the paint very thin to maintain a dark, grubby appearance.
Adding Vegetation
Applying Moss Pads: Use PVA glue to attach Mininatur Moss Pads around the base. Utilize jeweler’s tweezers for precise placement.
Adding Flowers: Integrate white flowers from Mininatur for additional detail. Trim if necessary to avoid overpowering the base.
Adding Roots: For an emerging effect, glue small roots around the skeleton, bending them to create a natural look.
Dry Brushing: Gently dry brush Balor Brown over the moss pads to integrate them with the base and add depth.
Video – Simple Freehand Dragon
Paints and Materials
The following paints were used:Games Workshop: Rhinox Hide, Mournfang Brown Vallejo: German Grey, Neutral Grey, Ice Yellow, White
Step-by-Step Guide and Tips for the Freehand Dragon
Prepare the Surface: Begin by roughly painting the inside of the shield with a mixture of Mournfang Brown and Rhinox Hide from Games Workshop. These paints should be heavily thinned with approximately two parts water to one part paint. Use a large brush, like a size 2 artist opus brush, for quick and broad coverage. This base coat doesn’t need to perfectly match the shield’s front colour, as it will largely be covered.
Apply Texture: The texture on the back of the shield differs from the front to differentiate it from the armor. Apply the paint in a scratchy manner to simulate wear and tear. For this, use Neutral Grey from Vallejo, mixed with Ice Yellow for highlights, and German Grey for darker areas. Remember, this part doesn’t have to be perfectly blended, as some roughness adds character.
Glazing: If needed, glaze over the scratchy texture with more diluted Rhinox Hide and German Grey. Glazing helps to soften the texture and can hide any imperfections in the painting.
Freehanding the Dragon: When painting the dragon, start with a reference photo of the dragon design on the shield’s front. This helps maintain consistency across the model. Use Vallejo Model Color Black for the dragon outline, ensuring the paint is well-diluted for fine lines.
Brush Selection: Use a fine brush for detailed work. A worn-out brush might not give the sharp lines needed for intricate details. A newer, sharper brush is recommended for finer details and corrections.
Highlighting the Dragon: Start with Neutral Grey for initial highlights. For more pronounced highlights, mix Neutral Grey with Ice Yellow, leaning more towards Ice Yellow for brighter highlights. Apply these highlights only to the upper edges of the dragon design, where light would naturally catch.
Adjusting for 3D Effect: Paint the inside of the dragon with a darker grey, such as a mix of German Grey and Neutral Grey, to create depth and avoid a flat black appearance.
Final Touches: Add fine highlights to the dragon, especially along the edges and raised areas, to enhance the 3D effect. Use a mix of Neutral Grey and Ice Yellow, and pure Ice Yellow for the brightest points. Be mindful of the shield’s orientation to ensure that highlights correspond to the light source.
Painting the Shield Trim: Finally, paint the shield’s trim, likely in a gold or metal colour. This trim frames the dragon and gives a polished look to the shield, enhancing the overall appearance.
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A series for how to paint an Askurgan Exemplar from the Warcry Bloodhunt box, who I painted as part of my Commended Golden Demon Entry for 2023. Because it’s a Demon entry, the techniques will be very in-depth and very precise!In these videos you will learn how to paint his undead skin, red robes and rope, NMM metals on his weapon and armour, horn effect on his trophy rack and lots of other little tips and tricks. Read on to explore them along with paints, materials and step by step help.
How to Paint an Askurgan Exemplar Vampire Part One: Face, Arm and ShoulderMaterials and PaintsPainting the SkinNon-Metallic Metal (NMM) on ArmourAdditional TipsHow to Paint an Askurgan Exemplar Vampire Part Two: Red Robes, Hair and RopeMaterials and PaintsPainting Red RobesTechnique and BrushworkPainting HairPainting the RopeNon-Metallic Metal Effect on CollarOther TipsHow to Paint an Askurgan Exemplar Vampire Part 3: Sword Blade, Gold Sword Hilt and Hip ArmourMaterials and PaintsBase CoatingPainting the RopeHip ArmourSword Blade and HandleDetailing and Finishing TouchesEdge Highlighting and RefinementHow to Paint an Askurgan Exemplar Vampire Part 4: Trophy Rack and HornsMaterials and PaintsTrophy Rack Horns How to Paint an Askurgan Exemplar Vampire Part 5: NMM SwordPaints and Materials RequiredBase Coat and HighlightingBlade Edge DetailingFlat Blade SurfaceReflections and HighlightsEdge HighlightsRefining and Adjusting HighlightsFinal TouchesHow to Paint an Askurgan Exemplar Vampire Dirt On His RobePreparing to PaintAdding Depth with Mournfang BrownFinishing Touches with Balor BrownGeneral Tips for an Authentic EffectMore Undead and Vampire Tutorials to Explore!
How to Paint an Askurgan Exemplar Vampire Part One: Face, Arm and Shoulder
All videos are recorded in HD 1080p or higher – use full screen for the full effect and let the video load completely. You can also click the little “cog” and change the speed of the video, if I am going too fast (or slow!).
Materials and Paints
Paints: Games Workshop (Sotek Green, Cadian Fleshtone, Kislev Flesh, Mournfang Brown, Balor Brown, Yriel Yellow, Evil Sunz Scarlet), Vallejo (Toxic Yellow, Ice Yellow, Neutral Grey, German Grey, Black), Two Thin Coats (Dark Sun Yellow – optional)
White Paint: Schmincke White
Brushes: Size 00 and other fine brushes for detailed work
Painting the Skin
Base Colour: Mix Sotek Green with Cadian Fleshtone for a warm, turquoise green. This will be your base colour for the skin, providing a unique look while not being too dark.
Building Highlights: Progressively lighten this mixture by adding more Kislev Flesh, and Toxic Yellow from Vallejo for higher highlights. The aim is to create a series of progressively lighter shades, leading up to a final mix of Toxic Yellow, Kislev Flesh, and Schmincke White for the brightest highlights.
Application Technique: Use a very thin consistency (about 1.5 parts water to 1 part paint). Apply with a size 00 brush, focusing on upwards-facing surfaces and muscles for a natural look. Remember, the key is to layer thinly and build up the colour gradually.
Detailing the Face: For the vampire’s face, focus on defining sharp features while maintaining a natural appearance. Use the lightest colour mix for the highest points like the brow ridges and cheekbones. The eyes are painted black with Yriel Yellow for the irises, positioned such that the upper eyelid slightly covers the iris.
Non-Metallic Metal (NMM) on Armour
Chest Armour: Begin with a base of Mournfang Brown. For highlighting, use a mix of Neutral Grey and Ice Yellow, progressively adding more Ice Yellow for brighter areas. Paint the armour’s detailed features like fangs and textures with care, incrementally building up to white for the highest highlights.
Shoulder Armour: Start with Neutral Grey, building up highlights towards the top where the light naturally hits. Add reflections and finer details, creating a smooth transition from light to dark. Use Mournfang Brown, thinned down, for adding tonal variation and depth.
Gold Details: Utilise a combination of Mournfang Brown and Dark Sun Yellow (or Balor Brown) for the base of gold areas. Highlight with Ice Yellow, and for the brightest spots, use a mix of Ice Yellow and Schmincke White. Be sure to maintain the gold’s richness by not over-highlighting with white, thus keeping the metallic effect.
Additional Tips
Glazing: Use glazes (thin, transparent layers of paint) to smooth out transitions between colours, especially on the gold and armour sections.
Edge Highlighting: On the armour, especially the shoulder guards, use edge highlighting to define shapes and enhance the metallic appearance.
Reflections and Light Sources: Be mindful of the environment’s impact on reflections. Vary the reflections on different parts of the armour to create a more dynamic and realistic look.
Detailing and Textures: Pay attention to the texture of each surface. For instance, the vampire’s skin should have a smooth finish, while the armour can have a more textured appearance.
Consistency Across the Unit: If this model is part of a unit, ensure consistency in the painting style and colour scheme across all models, while allowing for individual variations. One of the reasons I believe I missed out on a trophy with my vampires is because I made them all much too unique and they didn’t look like they were part of the group. Cohesion and lore accuracy is very important for Golden Demon! I talk about this a bit more in my Golden Demon 2023 video, here. Anyway, sorry, back to the model..!
How to Paint an Askurgan Exemplar Vampire Part Two: Red Robes, Hair and Rope
All videos are recorded in HD 1080p or higher – use full screen for the full effect and let the video load completely. You can also click the little “cog” and change the speed of the video, if I am going too fast (or slow!).
Materials and Paints
Games Workshop Colours:Rhinox Hide: A deep brown, used as a base for the red robes.Mournfang Brown: Utilized in creating non-metallic gold effects and for darkening rope.Mephiston Red: Employed to enrich the red highlights.Evil Sunz Scarlet: A vibrant red for brighter highlights.Wild Rider Red: Used very sparingly for the highest red highlights.Balor Brown: Mixed with other colors for non-metallic gold effects.Karak Stone: The base for the rope.Skeleton Horde (Contrast): Applied for shading and depth on the rope.
Vallejo Colours:Toxic Yellow: Mixed for non-metallic gold effects and for rope detailing.Ice Yellow: Used in similar contexts as Toxic Yellow.Neutral Grey: A base for light grey hair and for mixing higher highlights.German Grey: Mixed with Neutral Grey for hair.Black: Used for various detailing and mixing.
Other Materials:Schmincke White: An artist’s acrylic paint used for the highest highlights, particularly in the hair.
Painting Red Robes
Base Coat: Start with Rhinox Hide. Despite its brown tone, it’s essentially a deep red. Apply this as a base for the robe.
First Highlight: Mix Rhinox Hide with Mephiston Red. This creates a richer, warmer red. Apply with a size 2 brush for broad strokes.
Subsequent Highlights: Progressively lighten the red using Evil Sunz Scarlet and Wild Rider Red. Be cautious with Wild Rider Red, using it sparingly to maintain the robe’s red saturation.
Technique and Brushwork
Use a larger brush for the broader areas of the robe to achieve smooth, clean strokes.
For finer areas, switch to a smaller brush for precise application and to highlight raised details and creases.
Painting Hair
Initially, aim for shiny black hair, but later shift to a light grey, matte finish.
Use Neutral Grey mixed with white for higher highlights, painting in the direction of the hair’s texture.
Be mindful of the hairline; avoid a stark contrast between the skin and hair. Aim for a subtle shadow effect.
Painting the Rope
Base coat the rope with Karak Stone.
Use a larger brush to cover the area efficiently.
Apply Skeleton Horde contrast paint for shading and depth.
For texture, add tiny lines with a mix of Karak Stone and white, representing the rope’s fibres.
Non-Metallic Metal Effect on Collar
This segment is challenging due to its intricate texture.
Use a mix of Mournfang Brown, Balor Brown, Toxic Yellow, and Ice Yellow to create a gold effect.
Add white for the brightest highlights, focusing on the collar’s embossed details.
Other Tips
Throughout the process, maintain a balance between boldness and subtlety. The goal is to accentuate the model’s features without overwhelming its overall appearance. Key points to remember:
Layering and Blending: The layering technique is crucial, especially for the red robes. Begin with dark tones and gradually build up to lighter hues, ensuring a seamless transition.
Directional Brushwork: Align your brush strokes with the texture and direction of the materials you are painting, whether it’s the flow of the robes or the strands of hair. This approach enhances realism.
Contrast and Focal Points: High contrast areas, like the non-metallic metal collar, should be approached with caution. Ensure they complement, rather than overpower, the focal points like the face.
Texture and Detailing: The rope’s texture is a time-consuming but rewarding aspect. Those fine lines, while tedious, add a significant level of detail to the model.
How to Paint an Askurgan Exemplar Vampire Part 3: Sword Blade, Gold Sword Hilt and Hip Armour
All videos are recorded in HD 1080p or higher – use full screen for the full effect and let the video load completely. You can also click the little “cog” and change the speed of the video, if I am going too fast (or slow!).
Materials and Paints
Games Workshop Colours:
Rhinox Hide: A deep, dark brown, used for shading and creating gradients on elements like the rope and as a base for other colours.
Mournfang Brown: Employed in non-metallic metal effects and to add depth to certain elements.
Mephiston Red: A bright red, used for adding vivid highlights and details.
Balor Brown: Mixed with other colours for non-metallic gold effects.
Karak Stone: Used as a base colour for the rope.
Skeleton Horde (Contrast): Applied for shading and to add depth, especially on the rope.
Vallejo Colours:
Ice Yellow: Mixed for creating highlights and for non-metallic gold effects.
Neutral Grey: A base for grey tones and for mixing higher highlights.
German Grey: Used in conjunction with Neutral Grey for various details.
Black: Employed for shading and defining details.
Other Materials:
Schmincke White: An artist-grade acrylic paint used for the highest level of highlights.
Base Coating
Apply the base colours: Rhinox Hide for darker areas, Mournfang Brown for metallic parts, Karak Stone for the rope, and other base colours as required for different parts.
Painting the Rope
Apply Karak Stone as the base colour.
Shade with Skeleton Horde (Contrast) to add depth.
For weathering effects, use Rhinox Hide in a glaze consistency (about three parts water to one part paint) at the bottom of the rope.
Hip Armour
Paint the ropes in the armour with the same technique as the main rope.
For the armoured plates (that resemble bones), start with a metallic base using Mournfang Brown.
Create a non-metallic metal effect by gradually building up layers, transitioning to lighter colours like Balor Brown and then Ice Yellow. Include reflective highlights where light would naturally hit.
Sword Blade and Handle
For the sword blade, use Neutral Grey as a base, applying highlights where light would naturally reflect. Pay attention to any sculpted details like indents or edges, and enhance these with your highlights.
The sword hilt is treated similarly, with a non-metallic gold technique. Start with Mournfang Brown, adding highlights and transitioning to lighter tones like Ice Yellow and White.
For both the blade and hilt, remember to add glazes for smoother transitions.
Detailing and Finishing Touches
Enhance the gold sections (such as the bracelets and sword hilt) with Ice Yellow and White for bright highlights.
For small details like rings or intricate parts of the armour, use precise brush strokes. Highlight the top edges and create contrast with darker shades in recesses.
If necessary, use glazes (a thin mix of paint and water) to smooth out transitions and make the colours more cohesive.
Pay attention to the consistency of the paint. It should be thin enough to flow smoothly but not so thin that it loses opacity.
Edge Highlighting and Refinement
Carefully apply edge highlights to the armor and sword, using lighter colors like Ice Yellow or White. This step brings out the details and gives a more three-dimensional appearance.
For the sword blade, create the effect of light reflecting off the blade by adding thin lines and highlights. Remember to adjust the intensity based on the angle and curvature of the blade.
Use a mix of Neutral Grey, Ice Yellow, and White to create the non-metallic metal effect, building up to the brightest highlights where the light would be strongest.
How to Paint an Askurgan Exemplar Vampire Part 4: Trophy Rack and Horns
Materials and Paints
Brushes: Size 2 M Artist Opus, Size 0 and 00
Paints: Games Workshop’s Rhinox Hide, Evil Sunz Scarlet, Balor Brown, Ushabti Bone, Skeleton Horde (Contrast); Vallejo’s Ice Yellow, Dead White
Trophy Rack
Base Coat
Combine Rhinox Hide and Evil Sunz Scarlet in a 2:1 ratio
Thin the mixture with equal parts water for a smoother application
First Highlight
Add Balor Brown to the base mix for a subdued pink tone
Apply carefully, ensuring light effects align with the model’s other parts
Additional Highlights
Incrementally introduce more Balor Brown and a touch of Ice Yellow for brighter highlights
Utilise the larger brush for expansive areas, switching to finer brushes for detailed texturing
Detailing Filigree
Employ a slender brush for precision
Gently add lighter paint to intricate patterns, avoiding overly fluid paint
Horns
Begin with Ushabti Bone on a black base, requiring several layers for full coverage
Typically, four coats achieve a solid foundation
Gradients
Gradually mix in Rhinox Hide with Ushabti Bone for shading
Paint each segment, progressing towards the horn’s tip
Texture Highlights
Revert to Ushabti Bone for accentuating raised textures
Apply using small wiggles and dots, extending into less detailed areas
Horns – Finishing Touches
Apply a significantly diluted Rhinox Hide for softening transitions
Use Skeleton Horde Contrast for added depth and hue
Final Notes
Ensure uniform painting on all sides of the horns
Balance detailed work with broader strokes for a unified, realistic appearance
How to Paint an Askurgan Exemplar Vampire Part 5: NMM Sword
This guide focuses on creating a realistic non-metallic metal (NMM) effect on a sword, employing careful layering and blending techniques to achieve a shiny appearance. Patience and attention to detail are key in this process.
Paints and Materials Required
Brushes: Various sizes for detailed work
Paints: Vallejo Neutral Grey, Ice Yellow, German Grey, Black; Games Workshop Mournfang Brown
Base Coat and Highlighting
Start with Neutral Grey as the base colour
Mix Neutral Grey with a small amount of Ice Yellow for the first stage highlight
Progressively add Ice Yellow to the mixture for brighter highlights
Use Ice Yellow with a touch of White for the brightest points
Thin the paints appropriately for smooth application
Blade Edge Detailing
Focus on parallel line textures for the cutting blade edge
Use horizontal and vertical strokes for diverse textural effects
Emphasize the sharpness of the blade with these line details
Flat Blade Surface
Change brush marks on the flat blade surface for distinction
Plan for coloured reflections, using Mournfang Brown as a glazing colour
Reflections and Highlights
Paint all reflections in grey tones before applying colour glazes
Remember that the lower edge of the blade will reflect the ground, requiring a different treatment
Use glazes to soften and blend reflections and highlights
Edge Highlights
Apply fine line highlights along the sharpest part of the blade
Ensure these highlights are thin and precise for a realistic effect
Refining and Adjusting Highlights
Adjust and refine highlights as needed for balance and symmetry
Use a mix of stippling and glazing techniques for smoother transitions
Pay attention to the spine of the sword, adjusting the placement and intensity of highlights
Final Touches
Use glazes to smooth out textures, especially when working with lighter colours
Consider the overall composition and aesthetic appeal when placing final highlights
Ensure a unified and realistic look by balancing light and shadow
How to Paint an Askurgan Exemplar Vampire Dirt On His Robe
Paints Required
Games Workshop: Rhinox Hide, Mournfang Brown, Balor Brown
Preparing to Paint
Begin with Rhinox Hide: Apply at the very bottom of the robe. This colour blends well with the red robe, creating a subtle effect. As you move upwards, make the application more visible with small dots and splotches. This creates an impression of staining.
Adding Depth with Mournfang Brown
Switch to Mournfang Brown: This shade gives depth to the weathering effect. Initially, it might seem light but it darkens as it dries. If you find it too strong, you can tone it down with Rhinox Hide to soften the effect. The key here is to balance the intensity, ensuring it doesn’t overpower the base colour of the robe.
Finishing Touches with Balor Brown
Finalise with Balor Brown: This is a strong colour, so apply it cautiously. It’s significantly different from the previous colours and can make a bold impact. Focus on the very bottom of the robe, gradually building up a denser application of paint. Be mindful of areas near the highlights, such as near the foot of the robe at the front. Here, you might need to add more Balor Brown to counteract the brighter red tones.
General Tips for an Authentic Effect
Strive for unevenness: Avoid symmetrical or uniform patterns. Some areas should appear dirtier than others for a realistic effect.
Control the paint consistency: Aim for a 50/50 mix of paint to water for optimal flow and control. This consistency allows you to work for an extended period without creating a heavy texture.
Use a smaller brush: A smaller brush gives you more control, especially for creating uneven, chaotic patterns. Avoid pressing too hard to prevent large, unintended marks.
Adjust for mistakes: If you apply too much paint, quickly rub it off with your finger. For smears, stipple over them with a bit of Rhinox Hide to create interesting marks.
More Undead and Vampire Tutorials to Explore!
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How to paint the Khorne Lord Invocatus from the World Eaters, which was sent to me as an early review copy from Games Workshop. Currently this includes his face, horns and hair to his shining red armour and NMM gold trim.
You can watch the current tutorials in order by scrolling down, or quick jump to a specific technique, paints lists or tips by clicking on the options below:
Video Part One: How to paint the Khorne Lord Invocatus from the World Eaters Armour, Horns, Eyes, HairPaints and Materials UsedStep by Step GuideVideo Part Two : Red ArmourPaints and Materials UsedStep by Step GuideVideo Part Three : Bronze Trim on the Armour (NMM)Paints and Materials UsedStep by Step Guide
Video Part One: How to paint the Khorne Lord Invocatus from the World Eaters Armour, Horns, Eyes, Hair
All videos are recorded in HD 1080p or higher – use full screen for the full effect and let the video load completely. You can also click the little “cog” and change the speed of the video, if I am going too fast (or slow!).
Paints and Materials Used
Games Workshop: Barak-Nar Burgandy, Mephiston Red, Evil Sunz Scarlet, Wild Rider Red, Sotek Green, XV-88, Balor Brown Vallejo: Ice Yellow (Dorn Yellow optional) Two Thin Coats: White Star, Carcharodon Grey, Doomdeath Black
Brushes: Fine detail brushes, larger brushes for smooth transitions.
Palette: Wet palette recommended for paint mixing and consistency maintenance.
Step by Step Guide
1. Priming:
Prime the head using Ultimate Primer (black), thinned with airbrush thinner for a matte finish.
2. Armour (Red Parts):
Basecoat the helmet with Barak-Nar Burgundy, extending slightly onto the horns for a color transition.
Apply Mephiston Red over the burgundy for the true red areas. This serves as the key red tone.
For highlights, carefully apply Evil Sunz Scarlet, followed by Wild Rider Red, ensuring the Mephiston Red remains visible for a true red effect.
3. Horns:
Start with a dark mix of XV-88 and black, blending into the burgundy on the helmet.
Gradually lighten towards the tips using XV-88 with diminishing amounts of black.
Finish the tips with pure XV-88 and a touch of Morghast Bone, ensuring smooth transitions.
4. Eyes:
Base the eyes with Sotek Green.
Highlight with a mix of Sotek Green and White Star.
Add final highlights using pure White Star, placed strategically for a realistic lens effect.
5. Hair:
Begin with a base of Barak-Nar Burgundy.
Gradually mix in White Star for highlights, focusing on the upward-facing sections.
Aim for smooth transitions to mimic natural hair shine.
6. Metal Details:
Use a mix of Doomdeath Black and Carcharodon Grey for base and mid-tones.
Highlight with Carcharodon Grey and White Star.
Add red reflections from the armor using the red tones previously mentioned.
7. Teeth:
Use the grey mix (Carcharodon Grey with black, then pure Carcharodon Grey) for base and mid-tones.
Highlight the teeth with White Star, considering the light source for realistic placement.
8. Leather Strips (Topknot):
Base with Rhinox Hide.
Layer with Dwarf Skin and Elf Skin (or similar tones like Bugman’s Glow and Cadian Fleshtone).
Glaze with thinned Mournfang Brown for added warmth.
Video Part Two : Red Armour
This video shows how to paint the red armour on the juggernaut of Khorne
Paints and Materials Used
The following paints were used: Vallejo Model Colour (new): Evil Red, Nocturnal Red Games Workshop: Evil Sunz Scarlet, Wild Rider Red Two Thin Coats: White Star (Any white will do)
Step by Step Guide
1. Base Layer:
Begin by applying a base coat of Evil Red from Vallejo Model Colour. This hue is a dark burgundy or purple tone. It may necessitate several layers to achieve a consistent and opaque covering.
2. Initial Highlight:
Use Nocturnal Red from Vallejo Model Colour for the first layer of highlights. This shade is a deep and rich red, offering more vibrancy compared to Evil Red, thus setting the stage for subsequent highlighting.
3. Main Highlights:
Apply Evil Sunz Scarlet by Games Workshop for primary highlights. This brighter shade contrasts well with the darker base.
For heightened highlights and a more textured finish, apply Wild Rider Red by Games Workshop to areas that would naturally catch more light.
To create the textured effect, employ a small brush (such as size 00) and make small, scratchy, stipple-like marks on the armour, focusing on areas where light naturally falls.
4. Enhanced Highlighting and Blending:
If the transition between Nocturnal Red and Evil Sunz Scarlet seems too abrupt, blend them by applying Nocturnal Red over the edges of the Evil Sunz Scarlet highlights.
For the brightest points, mix Wild Rider Red with White Star (or any white paint) and apply cautiously. Excessive white can desaturate the red and diminish its intensity.
Soften and merge the texture marks by glazing over them with thinned Nocturnal Red.
5. Refinement:
Alternate between Nocturnal Red, Evil Sunz Scarlet, and Wild Rider Red to refine the texture and smoothly blend the highlights.
Adjust the highlight intensity depending on the curvature and structure of the armour pieces.
6. Final Adjustments:
Once content with the highlighting and texture, make any final tweaks necessary. This might involve reinforcing the deepest shadows or adding a final glaze to unify the colours.
Technique Tips:
Consistency is key. Ensure the paint is properly thinned for a smoother application.
Build up the colours in layers, allowing each to dry before applying the next.
Consider the light source and its interaction with the armour’s shape when placing highlights.
For the textured effect, use just the tip of the brush with a gentle hand.
Video Part Three : Bronze Trim on the Armour (NMM)
This video shows how to paint the bronze trim on the juggernaut armour using NMM (Non Metallic Metal)
The following paints were used:
Paints and Materials Used
Vallejo Model Colour (New): Gorgon Brown, Grunge Brown, Sunset Orange, Toxic Yellow Two Thin Coats: Doomdeath Black, White Star (and black and white will do)
Step by Step Guide
1. Base Coat:
Start by applying Gorgon Brown from Vallejo Model Colour. This colour serves as your base for the bronze trim. It’s a dark brown that’s not as red as Rhinox Hide but works well for this purpose.
2. Building the Colour:
Next, apply Grunge Brown, also from Vallejo, to begin building up the bronze colour. This shade will act as a mid-tone in your NMM technique.
3. Adding Highlights:
Use Sunset Orange from Vallejo Model Colour to start highlighting the raised areas of the trim. Blend it in at the sides with Grunge Brown for a smoother transition.
4. Mixing for Intermediate Shades:
Create a mix of Grunge Brown and Sunset Orange (about 50/50) to create an intermediate shade. Use this to bridge the gap between the darker base and the brighter highlights.
5. Further Highlighting:
Proceed with Toxic Yellow from Vallejo Model Colour for your next layer of highlights. This colour, akin to Ice Yellow, provides a nice, smooth application and gives a cooler yellow tone to your bronze.
6. Using White for Final Highlights:
For the brightest highlights, mix a small amount of White Star from Duncan Rhodes Two Thin Coats (or any suitable white paint) with your highlight colour. Apply this sparingly to the most raised and reflective areas of the trim.
7. Refining and Adjusting:
Go back and forth between your colours, adjusting the blends and refining the highlights. Remember, NMM is about creating the illusion of metal through contrast and careful placement of lights and darks.
8. Glazing for Saturation:
If the colours lack saturation or depth, glaze over the mid-tones and shadows with a diluted Grunge Brown. This step adds richness and depth to the bronze colour.
Technique Tips:
Aim for smooth transitions between shades. Use glazing techniques to blend the layers seamlessly.
Focus on the light source and how it would naturally hit the trim. The highest points should have the brightest highlights.
For NMM, contrast is key. Don’t shy away from using dark shadows against bright highlights to mimic the reflective nature of metal.
If you don’t have an account, please sign up here! The website currently has over 350 video tutorials with steps and tips, plus a selection of PDFs. If you are not sure about joining, you can explore my free videos with a free membership, or take the plunge and become a full subscriber for full access.
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This video shows you how to paint a Squigboss from the Gloomspite Gitz army for Age of Sigmar. The model was painted exclusively using Two Thin Coats paints.In this how to paint a Squigboss video, we’ll be doing something a bit different. I’ll guide you through the process of painting the Squig boss, generously sent to me by Games Workshop. Alongside, I’ll be reviewing a set of paints I personally purchased, intrigued by reviews—the Two Thin Coats series by Duncan Rhodes. These paints will exclusively adorn our Squigboss, and I’ve procured them independently. So, no sponsorships or freebies; it’s all about exploring these paints. Now, let’s get started!
All videos are recorded in HD 1080p or higher – use full screen for the full effect and let the video load completely. You can also click the little “cog” and change the speed of the video, if I am going too fast (or slow!).
The following paints were used:Two Thin Coats: Two Thin Coats: Doom Death Black, White Star, Etheral Green, Carcharodon Grey, Dark Sun Yellow, Skulker Yellow, Skeleton Legion, Demon Red, Scorched Earth, Dragon Fang, Boar Hide, Sanguine Scarlet, Dwarven Skin, Marine Blue, Orange Flare, Emerald Green, Wolf Grey, Fanatic Orange, Cuirass Leather, Berserker Red
Tips on how to paint a Squigboss with these paints!
Base Coat with Boar Hide Colour:Initiate with the “Boar Hide” shade, akin to Games Workshop’s Mournfang Brown, serving as the foundational coat for the entire Squig boss model.
Non-Metallic Metal Gold Face Mask:I’ve gone for a non-metallic gold style for the goblin’s face mask, utilising the unique properties of the Duncan Rhodes Two Thin Coats series.Apply the same colours used for the face mask on the staff, creating a non-metallic metal effect. Note differences in technique for different areas.
Adapting to Paint Properties:The paints seem quite nice to work with. Thinning is essential, however, and adapting to the colours’ strength becomes a creative challenge.
Use Translucent Marks for Subtle Effects:Experiment with translucent or softer marks by thinning the paint more. This technique can be effective for creating subtle details but requires precision in application.
Be Mindful of Paint Strength:As mentioned, the colour strength might be stronger than anticipated, so be cautious when adding subtle marks. Adjust as needed to avoid overpowering the model with vibrant colours.
Varied Application Techniques:Explore different application techniques for varied textures and effects. The angular features of the model complement the paints’ adaptability very well and allows for creative highlighting and detailing
Matte Finish and Dark Tones:Consider a matte finish for the model to achieve a pastel look. Embrace the dark and yellow tones for added depth and character.
Diverse Colour Palette for Highlights:Incorporate a diverse colour palette, such as Dark Sun Yellow, for highlighting and detailing, providing a unique touch to gold and other elements. The matte finish and the richness these paints bring to dark and yellow tones is great.
Quick Scratches and Detailing:Create quick, sharp scratches and detailing, adding interest to specific areas without the need for extensive blending. Quick and sharp detailing becomes a breeze with these paints, making them ideal for adding interesting detail without the need for laborious blending.
Highlighting with Translucent White:Use translucent white for highlighting, applying small amounts to achieve a subtle effect. Ensure quick application to prevent drying before reaching the model.
Colour Variations for Textures:Experiment with different colours for textures, adapting to the model’s features. Allow the varied palette to enhance details and bring out the intricacies. The paints are good at bringing out intricate details.
Teeth Detailing:Detail the teeth with simple lines, complementing the skin fold creases. Use the extra detailing to fill spaces and add interest without smoothing transitions.
Remember, the beauty lies in adapting and exploring the properties of the paints. Happy painting!
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This video shows you how to paint the Bandages, Clothing, NMM Skull and Skin on a Blood Bowl Mummy.
Video Tutorial – How to Paint the Bandages, Clothing, NMM Skull and Skin
All videos are recorded in HD 1080p or higher – use full screen for the full effect and let the video load completely. You can also click the little “cog” and change the speed of the video, if I am going too fast (or slow!).
Paints and Materials Needed
Paints (Games Workshop):
Mournfang Brown
Rhinox Hide
XV-88
Balor Brown
Morghast Bone
Ushabti Bone
Death Korps Drab
Hobgrot Hide (not recommended)
Trollslayer Orange
Paints (Vallejo):
Ice Yellow
Pure White
Neutral Grey
Brushes:
Size 00 Artist Opus Brush (for detailed work)
Size 2 Artist Opus Brush (for broader strokes and glazing)
Other Materials:
MiniNatur Moss Pads (for the base grass effect)
Step-by-Step Guide
1. How to Paint the Bandages:
Base Layer: Start with Mournfang Brown (Games Workshop) as a base layer for the bandages.
Main Colour: Apply Balor Brown (Games Workshop) over the bandages. It’s recommended to use this instead of Hobgrot Hide for better coverage and a more desired effect.
Highlighting: Use Morghast Bone and Ushabti Bone (both from Games Workshop) for highlighting. Focus on creating lines parallel to the bandages’ direction, paying special attention to the upper edges around the face for more detail.
Shadows and Grubby Effect: Apply a thinned down Rhinox Hide (Games Workshop) in shadowed areas and to add a grubby effect to the bandages.
2. How to Paint the Skull (Non-Metallic Metal Gold):
Base Layer: Use Rhinox Hide (Games Workshop) as the base.
Layering: Progressively layer with Mournfang Brown, XV-88, Balor Brown, Ice Yellow (Vallejo), and Pure White (Vallejo). Each layer should be smaller than the previous, creating a bright highlight effect.
Refinement: Feather the edges of each layer for a smooth transition between shades.
3. How to Paint the Clothing (Trousers/Pants):
Base Colour: Mix Rhinox Hide (Games Workshop) with Neutral Grey (Vallejo) and apply as the base colour.
Texture and Highlight: Create a scratchy, rough texture using a mix of Rhinox Hide, Grey, and Ice Yellow (Vallejo). Add white to the mix for final highlights.
4. How to Paint the Belt:
Base Layer: Apply Rhinox Hide (Games Workshop) as the base colour.
Detailing: Use Trollslayer Orange (Games Workshop) for the detailing, ensuring the paint is not too thick.
5. How to Paint the Skin:
Base Layer: Use Death Korps Drab (Games Workshop) as the base layer for exposed skin areas.
Highlighting: Gradually add white to Death Korps Drab for highlighting, focusing on the knuckles, fingertips, and muscle definition.
6. How to Paint the Base and Finishing Touches:
Grass Application: The base is painted with Mournfang Brown (Games Workshop) and decorated with MiniNatur Moss Pads for grass.
Final Adjustments: Ensure the consistency of the lighting and colour theme across the model.
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This video and guide shows how to paint an Ogroid sword with NMM (non-metallic metal) and rusty effects.
(Apologies for the dog hair)
Video : How to Paint an Ogroid Sword with NMM and Rust
All videos are recorded in HD 1080p or higher – use full screen for the full effect and let the video load completely. You can also click the little “cog” and change the speed of the video, if I am going too fast (or slow!)
Paints and Materials
Paints
Games Workshop:
Mournfang Brown
Troll Slayer Orange
Fire Dragon Bright
Rhinox Hide
Vallejo:
Ice Yellow
Black
German Grey
Neutral Grey
Pure White (Mecha Color)
Brushes
A range of brushes were used, including but not limited to:
A fine detail brush (such as a size 0 or 00), used for detailed work and fine highlights.
A larger brush (like a size 2), which can be useful for broader strokes and glazing.
Other Materials
Blue Tack: Used to temporarily attach the sword to the model for assessing lighting and highlight placement.
Wet Palette: Essential for mixing and maintaining paint consistency.
Water: For thinning paints, essential for techniques like glazing and stippling.
Step-by-Step
Basecoat and Shades:
Start with a neutral grey, darkened slightly with black.
Create a gradient of greys by mixing German Grey with Neutral Grey, and then adding Ice Yellow for various shades. This creates a series of warm greys for highlights.
Use a wet palette to mix and maintain the paint consistency.
Highlighting the Blade:
Focus on creating a main shine spot on the curved part of the blade, as this area naturally catches more light.
Add random reflections down the blade. Over-highlight initially as you will glaze over these later to reduce their intensity.
Remember that the flat of the blade will be rusty, so avoid highlighting this area.
Adding Details:
Paint distinct blocks of highlights or reflections on the blade, especially around the curved section.
Start with darker greys and layer up to lighter ones, finishing with Pure White for the brightest spots.
Use vertical brush strokes for control and consistency.
Rust Effects on the Blade:
Stipple Mournfang Brown over the flat of the blade for a textured rust effect. Be random and uneven in your application.
Layer Troll Slayer Orange over this, focusing on specific patches for an uneven and realistic rust effect.
Optionally, use Fire Dragon Bright for the brightest rust highlights.
Refining and Adding Scratches:
Add scratches and chips using a mixture of Neutral Grey and Ice Yellow.
Apply these details sparingly and randomly to avoid patterns.
For added depth, add a line of a darker colour (like Rhinox Hide) above some of the scratches.
Finishing Touches:
Make final adjustments to the highlights and rust effects.
Use glazing techniques to soften transitions and blend colours seamlessly.
Be cautious with the use of white; too much can detract from the warm effect.
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How to Paint a Blood Bowl Bronze Mummy with weathered NMM bronze effects, bandages, clothing, NMM Skull and Skin!
Scroll town to explore the two video tutorials in order, or quick jump to specific techniques and materials you might need.
Video One – How to paint NMM Bronze with VerdigrisPaints and Materials NeededStep-by-Step Guide on How to Paint a Blood Bowl Bronze MummyVideo Two: Bandages, Clothing, NMM Skull, Skin and BasePaints and Materials NeededStep-by-Step GuideBandagesSkull (Non-Metallic Metal Gold)Clothing (Trousers/Pants)BeltSkinBase and Finishing Touches
Video One – How to paint NMM Bronze with Verdigris
All videos are recorded in HD 1080p or higher – use full screen for the full effect and let the video load completely. You can also click the little “cog” and change the speed of the video, if I am going too fast (or slow!).
Paints and Materials Needed
Games Workshop: Mournfang Brown, Rhinox Hide, XV-88, Balor Brown, Sybarite Green, Gauss Blaster Green Vallejo: Ice Yellow, Pure White
Step-by-Step Guide on How to Paint a Blood Bowl Bronze Mummy
1. Priming and Base Coating:
Start with the model already primed in black. Apply Mournfang Brown (Games Workshop) roughly on the armour, focusing on areas that would naturally catch light. The application at this stage can be quite loose and liberal.
2. Layering for Texture:
Proceed with XV-88 (Games Workshop), this time being more careful and refined in your brushwork. Focus on creating a weathered texture, interpreting the previous layer’s marks as damage or wear. Use the very tip of the brush for finer lines and stippling.
3. Detailing with Lighter Tones:
Use Balor Brown (Games Workshop) to further enhance the details. At this stage, focus on the edges, rivets, and any other raised details on the armour. Remember, the aim is to create a three-dimensional effect, highlighting the lower edges of dents or imperfections to create depth.
4. Highest Highlights:
Introduce Ice Yellow (Vallejo) for the brightest parts of the armour. Apply it sparingly and only on the most raised areas to create the illusion of light reflecting off metal. Be cautious with this step to maintain a realistic metallic look.
5. Glazing for Depth:
If needed, mix Rhinox Hide (Games Workshop) with water to create a glaze. Apply this over areas that are in shadow or need to be toned down. This step helps integrate the highlights and creates a more cohesive look.
6. Applying Verdigris:
For the verdigris effect, use Sybarite Green and Gauss Blaster Green (both Games Workshop). Thin these paints down considerably. Apply them mainly in recessed areas, joints, and crevices where verdigris would naturally accumulate. Avoid covering the highest highlights to maintain the metallic sheen.
Technique Tips:
Work in layers, building up from dark to light to create depth and realism.
Focus on where light naturally hits the model, creating highlights that follow the form and curvature of the armour.
In the verdigris step, less is more. It’s easier to add more verdigris effect than to remove it, so start with a light application and build up as neede
Video Two: Bandages, Clothing, NMM Skull, Skin and Base
All videos are recorded in HD 1080p or higher – use full screen for the full effect and let the video load completely. You can also click the little “cog” and change the speed of the video, if I am going too fast (or slow!).
Paints and Materials Needed
Paints (Games Workshop):
Mournfang Brown
Rhinox Hide
XV-88
Balor Brown
Morghast Bone
Ushabti Bone
Death Korps Drab
Hobgrot Hide (not recommended)
Trollslayer Orange
Paints (Vallejo):
Ice Yellow
Pure White
Neutral Grey
Brushes:
Size 00 Artis Opus Brush (for detailed work)
Size 2 Artis Opus Brush (for broader strokes and glazing)
Other Materials:
MiniNatur Moss Pads (for the base grass effect)
Step-by-Step Guide
Bandages
Base Layer: Start with Mournfang Brown (Games Workshop) as a base layer for the bandages.
Main Colour: Apply Balor Brown (Games Workshop) over the bandages. It’s recommended to use this instead of Hobgrot Hide for better coverage and a more desired effect.
Highlighting: Use Morghast Bone and Ushabti Bone (both from Games Workshop) for highlighting. Focus on creating lines parallel to the bandages’ direction, paying special attention to the upper edges around the face for more detail.
Shadows and Grubby Effect: Apply a thinned down Rhinox Hide (Games Workshop) in shadowed areas and to add a grubby effect to the bandages.
Skull (Non-Metallic Metal Gold)
Base Layer: Use Rhinox Hide (Games Workshop) as the base.
Layering: Progressively layer with Mournfang Brown, XV-88, Balor Brown, Ice Yellow (Vallejo), and Pure White (Vallejo). Each layer should be smaller than the previous, creating a bright highlight effect.
Refinement: Feather the edges of each layer for a smooth transition between shades.
Clothing (Trousers/Pants)
Base Colour: Mix Rhinox Hide (Games Workshop) with Neutral Grey (Vallejo) and apply as the base colour.
Texture and Highlight: Create a scratchy, rough texture using a mix of Rhinox Hide, Grey, and Ice Yellow (Vallejo). Add white to the mix for final highlights.
Belt
Base Layer: Apply Rhinox Hide (Games Workshop) as the base colour.
Detailing: Use Trollslayer Orange (Games Workshop) for the detailing, ensuring the paint is not too thick.
Skin
Base Layer: Use Death Korps Drab (Games Workshop) as the base layer for exposed skin areas.
Highlighting: Gradually add white to Death Korps Drab for highlighting, focusing on the knuckles, fingertips, and muscle definition.
Base and Finishing Touches
Grass Application: The base is painted with Mournfang Brown (Games Workshop) and decorated with MiniNatur Moss Pads for grass.
Final Adjustments: Ensure the consistency of the lighting and colour theme across the model.
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This video shows how to paint Horus Ascended from the Horus Heresy. The video looks at his skin, the red osl glow around his head, the armour and the NMM armour trim.
Video: How to Paint Horus – Part One
All videos are recorded in HD 1080p or higher – use full screen for the full effect and let the video load completely. You can also click the little “cog” and change the speed of the video, if I am going too fast (or slow!).
The following paints were used:
Games Workshop: Bugman’s Glow, Cadian Fleshtone, Mephiston Red, Wild Rider Red, Troll Slayer Orange, Yriel Yellow, Sons of Horus Green, XV-88, Mournfang Brown, Rhinox Hide, Balor BrownVallejo: Ice Yellow, Black, Neutral Grey P3: Morrow White
Steps and Tips
Assembly and Preparation:Assemble the model but leave the wolf pelt, cloak, and head unattached for ease of painting.Carefully address any mould lines on the mace, ensuring a clean finish.Utilise a heat gun to reshape the wolf pelt for an accurate fit on the model.
Priming:Prime the model thoroughly and allow it to set overnight.
Base Painting:Begin with a base coat of Mephiston Red, particularly on areas destined for the red glow (Object Source Lighting, OSL). Apply this in a brisk and relaxed style, without focusing on blending.
Building the Glow:Layer Wild Rider Red and Troll Slayer Orange, concentrating on recesses to enhance the glow effect.Incorporate Yriel Yellow for added brightness in the OSL areas.
Head Details:For the head, apply Cadian Fleshtone as a base to simulate natural lighting.Layer with Bugman’s Glow to establish depth and realistic skin tones.Highlight the forehead and areas receiving the main light with a mixture of Cadian Fleshtone and Vallejo’s Ice Yellow for a pronounced highlight.
Armour Details:Start the armour with a base of Sons of Horus Green.For depth, mix Sons of Horus Green with black for shadowed areas, and with Ice Yellow for highlighted regions.
Metallic Effects:For non-metallic metal effects on trims and details, commence with XV-88 as a base.Progressively apply layers using Mournfang Brown, Rhinox Hide, and Balor Brown, accentuating edges and raised details to mimic a metallic sheen.Employ Vallejo’s Neutral Grey for areas resembling steel or iron.
Finishing Touches:For ultimate highlights and refinement, use P3’s Morrow White.
More Character Tutorials
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These videos show how to a paint a Nurgle shield with freehand for an Ogroid from the Slaves to Darkness army box.The freehand is if a Nurgle Plaguebearer head and is intended as a potential Golden Demon entry.
Scroll down to explore the tutorials and steps in order, or click the below to quick jump to a technique or section.
Video One: How to Paint a Nurgle Shield with FreehandPaints and Materials UsedPaintsBrushesOther MaterialsStep-by-Step Guide: PreparationBase PaintingFreehand SketchingRefining and DetailingFinal TouchesImportant NotesVideo Two: How to Paint the Shield Shine and NMM TrimPaints and Materials UsedPaintsBrushesOther MaterialsStep-by-Step GuidePreparing the PalettePainting the ShinePainting the NMM TrimFinal TouchesImportant NotesMore Freehand Tutorials to Explore
Video One: How to Paint a Nurgle Shield with Freehand
Paints and Materials Used
Paints
Games Workshop Paints:
Rhinox Hide
Bugman’s Glow
Mournfang Brown
Morghast Bone
Deathworld Forest
Yriel Yellow
Khorne Red
Ushabti Bone
Vallejo Paints:
Black
Ice Yellow
P3 Paint:
Morrow White
Brushes
Artist Opus:
Size 00 brushes (both a newer brush for finer details and an older brush for blending)
Other Materials
Wet Palette: To keep paints moist and workable.
Scalpel: For removing details from the shield.
Sandpaper: For smoothing the shield after using the scalpel.
Primer: Ultimate primer (specifically thinned with X20A for this project).
Mixing Water: For thinning paints on the palette.
Matte Varnish: To even out the surface and finish of the paint job.
Step-by-Step Guide:
Preparation
Prep the Nurgle Shield with Freehand: Remove intricate details from the shield using a scalpel and sand it slightly. Keep some battle damage for authenticity, if you wish.
Prime the Shield: Use Ultimate primer, thinned with X20A, applied in 4-5 thin coats.
Base Painting
Wet Palette Setup: Prepare a wet palette with the following Games Workshop colours: Ice Yellow, Bugman’s Glow, Rhinox Hide, Mournfang Brown, Morghast Bone, Deathworld Forest, Yriel Yellow, Khorne Red, and Ushabti Bone. Also, have Vallejo Black and P3 Morrow White ready.
Mixing Colours: Create various mixes of these colours on the palette, adjusting with water for a thinner consistency (approximately 50/50).
Freehand Sketching
Initial Sketch: Start sketching the Nurgle face on the shield using Bugman’s Glow. This doesn’t have to be symmetrical or realistic.
Adding Details: Gradually add more details like eyes, horns, and facial deformations using the mixed colours. Use Rhinox Hide for shading.
Background Technique: Use Vallejo Black as a ‘rubber’ to tweak and correct the sketch as needed.
Refining and Detailing
Light and Shadow: Use the lighter and darker mixes to create depth, focusing on the facial features. Ensure a balance between highlights and shadows.
Adding Texture: Pay attention to the direction of brushstrokes to replicate skin texture and facial creases.
Final Touches
Metallic Effects: For a Golden Demon entry, ensure to incorporate light volumes and reflective effects on the shield, as well as on the freehand.
Glazing: You may need to glaze over the freehand to integrate it with the shield’s overall shine and metallic effect.
Varnishing: Finish the shield with a matte varnish to even out different paint finishes.
Important Notes
Brush Technique: Use the very tip of your brush for detailed work. Switch between an older brush for blending and a newer one for sharp details.
Colour Importance: While exact colour mixes are flexible, ensure to maintain the overall desaturated, moody look characteristic of Nurgle.
Patience and Layers: Build up the image with multiple thin layers, allowing for smooth transitions and a detailed finish.
Personal Style: Remember, this guide is a base. Feel free to adjust and experiment according to your style.
Video Two: How to Paint the Shield Shine and NMM Trim
Paints and Materials Used
Paints
Vallejo Paints:
Black
German Grey
Neutral Grey
Ice Yellow
White
Games Workshop Paints:
Mournfang Brown
Brushes
Size 00 Brush: Ideal for detailed work and fine textures. Used for most of the work including the shine and trim.
Size 2 Brush: Used for broader strokes and glazing, especially over larger areas.
Other Materials
Wet Palette: To keep the paints moist and workable.
Lamp: For observing how natural light falls on the model, crucial for accurate highlight placement.
Blu Tack or Similar Adhesive: To temporarily attach the shield to the model for correct angle assessment.
Step-by-Step Guide
Preparing the Palette
Setup Wet Palette: Prepare a wet palette with Vallejo Black, German Grey, Neutral Grey, Ice Yellow, White, and Games Workshop Mournfang Brown. Create a gradient of grey shades from black to white, mixing in Ice Yellow and White with Neutral Grey for various mid-tones.
Painting the Shine
Analyzing Light Direction: Position the model under a lamp to observe natural light fall. This will guide the placement of the shine.
Initial Highlights: Start with a Neutral Grey or a mix of Neutral Grey and German Grey to block in the primary highlight areas on the shield.
Building Up Layers: Gradually increase the brightness of the highlights, focusing on the top left as the primary light source. Remember, the paint will appear brighter when wet and duller when dry.
Textured Effect: Use scratchy and stipple brushstrokes with minimal paint for a textured shine effect. Use the very tip of your brush.
Bounce Highlight: Add a bounce highlight at the bottom of the shield, reflecting light from the ground. This should be less bright than the primary highlight. Use a watered-down Mournfang Brown for a glaze over this area.
Painting the NMM Trim
Blocking in Highlights: Use Neutral Grey to block in primary highlights on the trim, focusing on the top area.
Adding Variation: Create a variety of light grey blocks along the trim, ensuring they get darker and more spaced out as they move away from the top highlight.
Refining Highlights: Gradually add lighter tones, culminating in white for the brightest parts. Ensure these highlights align with the shield’s central highlight.
Detailing Scratches: Use white to pick out tiny dots on sculpted scratches for added realism and depth.
Bounce Highlight on Trim: Similar to the shield, add a less intense bounce highlight at the bottom of the trim.
Final Touches
Glazing: Apply a thin glaze of Mournfang Brown over certain areas for colour integration and smooth transitions.
Detail Checks: Make any necessary adjustments to neaten the highlights and ensure consistency in lighting and texture across the shield and trim.
Important Notes
Consistency and Control: Maintain a good balance in paint consistency – not too thick for opaque marks and not too watery to avoid spreading.
Brush Technique: Always pull the brush towards yourself for control and precision, especially important when working near the freehand area.
Learning and Experimentation: Remember, this technique is both challenging and rewarding. Don’t be afraid to experiment and learn from the process.
These guides should provide a clear roadmap to achieving a high-standard finish for your freehand on shields, suitable for display or competition. Remember, practice and patience are key to mastering these techniques and don’t be afraid to do your own thing and add your own personal touch or style to your freehand!
More Freehand Tutorials to Explore
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This video shows how to paint a NMM Axe belonging to the Chaos Champion from the Slaves to Darkness army box. The axe head is painted in NMM steel to a display level standard with coloured reflections. The trim of the axe is painted in NMM Gold.
Video: How to Paint a NMM Axe
Materials:
Paints: Mournfang Brown, Rhinox Hide, XV-88, Balor Brown, Barroth Blue (Games Workshop); Ice Yellow, Neutral Grey, German Grey, Black (Vallejo); Morrow White (P3)
Fine detail paintbrushes
Wet palette (optional, but recommended)
Steps for NMM Steel Effect on the Axe Blade:
Base Colour: Start with Neutral Grey. Block in the areas where you anticipate highlights, but don’t worry about precision at this stage. This step is about mapping out your light and dark areas.
Adding Reflections: Employ a ‘Sky Earth’ technique, but avoid a mirror-like chrome finish. Instead, aim for a less reflective surface with smoother transitions. This will differ from the steel look on the armour.
Colour Integration: On downward-facing surfaces, integrate a bit of Mournfang Brown into your Neutral Grey. For the top of the blade, use a lighter mix, incorporating a bit of Ice Yellow into Neutral Grey.
Brightness and Shadows: Apply Barroth Blue to represent the sky’s reflection. It should be brighter but not overly stark. Add Rhinox Hide to darken and desaturate certain areas, especially on downward curves.
Blending and Transition: Focus on blending your colours. Use a stippling or cross-hatching technique to create smooth transitions between the different tones. Pay attention to the balance between the bright and dark areas to maintain the metallic effect.
Final Highlights: For the brightest points, use Morrow White, especially on the uppermost curves and edges. This step is crucial for selling the metallic effect. Remember to keep these highlights sharp and focused.
Steps for NMM Gold Effect on the Axe Trim:
Base Coat: Start with XV-88. Outline the areas you want to appear as gold. This will be the foundation for your gold effect.
Layering: Gradually build up layers with Balor Brown, focusing on areas that would naturally catch more light. Be mindful of the shape and texture of the trim.
Adding Highlights: Use Ice Yellow for the brightest highlights on the gold sections. Apply it sparingly to the most prominent areas, like the edges and raised details.
Refining Details: Introduce Mournfang Brown and Rhinox Hide in the darker areas for deeper shadows, creating contrast and depth.
Final Touches: Use Morrow White for the brightest spots on the gold trim, emphasizing the highest points of light reflection. This will enhance the metallic illusion.
Key Tips:
Brush Control: Use the tip of your brush for precision. The quality of your lines and blending directly impacts the realism of the NMM effect.
Light Source Consistency: Ensure that the light source is consistent across the model. This affects where you place highlights and shadows.
Patience and Layers: NMM is about building up layers gradually. Work slowly and allow layers to dry before applying the next.
Blending: Smooth transitions between colours are vital. Practice stippling and glazing techniques for seamless blends.
Reflections and Realism: Study how light interacts with metallic surfaces. Incorporate reflected colours and environments subtly into your NMM work for added realism.
Explore my latest tutorials
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These videos show how to paint the the Chaos Champion from the Slaves to Darkness army box that Games Workshop sent me, with full paints list and detailed step by steps. This guide is a part of a series focusing on non-metallic metal (NMM) armour, NMM gold, and a large animal skull, using a variety of paints including Games Workshop and Vallejo colours. The second video where we paint his NMM axe can be found below the first.
Video: How to Paint the Chaos Champion
All videos are recorded in HD 1080p or higher – use full screen for the full effect and let the video load completely. You can also click the little “cog” and change the speed of the video, if I am going too fast (or slow!).
Materials and Paints:
Vallejo Heavy Grey
Games Workshop Barroth Blue
Games Workshop XV-88
Games Workshop Balor Brown
Games Workshop Mournfang Brown
Vallejo Ice Yellow
P3 Morrow White
Vallejo Neutral Grey
Vallejo Model Color Black
Games Workshop Elysium Green (optional)
Size 00 and Size 1 brushes
Wet palette
Step-by-Step Guide on How to Paint the Chaos Champion:
Step 1: Base Coat the Armour
Apply Vallejo Heavy Grey across all armour panels. This colour isn’t a plain grey but has a greenish, olive drab tone, adding a subtle hint of colour to the model.
Step 2: Detailed Armour Painting
Begin with a haphazard application of Heavy Grey, ensuring not to fill the recesses excessively.
For the first highlight, mix Heavy Grey and Barroth Blue in a 50/50 ratio. Apply this carefully, focusing on stippling and scratchy textures.
Progressively add more Barroth Blue to the mix for subsequent highlights.
The final highlight uses P3 Morrow White, applied sparingly on the most prominent parts.
Step 3: Non-Metallic Gold Trim
Start with a base coat of Games Workshop XV-88.
Apply Balor Brown, followed by Ice Yellow for highlights.
Use Vallejo Neutral Grey for lower bounce highlights.
Focus on creating high contrasts on sharp edges and subtle curves to mimic metallic shine.
Step 4: Painting the Skull
Base the skull with Games Workshop XV-88.
Add texture using Games Workshop Mournfang Brown, focusing on stippling to create a bone-like appearance.
Use Games Workshop Screaming Skull for higher highlights.
Finish with a glaze of Vallejo Neutral Grey to soften contrasts.
Step 5: Horns and Details
Paint the horns starting with Mournfang Brown, transitioning to Rhinox Hide, and finishing with black towards the tips.
Apply small highlights of Balor Brown and then white at the tips for a shiny effect.
Step 6: Finishing Touches
Continuously refine the armour’s highlights, focusing on light direction and texture.
Use stippling techniques for texture on the skull and bones.
Ensure all parts of the model, including edges and recesses, are neatly finished.
Video: How to Paint the Chaos Champion NMM Axe
Materials:
Paints: Mournfang Brown, Rhinox Hide, XV-88, Balor Brown, Barroth Blue (Games Workshop); Ice Yellow, Neutral Grey, German Grey, Black (Vallejo); Morrow White (P3)
Fine detail paintbrushes
Wet palette (optional, but recommended)
Steps for NMM Steel Effect on the Axe Blade:
Base Colour: Start with Neutral Grey. Block in the areas where you anticipate highlights, but don’t worry about precision at this stage. This step is about mapping out your light and dark areas.
Adding Reflections: Employ a ‘Sky Earth’ technique, but avoid a mirror-like chrome finish. Instead, aim for a less reflective surface with smoother transitions. This will differ from the steel look on the armour.
Colour Integration: On downward-facing surfaces, integrate a bit of Mournfang Brown into your Neutral Grey. For the top of the blade, use a lighter mix, incorporating a bit of Ice Yellow into Neutral Grey.
Brightness and Shadows: Apply Barroth Blue to represent the sky’s reflection. It should be brighter but not overly stark. Add Rhinox Hide to darken and desaturate certain areas, especially on downward curves.
Blending and Transition: Focus on blending your colours. Use a stippling or cross-hatching technique to create smooth transitions between the different tones. Pay attention to the balance between the bright and dark areas to maintain the metallic effect.
Final Highlights: For the brightest points, use Morrow White, especially on the uppermost curves and edges. This step is crucial for selling the metallic effect. Remember to keep these highlights sharp and focused.
Steps for NMM Gold Effect on the Axe Trim:
Base Coat: Start with XV-88. Outline the areas you want to appear as gold. This will be the foundation for your gold effect.
Layering: Gradually build up layers with Balor Brown, focusing on areas that would naturally catch more light. Be mindful of the shape and texture of the trim.
Adding Highlights: Use Ice Yellow for the brightest highlights on the gold sections. Apply it sparingly to the most prominent areas, like the edges and raised details.
Refining Details: Introduce Mournfang Brown and Rhinox Hide in the darker areas for deeper shadows, creating contrast and depth.
Final Touches: Use Morrow White for the brightest spots on the gold trim, emphasizing the highest points of light reflection. This will enhance the metallic illusion.
Key Tips:
Brush Control: Use the tip of your brush for precision. The quality of your lines and blending directly impacts the realism of the NMM effect.
Light Source Consistency: Ensure that the light source is consistent across the model. This affects where you place highlights and shadows.
Patience and Layers: NMM is about building up layers gradually. Work slowly and allow layers to dry before applying the next.
Blending: Smooth transitions between colours are vital. Practice stippling and glazing techniques for seamless blends.
Reflections and Realism: Study how light interacts with metallic surfaces. Incorporate reflected colours and environments subtly into your NMM work for added realism.
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These videos show you how to paint a Sons of Velmorn Skeleton from the Sons of Velmorn warband, which comes in the new Warhammer Underworlds Gnarlwood box that Games Workshop sent me.
Video – How to Paint a Sons of Velmorn Skeleton Part One
All videos are recorded in HD 1080p or higher – use full screen for the full effect and let the video load completely. You can also click the little “cog” and change the speed of the video, if I am going too fast (or slow!).
Paints and Materials
Brushes: A size 2 brush for most painting and a smaller brush for details.
Paints: Rhinox Hide, Mournfang Brown, XV-88, Balor Brown, Morghast Bone, Troll Slayer Orange, Firedragon Bright, Sybarite Green, Gauss Blaster Green, Dryad Bark (Games Workshop); German Grey (Vallejo); Morrow White (P3).
Step by Step Guide
Basecoat Armour: Start by base coating all metal areas with Dryad Bark. This unconventional start sets the stage for rusty, worn armour.
Mix Fabric Colour: Create a custom fabric colour by mixing Sybarite Green and German Grey. Adjust this mix to your preference – more grey for desaturation or pure green for vibrancy.
Apply Base Colours: Block in other base colours: Rhinox Hide for leather and wood parts, and Morghast Bone for skeletal areas. Don’t worry about perfect opacity; focus on coverage.
Rusty Effect: To achieve a rusty effect on the armour, mix a small amount of Mournfang Brown into the Dryad Bark, then add a bit of white to desaturate. Apply this mix to the armour, focusing on recesses and areas where rust would naturally accumulate.
Enhance Rust: Use straight Mournfang Brown, thinned with water, to intensify the rust effect, especially in recesses and dents.
Brighten Rust: Add Troll Slayer Orange and Firedragon Bright to certain rust areas for colour variation, keeping in mind how rust behaves in reality.
Non-Metallic Metal Highlights: Start highlighting the armour. Mix white into your base armour colour progressively, applying these lighter shades to raised areas and edges to simulate metallic reflection.
Detailing: Use the very tip of your brush for small highlights and scratches, particularly on the armour and blade. This step adds depth and realism to the rusty, worn metal effect.
White Highlights: Finally, use Morrow White for the brightest points on the armour. Be selective and minimal with white to maintain focus and contrast.
Finish Up: Conclude by refining highlights and ensuring a smooth transition between shades.
Additional Tips
Rust Placement: Apply rust thoughtfully, considering where it would naturally form and accumulate.
Highlighting Technique: Combine stippling and precise brushwork for a realistic, weathered look.
Focus on Key Areas: Spend more time on prominent areas like the helmet and chest for better visual impact.
Maintain Brush Control: Regularly adjust your brush’s load to avoid unwanted paint marks.
Balance Realism and Style: Choose your rust and highlight placement for both aesthetic appeal and realism.
Video – How to Paint a Sons of Velmorn Skeleton Part Two
Paints and Materials
Paints: Rhinox Hide, Mournfang Brown, XV-88, Balor Brown, Morghast Bone, Troll Slayer Orange, Firedragon Bright, Sybarite Green, Gauss Blaster Green, Dryad Bark (Games Workshop); German Grey (Vallejo); Morrow White (P3).
Brushes: A size 2 brush for larger areas and a finer brush for details.
Step by Step Guide
Fabric Highlights:
Mix Sybarite Green, German Grey, and a bit of Morrow White.
Apply the mix to the fabric, focusing on smooth transitions. Use a larger brush for fewer brush strokes.
Multiple thin layers are needed. Add a small amount of white for each layer, focusing on the most illuminated areas.
Bone Details:
The bone areas are detailed and require precision. Consider using a smaller brush.
Highlight the raised areas and sculpted details, like elbow joints and knuckles.
For the face, accentuate teeth more than other bone parts for contrast.
Leather and Wood:
Start with Rhinox Hide, then apply Mournfang Brown, focusing on the upper edges.
Mix in Cadian Flesh Tone with Mournfang Brown for subsequent highlights, concentrating on the top edge and creating creases.
For the wood, after Mournfang Brown, use Balor Brown with Neutral Grey for desaturation. Highlight raised grain details.
Non-Metallic Gold:
Basecoat with XV-88.
Mix XV-88 with Ice Yellow for highlights.
Accentuate the brightest spots with a mixture of Ice Yellow and White.
Weathering Fabric:
Use heavily watered-down Rhinox Hide to create dirt and stains on the fabric.
Apply in thin layers, allowing each to dry before adding more. Focus on areas that would naturally gather dirt.
Painting the Skirt:
Base the skirt with Dark Grey or German Grey.
Add White progressively for highlights, concentrating on the curves and upper areas.
Use Rhinox Hide for weathering, similar to the green fabric.
Finishing Touches:
Add fine details like bone texture, teeth, and small crevices.
For the base, a simple grey stone effect with highlights works well.
Additional Tips
Brush Choice: Use larger brushes for broad areas and smaller ones for detailed work. I used the Artist Opus range of brushes, but any high-quality brush is good.
Weathering: Weathering can mask imperfections and add realism.
Balance of Colours: Ensure the fabric and armour contrast in cleanliness and texture.
Attention to Details: Small details like teeth or bone texture can significantly enhance the model’s appearance.
Lighting Consistency: Ensure your highlights are consistent with the light source direction established across the model.
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These videos show how to paint Leagues of Votann Hearthkyn Warrior (space dwarfs/squats), which were sent to me by Games Workshop.
Video Part One – How to Paint Leagues of Votann Hearthkyn WarriorVideo Part Two – How to Paint Leagues of Votann Hearthkyn WarriorPaints UsedPreparation and Base CoatingFace Mask and ArmourTrousers and BootsAdditional Details and WeatheringFinal Touches
Video Part One – How to Paint Leagues of Votann Hearthkyn Warrior
All videos are recorded in HD 1080p or higher – use full screen for the full effect and let the video load completely. You can also click the little “cog” and change the speed of the video, if I am going too fast (or slow!).
Video Part Two – How to Paint Leagues of Votann Hearthkyn Warrior
All videos are recorded in HD 1080p or higher – use full screen for the full effect and let the video load completely. You can also click the little “cog” and change the speed of the video, if I am going too fast (or slow!).
Paints Used
Games Workshop: Rhinox Hide, Sotek Green, Warpstone Glow, Yriel Yellow, XV-88, Mephiston Red, Evil Sunz Scarlet, Troll Slayer Orange, Fire Dragon Bright, Deathworld Forest, Mournfang Brown, Balor Brown, Vallejo: Neutral Grey, Black, Dark Grey, Ice Yellow
P3: Morrow White
Preparation and Base Coating
Model Assembly: Assemble your model, ensuring arms and weapons are separated for easier painting.
Priming: Apply a black primer evenly across the model. This will serve as your base for all subsequent layers.
Face Mask and Armour
Base Layer: Begin with ‘Rhinox Hide’ for the face mask, focusing on the left-hand side to simulate light direction. For the armour, start with ‘Sotek Green’, applying the paint loosely to create texture.
Highlighting Technique: Use a lamp to identify where the main highlights should be, focusing on the upper left side of the model. This will help simulate directional lighting.
Layering Armour: Build up the armour’s colour using layers of ‘Sotek Green’, ‘Ahriman Blue’, and ‘Temple Guard Blue’. For the final highlights, mix ‘Ice Yellow’ with ‘Temple Guard Blue’.
Detailing Face Mask: Use ‘Balor Brown’ and ‘Ice Yellow’ for detailing, especially on the top left side for highlights.
Trousers and Boots
Base Coat: Start with a black or dark grey base coat for the trousers.
Highlights: Gradually build highlights on the trousers using a mix of the base colour and ‘Ice Yellow’. Keep the highlights subtle to maintain the focus on the upper part of the model.
Additional Details and Weathering
Boots and Lower Details: Use a similar technique as the trousers for the boots, focusing on subtle highlights.
Weathering: Apply ‘Mournfang Brown’ to create a worn, weathered look on the armour. Focus on recesses and edges to simulate natural wear and tear.
Final Touches
Refining Highlights: Go back to the armour and face mask, refining highlights where necessary. This is the stage to perfect your light direction and ensure consistency across the model.
Completing the Base: Paint the base to complement the model. A simple, unobtrusive design ensures the focus remains on the warrior.
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These videos show how to paint Cado Ezechiar, one of the vampire models from Games Workshop. He was painted as a part of my Golden Demon entry for 2024!
There are a lot of fun techniques I used on Cado, from his pitted, slightly worn armour, to his cloth undershirt, cape and some weathered leather. Read on to explore the tutorials in order, or click below to explore each part.
Video Part One – Armour and Red ClothPaints UsedPreparationBlocking in ColoursPainting the ArmourEnhancing Texture and ColourVideo Part Two – Leather Belt and Pouch, the NMM Gold Dragon on his chest and his Black Cape with WeatheringPaints UsedStep-by-Step GuideLeather DetailsNMM Gold DragonBlack CapeVideo Part Three – How to Paint a Vampire HeadMaterials ListHow to Paint a Vampire Head Painting GuidePreparationBase CoatingLayering and DetailingAdditional TipsVideo Part Four – How to Paint his Cracked Leather ScabbardMaterials and PaintsStep by Step Guide to Paint a Cracked Leather ScabbardLeather Technique TipsVideos Not Showing?
Video Part One – Armour and Red Cloth
All videos are recorded in HD 1080p or higher – use full screen for the full effect and let the video load completely. You can also click the little “cog” and change the speed of the video, if I am going too fast (or slow!).
Paints Used
Games Workshop: Mournfang Brown, Corvus Black Vallejo: Ice Yellow, Neutral Grey, German GreyP3: Morrow White
Preparation
Priming: The model should already be primed black. Imperfections in the primer’s coverage are not a concern, as all surfaces will be covered with paint.
Blocking in Colours
Base Coating: Start by blocking in base colours for efficiency and to prevent having to meticulously paint near completed areas later. Use Rhinox Hide for leather parts and German Grey (or a dark grey made by mixing black and white) for armour sections. This step is about laying down foundational colours and reacquainting yourself with the painting process.
Painting the Armour
Initial Armour Layer: Apply a base layer of German Grey across all armour parts. This step establishes a dark base for building up the texture and highlights that will follow.
Adding Texture and Base Highlights: Switch to Neutral Grey to begin adding texture and lighting effects to the armour. This involves creating scratch-like marks to simulate corrosion and wear, enhancing the model’s detailed sculpting. A size 00 brush is recommended for fine control and detail work.
Building Highlights: Gradually lighten the armour by adding more Neutral Grey, and then lighten further by mixing in Ice Yellow with Neutral Grey. The goal is to create a gradient of highlights leading to the brightest points of the armour. The addition of Ice Yellow introduces warmth to the grey, adding visual interest.
Final Highlights: Use P3 Morrow White for the final highlights. Apply this sparingly to the most raised areas and points where light would naturally be the strongest. The white should be watered down significantly to ensure a smooth application.
Enhancing Texture and Colour
Glazing for Depth: Mix a glaze using Mournfang Brown and apply it to shadow areas and recesses to add depth and warmth to the armour. Follow up with Corvus Black for deepening the shadows further. These glazes help unify the texture and add complexity to the finish.
Adjustments and Finishing Touches: Continuously assess the model as you paint, especially when transitioning between different sections or colours. Ensure that the lighting and colours are cohesive across the model to maintain the unit’s unified appearance.
Video Part Two – Leather Belt and Pouch, the NMM Gold Dragon on his chest and his Black Cape with Weathering
Paints Used
Games Workshop: Rhinox Hide, Mournfang Brown, Fire Dragon Bright, XV-88, Balor Brown Vallejo: Dark Grey, Ice Yellow
Step-by-Step Guide
Leather Details
Base Coat: Start with Rhinox Hide as the base for all leather parts, which was applied in the previous painting session.
Initial Highlights: Using Mournfang Brown, begin blocking in the details on the belt and pouch using a size 00 brush. Focus on applying the paint with the tip of the brush, even when filling larger areas, to maintain precision and control.
Adding Texture: With the same brush, enhance the leather texture by applying additional highlights with a mixture of Mournfang Brown and Fire Dragon Bright. The Fire Dragon Bright will lighten the colour but may also increase the paint’s translucency, requiring multiple layers for full opacity.
Further Highlights: Introduce Ice Yellow into the mix for the next set of highlights, focusing on the most illuminated areas like the top of the pouch and the sides of the belt that are exposed to light. Use a delicate touch to add fine details and texture, simulating the natural wear and tear on the leather.
NMM Gold Dragon
Base Layer: Use XV-88 as your base colour for the dragon emblem. Carefully outline the shape, leaving black lines between the details to create depth and contrast.
Building Up Colour: Gradually add Balor Brown to the XV-88, focusing on areas where light would naturally hit the emblem. Consider the curvature and form of the dragon to place your highlights thoughtfully, enhancing the 3D effect.
Final Highlights: Mix in Ice Yellow with your base colours to brighten the highest points of the emblem. Apply these highlights sparingly to areas like the brow, nose tip, and the edges of the dragon heads to achieve a metallic shine. Optionally, add a dot of pure white at the very brightest points for maximum impact.
Black Cape
Initial Layering: Prime the cape black and then apply Vallejo Dark Grey, thinned with water (approximately 60% water to 40% paint), to start building up the layers. Aim for smooth, gradual transitions, focusing on the creases and raised areas of the cape.
Highlighting: Incrementally mix Ice Yellow into the Dark Grey for the highlights. Apply these to the edges and folds of the cape where the light naturally hits, ensuring that the highlights are concentrated towards the top of the folds to emphasise the flow and texture of the fabric.
Weathering: Using Rhinox Hide, begin stippling the lower edges of the cape to simulate mud and grime build-up. Progressively add Mournfang Brown and then Balor Brown into your mix, focusing the lighter, more detailed stippling towards the very bottom to create a realistic weathered effect. Avoid making this look too uniform; natural wear and variety in the marks will enhance the realism.
Video Part Three – How to Paint a Vampire Head
All videos are recorded in HD 1080p or higher – use full screen for the full effect and let the video load completely. You can also click the little “cog” and change the speed of the video, if I am going too fast (or slow!).
Materials List
Paints:
Games Workshop: Cadian Fleshtone, Mephiston Red, Evil Sunz Scarlet
Vallejo: Neutral Grey, German Grey
P3: Morrow White (or any white paint)
Brushes:
Size 2 Round Brush (for broad applications)
Size 00 Round Brush (for detailed work)
Other Materials:
Wet Palette (to keep paints moist and workable)
Water Pot (for cleaning brushes)
Mixing Palette (for mixing custom paint shades)
Blue Tack (for temporarily attaching components)
Metal Rod (for holding the model while painting)
Super Glue (for assembly adjustments)
How to Paint a Vampire Head Painting Guide
Preparation
Modify and Assemble: Modify the hair of the model to prevent it from touching the face, allowing for easier access when painting. This involves careful cutting, reattaching, and positioning of the hair components.
Priming: Prime the model with a neutral primer to ensure paint adhesion and colour accuracy.
Base Coating
Apply Base Colours: Begin with a base coat of Cadian Fleshtone for the skin, applying it thinly (around a 1.5:1 ratio of water to paint) using a size 2 brush for a smooth layer. For the hair, use Neutral Grey as the base.
Layering and Detailing
Layering: Employ both a size 2 brush for general work and a 00 brush for fine details. Gradually build up the skin tones, focusing on creating dramatic lighting by highlighting facial features and leaving recesses darker. Mix Cadian Fleshtone with white for various highlight shades.
Eyes and Teeth Detailing: For the eyes, utilise Mephiston Red and Evil Sunz Scarlet for a glowing effect. For the teeth, mix Cadian Fleshtone with white to achieve a natural bone colour, steering clear of pure white to maintain realism.
Hair: Paint the hair in layers, starting with Neutral Grey, then adding white for highlights. Adjust shading and highlighting to reflect texture and colour accurately.
Shadows and Highlights: Use German Grey for deep shadows to add depth, especially around the eyes and under facial features. Use mixtures of Cadian Fleshtone with white and grey to refine the face’s appearance, enhancing the transition from light to shadow.
Final Touches: Add fine highlights with a mix of the lightest skin tone and a bit of white, focusing on areas where light naturally hits. Use a fine brush for precision, ensuring smooth transitions between light and dark areas.
Additional Tips
Brush Care: Always wet your brush before starting to paint, even if it appears clean, to ensure smooth paint flow.
Lighting Effects: When painting, consider how light interacts with the model’s features. This helps in achieving a more natural and realistic appearance, even with dramatic lighting.
Colour Mixing: Don’t be limited by paint names. Understand that all paints are just colours, and creative mixing can achieve the desired effect, such as using skin tone mixes for teeth to avoid too stark a contrast.
Video Part Four – How to Paint his Cracked Leather Scabbard
All videos are recorded in HD 1080p or higher – use full screen for the full effect and let the video load completely. Click the cog icon to choose speed, if I’m too fast or slow!
Materials and Paints
Paints:
Rhinox Hide (Games Workshop) – A dark brown paint used as the base color for the leather.
Bugman’s Glow (Games Workshop) – A flesh-toned paint used for creating mid-tones and highlights on the leather.
White (P3 Morrow White) – Used for mixing with Bugman’s Glow to create lighter shades for finer highlights.
Brushes:
Fine Detail Brush – A high-quality, fine-tipped brush, such as a size 0 or 00, is essential for painting the very fine lines that simulate the cracks in the leather. The brush used in the video is my favourite, the size 00 Artis Opus brush.
Additional Materials:
Water – For thinning the paints. The consistency of the paint should be around 50% water to 50% paint, with a slight adjustment for environmental factors like heat.
Wet Palette – To keep the paints hydrated and workable for longer periods. It’s particularly useful for mixing and maintaining the consistency of thinned paints.
Kitchen Roll or Paper Towel – Used for dabbing the brush to remove excess paint or water. It’s important to change the paper regularly to avoid degradation and particles sticking to the brush.
Painting Handle or Holder (optional) – To comfortably hold and manipulate the model while painting. I use Rathcore painting handles.
Step by Step Guide to Paint a Cracked Leather Scabbard
1. Preparation:
Ensure the scabbard on the model (in this case, Cado Ezechiar) is clean and ready for painting.
2. Base Coat:
Start by covering the entire scabbard area with Rhinox Hide (Games Workshop). Apply a couple of coats for even coverage but don’t worry about perfect opacity.
3. Mixing Paints:
Prepare your palette with a progression of mixes:
Rhinox Hide mixed with a small amount of Bugman’s Glow (GW).
Pure Bugman’s Glow, thinned slightly with water.
Bugman’s Glow mixed with a small amount of white (P3 Morrow White), and then a mix with more white added.
4. Detailing with a Fine Brush:
Use a thin brush, like a size 0 or 00, ensuring it has a very sharp tip for fine detailing.
Begin with the Rhinox Hide and Bugman’s Glow mix. Paint very fine, wiggly lines across the scabbard, simulating cracks in the leather. The lines should be more concentrated on the left side where the light hits, but include some on the right side too.
Turn the model as needed for comfort and accuracy but check the marks in the correct orientation to ensure they look natural.
Remember, the paint consistency should be about 50:50 water to paint, perhaps slightly more water for better flow.
5. Building Highlights:
Progress to using straight Bugman’s Glow. Go over some of the previous lines and add new ones. Ensure that some of the initial finer lines remain visible beneath.
Focus on making the edges and areas with supposed more wear brighter.
You can create deeper scratches by painting over the previous lines, adding detail and depth.
6. Correcting and Enhancing:
If any lines are too thick or dense, use Rhinox Hide to adjust them. You can also enhance them by extending the lines and creating additional features.
Remember, each line or mark should be distinct and avoid uniform patterns.
7. Final Highlights:
Use the mix of Bugman’s Glow and white for the brightest highlights. Apply these sparingly and focus on making them as small and fine as possible.
Adjust the intensity of your highlights by removing excess paint from the brush before application.
8. Glazing for Depth:
To bring the whole effect together and add depth, apply a glaze of Mournfang Brown (GW) over the entire area. This step also helps soften the texture and make it more refined.
You can go back with Rhinox Hide into darker recesses if needed, to adjust the contrast and depth.
9. Final Touches:
Add more detail and glaze as needed to achieve the desired depth and realism in the leather texture. Be mindful of over-glazing, which can dilute the detail work.
10. Review and Adjust:
Continuously review your work and adjust as necessary to ensure a realistic and varied leather texture. Each step can be refined or corrected to achieve the desired effect.
Leather Technique Tips
Consistency in paint mixture is crucial for achieving the fine lines necessary for the cracked leather effect.
Regularly maintaining the brush’s fine tip is essential for detailed work.
Turning the model upside down can facilitate easier brush strokes, but always check the work in its correct orientation.
Glazing with thinned paint helps unify the painted area and add depth to the texture.
Remember, the key to this technique is patience and precision. The fine details make the difference, so take your time with each step to achieve a convincing cracked leather effect.
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In this guide you will be shown how to paint Rogal Dorn’s armour in NMM (non-metallic metal) gold. This is a higher level technique, suitable for the mighty Primarch of the Imperial Fists!
Paints and Materials
Games Workshop: Rhinox Hide, Mournfang Brown, XV-88, Balor BrownP3: Morrow White (Any White will do)
BrushesArtis Opus: Series S size 1 and 00, Small Drybrush
Step-by-Step Guide
Want more? Download the detailed PDF guide!
If you’ve enjoyed the video and want to take your painting to the next level, don’t forget to download the accompanying PDF guide. This extra resource provides step-by-step instructions, close-up insights, and useful tips to help you perfect the Non-Metallic Metal (NMM) gold technique on Rogal Dorn’s armour. Whether you’re watching the video or painting at your own pace, the guide is here to ensure you achieve the best results.
Download the PDF Guide and master the art of NMM gold!
Read Now
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Freehand
In this guide, I’ll walk you through the entire process of painting a freehand skull on an Aeldari Dark Reaper helmet. This tutorial is ideal for intermediate to advanced painters looking to add some atmospheric detail to their Dark Reaper unit. Let’s get started!
Video: How to Paint a Freehand Skull on an Aeldari Dark Reaper Helmet
Materials Needed
Paints:
Games Workshop: Rhinox Hide, XV-88, Morghast Bone, Sotek Green
P3: Morrow White (or any white paint)
Vallejo: Model Colour Black
Other Supplies:
Sculpting putty (for filling face details)
Tamia Extra Thin Cement (optional, for smoothing putty edges)
Sharp scalpel for scraping
Wet palette for paint mixing
Step 1: Prepare the Surface
Fill in Sculpted Details: To ensure a smooth surface for the skull, use sculpting putty to fill in the nose and teeth details on the face. Apply a generous amount to cover gaps.
Let it Dry Fully: Allow the putty to dry overnight. Scrape any excess with a scalpel for a smooth finish, avoiding key areas like the chin and brow to retain sharpness.
Step 2: Prime the Model
Apply Primer: Prime the model with black primer to enhance contrast and set the base for painting.
Use Pins for Easy Handling: Attach pins to the model’s head and limbs to make it easier to handle and reposition during the painting process.
Step 3: Painting the Eyes
Base Colour: Start with Sotek Green as the base for the eye lenses.
Layering Highlights: Gradually add white to Sotek Green for each successive layer, creating depth in the eye lenses. Focus highlights on the bottom edge of the lenses, where light naturally hits.
Add Depth with Shadows: If desired, darken the top corner of each lens to achieve a soulless, reflective look. This effect is achieved by carefully adding black to the darkest areas, giving the eyes a sharp, eerie quality.
Step 4: Begin the Skull Outline
Base Colour with XV-88: Use XV-88 to outline the skull shape across the helmet’s face. This will act as the base colour for the skull, creating a solid foundation for further detail.
Shadow Layer with Rhinox Hide: Mix XV-88 with Rhinox Hide to deepen shadows in certain areas, like the cheekbones and under the brow ridge.
Step 5: Adding Skull Highlights
Transition Layer with Morghast Bone: After blocking out the skull shape with XV-88, begin adding highlights with Morghast Bone. Apply this colour around the raised areas, like the forehead, cheekbones, and jaw.
Create Smooth Transitions: Mix XV-88 and Morghast Bone to bridge the tones, softening transitions between shadows and highlights.
Stippling for Texture: For a realistic bone texture, stipple Morghast Bone across the forehead and cheekbones. This adds a slight roughness, giving the impression of natural bone.
Step 6: Fine Details and Teeth
Teeth Outline: Using Morghast Bone, paint the teeth by creating slightly exaggerated outlines. This allows for sharper definition when refining with black later.
Refining with Vallejo Black: Use Vallejo Black to cut into the teeth and refine their shape, narrowing them where necessary for a natural look. Vallejo Black’s smooth flow makes it ideal for creating crisp lines.
Emphasising Depth: Rhinox Hide can be used as a softer alternative to pure black for adding shadows around the teeth and along cheekbone lines, giving a more subtle definition.
Step 7: Highlighting and Final Refinements
Add Bright Highlights: Mix Morghast Bone with Morrow White for the final highlights, concentrating on high points like the brow, the tip of the nose, and the edges of the cheekbones.
Focus on Forehead Shine: For an extra focal point, add a slightly larger bright highlight to the forehead’s centre to mimic natural light reflection.
Tweak Subtle Details: Adjust any final areas as necessary, ensuring the highlights and shadows balance well across the skull. This can be done by adding small touches of colour or blending transitions further.
Step 8: Optional Final Touches
If you wish to increase contrast, especially under high display lighting, revisit the forehead and cheekbone highlights, pushing the lighter areas with a touch more Morrow White.
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Welcome to this detailed guide on How to Paint an Aeldari Autarch Jump Pack, including freehand spider web designs, volumetric highlights, and painting red gems with horizon lines. In this tutorial, we’ll walk through the key techniques used in the process, as well as the specific paints required.
Video: How to Paint an Aeldari Autarch Jump Pack with Spider Web and Gems
Materials Needed:
Paints:
Games Workshop: Khorne Red, Wazdakka Red, Pink Horror
Vallejo: Neutral Grey, Black, Game Colour Turquoise
P3: Morrow White
Brushes:
Size 00 brush (Artis Opus or similar)
Wet palette
Water for thinning paint
Step by Step Guide – How to Paint an Aeldari Autarch Jump Pack with Spider Web and Gems
Step 1: Blocking in the Spider Web Design
Basecoat the jump pack in black primer. This will be the foundation upon which all the other layers will sit.
Mark the anchor points for the web lines. Start by identifying four reference points around the spider gem in the centre of the jump pack. These lines will radiate outward, so place one line on each side of the spider to ensure symmetry.
Draw the initial lines. Using Vallejo Neutral Grey, draw thin lines extending from the spider gem to the outer edges of the jump pack. It’s crucial to space these lines evenly to maintain the illusion of symmetry.
Add in-between lines. After the four main lines are in place, draw connecting lines between them, creating a spider web pattern. Keep these lines neat and consistent.
Refine the lines. Once all lines are blocked in, clean up any mistakes with Vallejo Black. You can sharpen the edges of the web lines by gently “cutting in” with the black paint to make them ultra crisp.
Step 2: Adding Asymmetry to the Design
Introduce asymmetry deliberately. To avoid the spider web looking too perfect, introduce small inconsistencies. Paint some sections slightly off to add a natural, web-like randomness. This will also help mask any small imperfections.
Create asymmetrical details. On either side of the web, you can add small circles or other decorative elements to break up the symmetry. These will later be painted as gems, so feel free to add small, interesting features that balance the design.
Step 3: Volumetric Highlights on the Web
Apply volumetric highlights. Use Vallejo Neutral Grey to create highlights on certain parts of the web. Focus on areas where light would naturally hit the design, such as the topmost parts of the jump pack.
Blend the highlights. Thin the paint to a roughly 60/40 mix of water to paint and lightly stipple the grey onto the surfaces, blending it smoothly into the black basecoat. This will give the web a realistic shine and depth.
Step 4: Painting the Gems with Horizon Lines
Start with the basecoat. Use Games Workshop Khorne Red to paint the base of the gems. Cover the gem surfaces evenly, ensuring no black primer shows through.
Add shadows. Mix Khorne Red with a bit of Vallejo Black to create a dark red and apply this in the middle section of the gem, creating a “horizon line” effect. This gives the illusion of depth.
Highlight with Wazdakka Red. Apply Wazdakka Red to the lower portion of the gem. Blend the transition between the darker red and Wazdakka Red to create a smooth gradient.
Create the final highlight with Pink Horror. On the bottom section of the gem, apply Pink Horror to make it pop. Use a thin, translucent layer to ensure a subtle transition between the colours.
Add the white specular highlight. Use P3 Morrow White to place a tiny dot on the top left of each gem. This should be the brightest point, simulating light reflection.
Step 5: Painting the Blue Gems
Basecoat the small gems in Vallejo Game Colour Turquoise. Ensure the coverage is smooth.
Create a shadow. Mix the turquoise with black for the upper portion of the gem. This dark section will help the highlight stand out later.
Add highlights. Gradually mix white into the turquoise and apply it to the lower right of the gem, following the same method as the red gems.
Finish with a white highlight. Place a small white dot on the upper left of each blue gem to represent the light source, matching the technique used on the red gems.
Step 6: Final Adjustments
Tidy up the design. Go back with Vallejo Black or Neutral Grey to sharpen any lines that may have been blurred during the process.
Blend further if needed. If the transitions in the gems or the volumetric highlights seem too stark, glaze over them with thinned down versions of the base colours to smooth things out.
And that’s it! You’ve now completed the spider web design with volumetric highlights and stunning gems on your Aeldari Autarch jump pack. This method requires patience and refinement, but with these techniques, you’ll achieve a competition-level finish. Enjoy your painting!
Want to know how to paint the freehand spider?
How to Paint a Freehand Spider Gem
How to paint a freehand spider gem on a round section of a backpack. The goal is to create a smooth, detailed finish using the right colours, applying stippling and glazing techniques, and ensuring sharp, clean lines in the freehand design.
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In this video tutorial and step by step guide, I’ll walk through how to paint a freehand spider gem on a round section of a backpack. The goal is to create a smooth, detailed finish using the right colours, applying stippling and glazing techniques, and ensuring sharp, clean lines in the freehand design.
Video: How to Paint a Freehand Spider Gem
Materials Needed:
Vallejo Game Color Turquoise
Vallejo Model Color Black
P3 Morrow White
Cyber Green (optional)
Fine Detail Brush (I used Artis Opus Size 00)
Wet Palette
Thin Sandpaper or a file (for smoothing any rough textures)
Kitchen Roll (for cleaning your brush)
Step 1: Prepare the Base
Mix the Base Colour: Begin by mixing Vallejo Game Color Turquoise with a small amount of Vallejo Model Color Black. The mix should be slightly darker than pure Turquoise but not overwhelmingly dark.
Apply the Base Coat: Paint the entire round section with this base mix. Ensure an even coverage and let it dry completely.
Adjust the Colour: If the initial base appears too dark or too light, adjust by adding more Turquoise or Black until you achieve the desired shade. This layer will be the foundation for the freehand spider.
Step 2: Freehand the Spider
Rough Outline: Start by lightly sketching the spider shape onto the base layer using a thinned version of the base colour. This is just to block in the general shape and position, so don’t worry about precision at this stage.
Refine the Outline: Once the rough sketch is in place, begin refining the edges using P3 Morrow White mixed with Turquoise (add more white to the mix as needed). This mix should be lighter than the base colour but not too stark. Sharpen the edges to define the spider’s legs and body clearly.
Symmetry Consideration: It’s difficult to achieve perfect symmetry, especially with freehand work. Consider making the spider asymmetrical to avoid the stress of perfect alignment. Small variances will make the design look more natural.
Step 3: Add Highlights and Shading
Stippling Technique: Use a stippling technique to gradually build up highlights. Dip your fine detail brush into the lighter mix (Turquoise + more white), and apply tiny, controlled dots across the spider and the background gem surface. Start with lighter pressure to achieve smaller dots.
Transition Shading: For the edges of the spider, use a mix with slightly more white added to the Turquoise. Gradually build up the brightness by adding more stipples. Focus on the areas where the light would naturally hit, such as the top of the spider’s legs and body.
Soft Shading: Introduce a small amount of Cyber Green into the stippling process for added depth and interest. Use this sparingly to avoid overpowering the original colour scheme.
Step 4: Glazing for Smoothness
Thin Glaze: Mix a very thin glaze using the base colour or slightly lighter mix. Apply this glaze over the entire spider and gem area to soften the stippling effect and blend the highlights smoothly. Be careful not to obscure the details you’ve painstakingly created.
Glazing the Spider: If desired, add a final glaze of Cyber Green over the spider to enhance the depth and give a slight variation to the shine. Ensure the glaze is very thin, so it doesn’t overpower the design.
Step 5: Final Touches and Edging
Edge Highlighting: Use the side of your brush and apply a very fine line of the lightest mix (nearly white) to the edges of the round gem to create a sharp, defined boundary. This step will make the gem pop visually.
Enhance the Spider Details: Add small highlights to the spider’s legs and body with a fine tip brush using the lightest mix. This will give the spider a more three-dimensional appearance.
Check for Consistency: Review the entire section for any inconsistencies in stippling or shading. Add additional stipples or glazes as needed to ensure a smooth, cohesive finish.
Step 6: Finishing Up
Smooth Any Imperfections: If there are any rough spots or texture issues, gently sand them with fine sandpaper or a file.
Final Inspection: Take photos or view the model under different lighting to check for any imperfections. Make any last adjustments to ensure the spider gem looks polished and consistent.
Seal the Work: Once you’re satisfied with the result, consider applying a thin layer of matte or satin varnish to protect your work.
Now move on to the next step!
Spider Web and Gems on the Jump Pack
Moving on from the above tutorial to include freehand spider web designs, volumetric highlights, and painting red gems with horizon lines.
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My detailed how to paint the Nagash helmet tutorials, with videos plus step by step guide and tips with full paints used.
Video – How to Paint the Nagash Helmet Part OnePaints and Materials UsedPaintsBrushesOther MaterialsSteps and Tips on How to Paint the Nagash HelmetVideo – How to Paint the Nagash Helmet Part TwoPaintsSteps and Tips on How to Paint the Nagash Helmet (Part Two)Video – How to Paint the Nagash Freehand Swirls/FiligreePaintsTips for the Freehand FiligreeVideo – How to Paint the Nagash Helmet Leather Strips and RunesPaintsStep and Tips on How to Paint the Nagash Helmet Leather Strips and RunesFor all of my Nagash Tutorials in one place, go hereExplore More Nagash Technique Tutorials
Video – How to Paint the Nagash Helmet Part One
In this tutorial, we’ll focus on painting the metallic areas of Nagash, specifically the head. The colours used for this tutorial are a bit different from the standard, and in the video I discuss techniques in more detail to achieve a textured, refined finish.
Paints and Materials Used
Paints
Vallejo:
English Uniform (VX-88)
Golden Olive (Elysian Green mixed with Yriel Yellow)
Yellow Green (Dorn Yellow mixed with Moot Green)
Ice Yellow (Dorn Yellow)
Ivory (Screaming Skull)
Games Workshop:
Rhinox Hide
Abaddon Black
Naggaroth Night (for future use)
Brushes
Fine detail brush (suitable for intricate work and small highlights)
Medium-sized brush (for larger areas and base coating)
Wet palette (to keep paints fresh and workable)
Other Materials
Wet palette
Green stuff (for sculpting additional details, if desired)
Painting lamp (for consistent lighting during the painting process)
Miniature holder (for ease of handling and painting)
Steps and Tips on How to Paint the Nagash Helmet
Prepare the Model: Ensure your miniature is assembled and primed appropriately for painting. I’ve used a black primer for my Nagash.
Block in the Base Colour: Start by blocking in the main highlights using Vallejo’s English Uniform (VX-88). Apply this colour where you want the primary light source to hit, focusing on a top-left orientation.Be mindful not to make the colour too opaque; a slight texture is desirable for the metallic effect.
Understanding Colour Choices: The choice of metallic colours doesn’t have to be conventional. For this model, I went for a dark and moody theme inspired by the artwork of Nagash.My chosen metallic shades include Golden Olive, Yellow Green, and Ice Yellow from Vallejo, along with Rhinox Hide and Abaddon Black from Games Workshop.
Building Layers of Colour: Use Golden Olive to build layers on top of the English Uniform, focusing on areas that require additional depth and shading.The opacity of Vallejo paints allows for strong, defined marks, ideal for creating small details and textures.
Creating Texture and Depth: With each layer, gradually introduce lighter shades such as Yellow Green and Ice Yellow to enhance highlights and add dimension to the metallic surfaces.Keep in mind the direction of light and focus on maintaining a balance between light and shadow.
Understanding Volume and Light: Highlighting metallic surfaces requires understanding how light interacts with volume. Unlike standard blending techniques, aim for distinct contrasts between light and shadow. Make sure you consider how light reflects off different surfaces, creating highlights and shadows of varying intensities. I like to use lots of real-life references of metal to study as I paint.
Achieving a Moody Atmosphere: For an undead character like Nagash, aim for a dark, desaturated overall appearance. Use strong, small highlights strategically to draw attention to focal points.
Avoid smooth blending; purposefully textured painting adds depth and character to the model.
Experimenting with Glazing TechniquesExperiment with glazing techniques to blend colours seamlessly and soften transitions between different areas of the model.Glazing allows for subtle colour adjustments and can help unify the overall color scheme, creating a harmonious visual effect.
Video – How to Paint the Nagash Helmet Part Two
In this part, we’ll focus on painting the skull face, hair, and bone structures atop the hat.
Paints
Vallejo Model Colour: English Uniform (VX-88), Golden Olive (Elysian Green mixed with Yriel Yellow), Yellow Green (Dorn Yellow mixed with Moot Green), Ice Yellow (Dorn Yellow), Ivory (Screaming Skull), Neutral Grey (Mechanicus Standard Grey), Pale Grey Blue (Grey Seer mixed with Blue Horror)
Games Workshop: Rhinox Hide, Warpstone Green Contrast, Deathclaw Brown
P3: Morrow White
Steps and Tips on How to Paint the Nagash Helmet (Part Two)
Paint the Bone Structures: Using Vallejo’s English Uniform (VX-88), begin by painting the bone structures on top of the hat. Focus on picking out the highlights, keeping in mind the top-left orientation of the light source. Apply the paint carefully to emphasize the edges and contours of the bones.Enhance the Bone Texture: Utilise Golden Olive (a mix of Elysian Green and Yriel Yellow) to add depth and shading to the bone structures. Concentrate on areas that require additional definition, such as the joints and sockets. Remember to maintain a balance between light and shadow to create a realistic, textured effect.Add Highlights: With Yellow Green (a mix of Dorn Yellow and Moot Green), further highlight the bone structures, focusing on the areas where light would naturally hit. Pay attention to the left-hand side of the model to create a stronger contrast and emphasise the lighting direction.Refine the Highlights: Using Ice Yellow (Dorn Yellow), continue to build up the highlights on the bone structures, especially on the left-hand side. Gradually increase the brightness of the highlights towards the center of the model to draw attention to focal points.Adjusting with Rhinox Hide: If necessary, use Rhinox Hide to refine any areas where you’ve made mistakes or to add depth to the shadows. The translucency of this paint allows for easy blending and adjustment while maintaining a natural look.Painting the Skull Face: For the skull face, start with Deathclaw Brown, focusing on creating a weathered, textured appearance. Apply the paint in a rough, uneven manner to mimic the natural wear and tear of ancient bones.Highlighting the Skull: Gradually add highlights to the skull using Morghast Bone. Concentrate the highlights towards the left-hand side of the face to maintain consistency with the overall lighting scheme. Ensure the highlights stand out against the darker base colour to create depth and dimension.Adding Detail to the Eyes: Use a small amount of Morghast Bone to pick out the details around the eyes, emphasising the cheekbones and brow ridge. Be mindful of the sculpted eye sockets and adjust the highlights accordingly to enhance the overall appearance.Painting the Hair: Begin painting the hair with Neutral Grey, focusing on the large, clumpy strands. Keep the highlights towards the top side of the hair to simulate light hitting the surface. Apply the paint in a rough, textured manner to achieve a realistic look.Adding Texture to the Hair: Continue to build up the texture of the hair using Pale Grey Blue. Emphasize the highlights on the top side of the hair while leaving the underside darker to create depth and volume.Refining the Highlights: Using Morrow White sparingly, refine the highlights on the hair strands to add contrast and dimension. Focus on the areas closest to the face to draw attention to the focal points.
Video – How to Paint the Nagash Freehand Swirls/Filigree
Paints
Vallejo: English Uniform (VX-88), Golden Olive (Elysian Green mixed with Yriel Yellow), Yellow Green (Dorn Yellow mixed with Moot Green), Ivory (Screaming Skull), Neutral Grey (Mechanicus Standard Grey), Pale Grey Blue (Grey Seer mixed with Blue Horror)Games Workshop: Warpstone Green Contrast, Abaddon BlackP3: Morrow White
Tips for the Freehand Filigree
Base Coat: Apply a base coat of Vallejo English Uniform (VX-88) to start the filigree on the Nagash hat. Ensure even coverage and allow it to dry completely.
Highlighting with Yellow-Green: Mix Vallejo Yellow Green (Dorn Yellow mixed with Moot Green) with a small amount of white to increase opacity. Use a fine tip brush to apply highlights to what would be the raised areas of the filigree. Focus on creating sharp lines and highlights to enhance the detail.
Adding Ivory Highlight Dots: Using Vallejo Ivory (Screaming Skull), create small highlight dots on the filigree. These dots should be strategically placed on curves and extreme curve points to simulate shine and reflectivity. Ensure consistency in placement for a cohesive look.
Enhancing Contrast with Black: With Games Workshop Abaddon Black, carefully outline the filigree details to enhance contrast and definition. Use a fine tip brush and steady hand to create clean lines and borders.
Glazing with Warpstone Green Contrast: Thin Games Workshop Warpstone Green Contrast with water (about two parts water to one part paint) to create a glaze. Apply the glaze over the filigree to enhance shading and highlights.
Final Touches: Use P3 Morrow White to add final highlights to the filigree, focusing on the most raised and reflective areas. Ensure consistency and restraint with the white highlights to avoid overpowering the overall effect.
Video – How to Paint the Nagash Helmet Leather Strips and Runes
By following these steps and techniques, you can effectively paint leather strips and runes on your Nagash (or any other model, really!) adding depth, texture, and character.
Paints
Games Workshop: Rhinox Hide, Mournfang Brown, Cadian Fleshtone, Temple Guard Blue, Barroth Blue.
Step and Tips on How to Paint the Nagash Helmet Leather Strips and Runes
Base Coat: Ensure that the leather strips on the Nagash helmet are properly primed with black primer. Once primed, apply a base coat of Games Workshop Mournfang Brown to the leather strips. This will serve as the foundation for the leather texture.
Highlighting with Mournfang Brown: Using Games Workshop Mournfang Brown, begin highlighting the curves and raised areas of the leather strips. Apply the paint in a textured manner, focusing on creating depth and dimension to simulate the appearance of weathered leather. Don’t worry about perfect blending; imperfections add to the realism.
Layering with Cadian Fleshtone: Next, switch to Games Workshop Cadian Fleshtone and continue highlighting the leather strips. Apply this paint more sparingly, focusing on the most raised areas and curves to enhance the texture. The tonal contrast between Mournfang Brown and Cadian Fleshtone will create depth and visual interest.
Glazing with Rhinox Hide: Thin Games Workshop Rhinox Hide with water to create a glaze. Apply the glaze over the highlighted areas to tone down the highlights and add depth to the leather texture. Focus on applying the glaze in the shadowed areas and along the edges of the leather strips for a realistic look.
Painting Runes: Using Games Workshop Temple Guard Blue and Barroth Blue, paint the runes onto the leather strips. Ensure that the runes are clearly visible and neatly painted. Use a fine tip brush and steady hand to create clean lines and shapes. Less is more; avoid overcrowding the leather strips with too many runes to maintain balance.
Touching Up: Review the painted leather strips and runes, making any necessary touch-ups or adjustments. Ensure consistency in highlighting placement and rune design throughout the miniature model.
For all of my Nagash Tutorials in one place, go here
Nagash, Supreme Lord of the Undead
Nagash, Supreme Lord of the Undead is the father of necromancy. I created a series of detailed tutorials on how I painted him.
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Explore More Nagash Technique Tutorials
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How to freehand ribs on the new Terminator Chaplain that Games Workshop sent me for review. I know some people were disappointed that it didn’t have sculpted on ribs, so this should fix it! This guide should help you add a striking rib detail to your Chaplain Terminator, enhancing its visual impact and bringing it closer to the iconic Chaplain imagery.
Video: How to Paint Chaplain Ribs Freehand
Materials Required:
Paints: Games Workshop XV-88, Morghast Bone, Screaming Skull, Rhinox Hide; Vallejo Neutral Grey; P3 Morrow White; Kimera Colours Black
Brushes: A variety of sizes for detailed work
Milliput or Sprew Glue: For filling and smoothing the chest area
Sandpaper: For sanding down the filled areas
Palette and Water: For paint mixing and brush cleaning
Steps for Freehanding Ribs:
1. Preparation:
Fill the chest holes with Milliput or Sprew Glue.
Sand down to create a smooth surface. Be patient and allow adequate drying time to avoid issues.
2. Base Painting:
Begin with a base coat of XV-88. This will be your primary rib colour.
Ensure the background remains a flat black for high contrast. Chimera Black is recommended for its matte finish and good coverage.
3. Adding the Ribs:
With XV-88, sketch out the shape of the ribs. Remember, space is limited, so it’s more about suggesting ribs rather than anatomical accuracy.
For human-like ribs, remember that Space Marines are portrayed with fused ribs, but standard human ribs are usually depicted on Chaplains for visual impact.
4. Shading and Detailing:
Use Rhinox Hide to create shadows and define the separation between ribs and sternum.
This paint can be applied translucently to allow underlying colours to show through, adding depth.
5. Highlighting:
Progressively add highlights with Morghast Bone. Focus on the front of the ribs, gradually reducing intensity towards the sides.
Add fine details and further highlights with Screaming Skull, but use sparingly to avoid excessive brightness.
6. Refining:
Use Neutral Grey and Morrow White for subtle colour variations and additional highlights.
Keep refining the details until you achieve the desired level of depth and realism.
Use black paint to clean up any errors and sharpen the edges of the ribs.
7. Finishing Touches:
For the sternum, devise a suitable design that complements the ribs. This might include fused elements or socket-like features.
Tips:
Asymmetry: Deliberately make the ribs asymmetric for ease of painting and to avoid the challenge of perfect symmetry.
Light Source: Consider the model’s overall lighting when placing highlights to maintain consistency.
Take Your Time: With freehanding, patience is key. Build up layers gradually and refine as needed.
By following my “How to Paint Chaplain” guide, you’ve now mastered the art of freehanding rib details, enhancing the iconic look of your miniature. Check out more of my freehand tutorials, below, for more ideas for your next project.
More Freehand Videos
If you don’t have an account, please sign up here! The website currently has over 350 video tutorials with steps and tips, plus a selection of PDFs. If you are not sure about joining, you can explore my free videos with a free “freebies” membership, or take the plunge and become a full subscriber for full access.
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This video shows how to paint a simple freehand dragon on the inside of a shield, in this case I did it to add extra detail to a Golden Demon entry.
Video – How to Paint a Simple Freehand Dragon
Paints and Materials
The following paints were used:Games Workshop: Rhinox Hide, Mournfang Brown Vallejo: German Grey, Neutral Grey, Ice Yellow, White
Step-by-Step Guide and Tips for the Freehand Dragon
Prepare the Surface: Begin by roughly painting the inside of the shield with a mixture of Mournfang Brown and Rhinox Hide from Games Workshop. These paints should be heavily thinned with approximately two parts water to one part paint. Use a large brush, like a size 2 artist opus brush, for quick and broad coverage. This base coat doesn’t need to perfectly match the shield’s front colour, as it will largely be covered.
Apply Texture: The texture on the back of the shield differs from the front to differentiate it from the armor. Apply the paint in a scratchy manner to simulate wear and tear. For this, use Neutral Grey from Vallejo, mixed with Ice Yellow for highlights, and German Grey for darker areas. Remember, this part doesn’t have to be perfectly blended, as some roughness adds character.
Glazing: If needed, glaze over the scratchy texture with more diluted Rhinox Hide and German Grey. Glazing helps to soften the texture and can hide any imperfections in the painting.
Freehanding the Dragon: When painting the dragon, start with a reference photo of the dragon design on the shield’s front. This helps maintain consistency across the model. Use Vallejo Model Color Black for the dragon outline, ensuring the paint is well-diluted for fine lines.
Brush Selection: Use a fine brush for detailed work. A worn-out brush might not give the sharp lines needed for intricate details. A newer, sharper brush is recommended for finer details and corrections.
Highlighting the Dragon: Start with Neutral Grey for initial highlights. For more pronounced highlights, mix Neutral Grey with Ice Yellow, leaning more towards Ice Yellow for brighter highlights. Apply these highlights only to the upper edges of the dragon design, where light would naturally catch.
Adjusting for 3D Effect: Paint the inside of the dragon with a darker grey, such as a mix of German Grey and Neutral Grey, to create depth and avoid a flat black appearance.
Final Touches: Add fine highlights to the dragon, especially along the edges and raised areas, to enhance the 3D effect. Use a mix of Neutral Grey and Ice Yellow, and pure Ice Yellow for the brightest points. Be mindful of the shield’s orientation to ensure that highlights correspond to the light source.
Painting the Shield Trim: Finally, paint the shield’s trim, likely in a gold or metal colour. This trim frames the dragon and gives a polished look to the shield, enhancing the overall appearance.
More Tutorials and Tips on Freehand
If you don’t have an account, please sign up here! The website currently has over 350 video tutorials with steps and tips, plus a selection of PDFs. If you are not sure about joining, you can explore my free videos with a free membership, or take the plunge and become a full subscriber for full access.
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These videos show how to a paint a Nurgle shield with freehand for an Ogroid from the Slaves to Darkness army box.The freehand is if a Nurgle Plaguebearer head and is intended as a potential Golden Demon entry.
Scroll down to explore the tutorials and steps in order, or click the below to quick jump to a technique or section.
Video One: How to Paint a Nurgle Shield with FreehandPaints and Materials UsedPaintsBrushesOther MaterialsStep-by-Step Guide: PreparationBase PaintingFreehand SketchingRefining and DetailingFinal TouchesImportant NotesVideo Two: How to Paint the Shield Shine and NMM TrimPaints and Materials UsedPaintsBrushesOther MaterialsStep-by-Step GuidePreparing the PalettePainting the ShinePainting the NMM TrimFinal TouchesImportant NotesMore Freehand Tutorials to Explore
Video One: How to Paint a Nurgle Shield with Freehand
Paints and Materials Used
Paints
Games Workshop Paints:
Rhinox Hide
Bugman’s Glow
Mournfang Brown
Morghast Bone
Deathworld Forest
Yriel Yellow
Khorne Red
Ushabti Bone
Vallejo Paints:
Black
Ice Yellow
P3 Paint:
Morrow White
Brushes
Artist Opus:
Size 00 brushes (both a newer brush for finer details and an older brush for blending)
Other Materials
Wet Palette: To keep paints moist and workable.
Scalpel: For removing details from the shield.
Sandpaper: For smoothing the shield after using the scalpel.
Primer: Ultimate primer (specifically thinned with X20A for this project).
Mixing Water: For thinning paints on the palette.
Matte Varnish: To even out the surface and finish of the paint job.
Step-by-Step Guide:
Preparation
Prep the Nurgle Shield with Freehand: Remove intricate details from the shield using a scalpel and sand it slightly. Keep some battle damage for authenticity, if you wish.
Prime the Shield: Use Ultimate primer, thinned with X20A, applied in 4-5 thin coats.
Base Painting
Wet Palette Setup: Prepare a wet palette with the following Games Workshop colours: Ice Yellow, Bugman’s Glow, Rhinox Hide, Mournfang Brown, Morghast Bone, Deathworld Forest, Yriel Yellow, Khorne Red, and Ushabti Bone. Also, have Vallejo Black and P3 Morrow White ready.
Mixing Colours: Create various mixes of these colours on the palette, adjusting with water for a thinner consistency (approximately 50/50).
Freehand Sketching
Initial Sketch: Start sketching the Nurgle face on the shield using Bugman’s Glow. This doesn’t have to be symmetrical or realistic.
Adding Details: Gradually add more details like eyes, horns, and facial deformations using the mixed colours. Use Rhinox Hide for shading.
Background Technique: Use Vallejo Black as a ‘rubber’ to tweak and correct the sketch as needed.
Refining and Detailing
Light and Shadow: Use the lighter and darker mixes to create depth, focusing on the facial features. Ensure a balance between highlights and shadows.
Adding Texture: Pay attention to the direction of brushstrokes to replicate skin texture and facial creases.
Final Touches
Metallic Effects: For a Golden Demon entry, ensure to incorporate light volumes and reflective effects on the shield, as well as on the freehand.
Glazing: You may need to glaze over the freehand to integrate it with the shield’s overall shine and metallic effect.
Varnishing: Finish the shield with a matte varnish to even out different paint finishes.
Important Notes
Brush Technique: Use the very tip of your brush for detailed work. Switch between an older brush for blending and a newer one for sharp details.
Colour Importance: While exact colour mixes are flexible, ensure to maintain the overall desaturated, moody look characteristic of Nurgle.
Patience and Layers: Build up the image with multiple thin layers, allowing for smooth transitions and a detailed finish.
Personal Style: Remember, this guide is a base. Feel free to adjust and experiment according to your style.
Video Two: How to Paint the Shield Shine and NMM Trim
Paints and Materials Used
Paints
Vallejo Paints:
Black
German Grey
Neutral Grey
Ice Yellow
White
Games Workshop Paints:
Mournfang Brown
Brushes
Size 00 Brush: Ideal for detailed work and fine textures. Used for most of the work including the shine and trim.
Size 2 Brush: Used for broader strokes and glazing, especially over larger areas.
Other Materials
Wet Palette: To keep the paints moist and workable.
Lamp: For observing how natural light falls on the model, crucial for accurate highlight placement.
Blu Tack or Similar Adhesive: To temporarily attach the shield to the model for correct angle assessment.
Step-by-Step Guide
Preparing the Palette
Setup Wet Palette: Prepare a wet palette with Vallejo Black, German Grey, Neutral Grey, Ice Yellow, White, and Games Workshop Mournfang Brown. Create a gradient of grey shades from black to white, mixing in Ice Yellow and White with Neutral Grey for various mid-tones.
Painting the Shine
Analyzing Light Direction: Position the model under a lamp to observe natural light fall. This will guide the placement of the shine.
Initial Highlights: Start with a Neutral Grey or a mix of Neutral Grey and German Grey to block in the primary highlight areas on the shield.
Building Up Layers: Gradually increase the brightness of the highlights, focusing on the top left as the primary light source. Remember, the paint will appear brighter when wet and duller when dry.
Textured Effect: Use scratchy and stipple brushstrokes with minimal paint for a textured shine effect. Use the very tip of your brush.
Bounce Highlight: Add a bounce highlight at the bottom of the shield, reflecting light from the ground. This should be less bright than the primary highlight. Use a watered-down Mournfang Brown for a glaze over this area.
Painting the NMM Trim
Blocking in Highlights: Use Neutral Grey to block in primary highlights on the trim, focusing on the top area.
Adding Variation: Create a variety of light grey blocks along the trim, ensuring they get darker and more spaced out as they move away from the top highlight.
Refining Highlights: Gradually add lighter tones, culminating in white for the brightest parts. Ensure these highlights align with the shield’s central highlight.
Detailing Scratches: Use white to pick out tiny dots on sculpted scratches for added realism and depth.
Bounce Highlight on Trim: Similar to the shield, add a less intense bounce highlight at the bottom of the trim.
Final Touches
Glazing: Apply a thin glaze of Mournfang Brown over certain areas for colour integration and smooth transitions.
Detail Checks: Make any necessary adjustments to neaten the highlights and ensure consistency in lighting and texture across the shield and trim.
Important Notes
Consistency and Control: Maintain a good balance in paint consistency – not too thick for opaque marks and not too watery to avoid spreading.
Brush Technique: Always pull the brush towards yourself for control and precision, especially important when working near the freehand area.
Learning and Experimentation: Remember, this technique is both challenging and rewarding. Don’t be afraid to experiment and learn from the process.
These guides should provide a clear roadmap to achieving a high-standard finish for your freehand on shields, suitable for display or competition. Remember, practice and patience are key to mastering these techniques and don’t be afraid to do your own thing and add your own personal touch or style to your freehand!
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This video shows you how to paint a tiny freehand skull for the tilt shield on the Emperor’s Champion.
This method allows for a detailed, expressive freehand skull on a very small area. The key to success is starting with a central, smaller shape and gradually expanding and refining it, using thin layers and careful highlights to bring out the details.
Video Tutorial : How to Paint a Tiny Freehand Skull
Materials Needed
The following paints were used:Games Workshop: XV-88, Balor Brown, Morghast Bone, Screaming Skull, Rhinox Hide, Mournfang Brown, Mephiston RedVallejo: BlackP3: Morrow White (Any White will do)
Step-by-Step Guide
Preparing the Shield Start with the tilt shield painted black. Use Mephiston Red to create a dividing line across the shield for a more knightly appearance and to provide a base for the freehand skull.Blocking in the Skull with XV-88 Use XV-88 to block in a rough lightbulb shape for the skull. Start smaller than needed, allowing room for adjustments. Focus on getting the skull centrally placed.
Defining Eye and Nose Sockets Paint rough placements for the eye and nose sockets with a darker colour like Rhinox Hide. It’s okay if these aren’t perfect; they can be refined later.
Adjusting and Refining Details Use XV-88 to adjust and refine the shape of the skull, especially the eye sockets. Pay attention to symmetry and expression.
Shading with Rhinox Hide Thin down Rhinox Hide to apply subtle shading, enhancing the depth and texture of the skull. Focus on areas like brow ridges and cheekbones.
Adding Highlights with Balor Brown Move to Balor Brown for the first stage of highlights. This should be done carefully to define key areas of the skull without overwhelming the small scale.
Further Highlights with Morghast Bone and Screaming Skull Continue highlighting with Morghast Bone and Screaming Skull. These lighter colours bring out the details and add dimension to the skull.
Detailing Teeth and Final Touches Paint the teeth, focusing on the front two as key features. Remember, at this scale, not all teeth need to be defined individually. Use the darker colours (like Rhinox Hide) to refine and adjust the shape and expression of the skull. Add final bright highlights with P3 Morrow White or similar, focusing on the most prominent parts of the skull.
Painting a Halo (Optional) For additional flair, paint a small halo around the skull using Balor Brown and adding highlights with lighter colours, finishing with a dot of white for reflection.
Finishing the Shield Once the skull is complete, use the armour colours to finish the shield’s background. This step includes weathering and adding transitions to blend the skull into the rest of the model.
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In one of my previous videos I did a pattern on the dress for Lady Annika, The Thirsting Blade, but decided I wanted to change it to something a little bit creepier. Here is how to paint the Lady Annika Freehand Skull that replaced it! It includes tips on folds and how I did the weathering at the bottom of the cloth. Plus, I’ve also been working on her boots!
Scroll to watch these tutorials with complete paints and materials used, and step-by-step tip
Video: How to Paint the Lady Annika Freehand Skull
All videos are recorded in HD 1080p or higher – use full screen for the full effect and let the video load completely. You can also click the little “cog” and change the speed of the video, if I am going too fast (or slow!).
Materials Needed
Primer: Black (if you started with a black primer base).
Base Paints: Vallejo Black, German Grey, Neutral Grey, Dark Sea Grey.
Highlight Paints: 50/50 mix of Neutral Grey and Dark Sea Grey.
Weathering Paints: Vallejo Heavy Grey (appears green), Games Workshop Rhinox Hide, Cadian Fleshtone, Monfang Brown.
Fine Detail Brushes
Wet Palette
Reference Image: A realistic skull from a science book (or the Internet!) for accuracy.
Design Sketching: Sketch the skull design lightly on the skirt. Consider the folds and curves of the fabric; your design must follow these contours to look natural. The skull should be positioned considering the fabric’s folds, especially around tricky areas like deep creases or hard lines.
Base Painting: Using Vallejo Black as your darkest shade, begin blocking in the skull and its surroundings. Gradually build up the mid-tones using German Grey and Neutral Grey. For highlights, use a 50/50 mix of Neutral Grey and Dark Sea Grey. Keep the contrast lower than other elements (like the boots) to ensure the skirt’s design doesn’t overpower the miniature’s other focal points.
Adding Details: Focus on defining the skull’s features, adjusting for the fabric’s folds. Use your mixed greys to paint in the finer details, such as the teeth and eye sockets, considering the underlying fabric’s shape and the skull’s anatomy. For the headdress, spikes, and cobweb details, apply the same grey tones, ensuring they blend seamlessly into the skull.
Final Highlights and Shadows: Revisit the highlights and shadows, emphasizing the skull’s curvature and the fabric’s texture. Use the lighter greys to enhance the design’s three-dimensionality, paying special attention to areas that catch the light or recede into shadow.
Weathering: Start with Rhinox Hide, diluted significantly with water. Apply it to the lower third of the skirt, building up layers until you achieve a subtle, brown tint. Follow with Monfang Brown for a richer tone, focusing more intensely at the very bottom. This creates a gradient effect, simulating dirt accumulation.
Final Touches: Use a mix of the weathering colours to add texture and depth to the weathered area, mimicking the appearance of mud or dust caught in the fabric’s texture. This step enhances the realism of your miniature, grounding it in its environment.
Review and Adjust : Examine your work closely, making any necessary adjustments to the weathering to ensure a natural transition from the painted design to the simulated dirt. If needed, glaze over parts of the skull or weathering with thinned paint to adjust the contrast or saturation.
Video: How to Paint Lady Annikas Boots
Painting shiny leather boots requires patience and attention to detail. By carefully building up highlights, adjusting them as needed, and using techniques like stippling and glazing, you can achieve a realistic leather effect that stands out. The key to success is experimenting with light and shadow to create depth and texture that mimics real leather.
Materials Needed to Paint Lady Annikas Boots:
Vallejo Paints: Black, Neutral Grey
P3 Paint: Morrow White (or any white paint)
Wet palette
Fine detail brushes (sizes 0 and 00 recommended)
Kitchen roll or paper towel
Lamp for highlighting guidance
Preparation and Painting Process:
Prepare Your Palette: On your wet palette, mix a variety of greys using Black from Vallejo, Neutral Grey from Vallejo, and P3 Morrow White. The goal is to create a spectrum of grey shades. You can adjust the quantities to get lighter or darker shades as needed.
Base Coating: Start with a base coat of Neutral Grey on the boots. You can adjust the shade by mixing in either more black or white to darken or lighten the grey, respectively. This base coat serves as the foundation for building up highlights and shadows.
Highlight Mapping: Using a slightly lighter grey, begin mapping out where the highlights on the boots will be. Don’t worry about being too precise; the goal is to identify where light naturally hits the boots. Use a lamp to observe how light interacts with the surface and mimic this on the model. Remember, we aim for a shiny leather look, so some highlights will be exaggerated.
Adjusting Highlights: If you over-highlight, it’s fine. You’ll refine these highlights later in the process. The key is to create contrast and depth, making the boots appear shiny. Lady Annika’s slender design means space is limited, so choose your highlight areas wisely, focusing on making them visible from the primary viewing angle.
Glazing and Fine Tuning: Once you’re satisfied with the highlight placement, it’s time to blend and smooth out the transitions. This is where the stippling technique comes into play. Dilute your paint with water (around a 50:50 ratio, but adjust as necessary for a finer stipple) and gently apply to the edges of highlights to create a gradual transition.
Glaze over the boots with a thin layer of black to enrich the colour and add depth. This will also help to knock back any over-highlighted areas, ensuring they blend seamlessly into the overall finish.
Reflective Highlights: For added realism, incorporate some reflective highlights. These should be small and placed strategically to mimic how light reflects off a shiny surface. Use the brightest grey or even white for these highlights but apply them sparingly.
Final Adjustments: Review the model under different angles and lighting conditions. You might need to go back and adjust some highlights or shadows to ensure the boots look good from all perspectives. The goal is for the boots to have a high contrast, shiny appearance, indicative of leather.
Finishing Touches: As a final step, use glazing to unify all the elements. A thin glaze of black can help to tie together the highlights and shadows, making the transition between them smoother and more natural. This step also adds a satin finish to the boots, enhancing the leather effect.
For all the videos on how I painted Lady Annika, the Thirsting Blade, in one place, follow this link!:
Lady Annika, The Thirsting Blade
Golden Demon Entry – Lady Annika’s thirst for blood is legendary, even amongst the Soulblight vampires! I really enjoyed painting her and made a few tweaks to the model.
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Here is a close up of the freehand on the shield I painted for Sigvald the Magnificent! It was quite a fun piece, right up until adding the light at the end when it got a bit stressful! Read on for my tutorial videos on how I painted it, with step by step tips and full paints list.
How to Paint: Shield and Freehand
The following paints were used: Games Workshop: Daemonette Hide, Cadian Fleshtone, Vallejo: Black, Ice Yellow
How to Paint: Shield and Freehand Part Two
The following paints were used: Games Workshop: Daemonette Hide, Cadian Fleshtone, Mephiston Red Vallejo: Black, Ice Yellow, Pale Grey blue P3: Morrow White
Top Tips: Shield and Freehand
Wet Palette Preparation: Begin with a wet palette to keep your paints hydrated.Utilise a variety of colours, including Daemonette Hide, Daemonette Hide and Flesh Tone mix, Cadian Fleshtone, Cadian Fleshtone mixed with Ice Yellow, and Ice Yellow.Base Work and Background: Commence by roughly blocking in the main shapes for the shield freehand. Don’t worry about perfection at this stage.Use a flat black background to provide a canvas for your work.Freehand Technique: When painting freehand, it’s recommended to start with a messy application, focusing on getting the shapes in the right place.Consider the androgynous nature of the face and add subtle demonic elements.Work on defining features like cheekbones, eyes, and forehead gradually.Lighting Considerations: Plan for top-left lighting and be mindful of how it interacts with the background and the freehand.Avoid pre-painting the background shine to maintain consistency when adding lighting later.Refinement Process: Refine the face by adjusting shapes and proportions as you progress.Pay attention to the texture and subtleties in the paintwork, allowing for variations and imperfections.Use reference images of faces and lighting to enhance realism.Layering and Thinning Paint: Thin your paints to ensure smooth layering, especially as you’ll be applying multiple layers.Experiment with thinning ratios, but generally, aim for about one and a half to two times water to one part paint.Brush Techniques: Utilise different brushes for specific tasks. A newer brush for softer marks and an older one for larger, softer applications.Pay attention to the size of the brush tip for finer details.Adding Subtle Details: Introduce subtle details by lifting the brush to create dots where the paint is thinner, adding character to the piece.Experiment with depositing tiny dots of paint to create texture and shadows.Shading and Shadow Definition: Use darker colours like Daemonette Hide mixed with black for shadow definition.Consider the natural shadowing on curved surfaces, like the bottom of the chin.Final Touches and Tweaks: Continuously refine and tweak elements while the paint is still wet.Use excess paint dots to your advantage by pushing them around to achieve desired effects.
Have you got a Sigvald to paint? Follow my full Sigvald the Magnificent painting guide:
How to Paint Sigvald the Magnificent with NMM
All of the tutorials for Sigvald the Magnificent, including how to paint NMM (gold) armour, face and horns, freehand shield, NMM silver sword and hilt and more!
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Learn how to paint freehand on a Imperial Fists Redemptor Dreadnought, with a fist design and a guide on neat, freehand text in a ribbon. These videos come with paints and a step-by-step guide. Scroll down to get started or click the below to quick jump to a specific technique.
Quick Jump:
Video: Imperial Fist Freehand SymbolPaints and MaterialsHow to Paint Freehand on Imperial Fists – Step-by-Step GuideVideo: Imperial Fist Freehand TextPaints and MaterialsHow to Paint Freehand on Imperial Fists – Step-by-Step GuideExplore more Freehand Tutorials!
Video: Imperial Fist Freehand Symbol
Paints and Materials
Vallejo: German Grey, Neutral Grey, Pale Blue Grey, Black
P3: Morrow White
Games Workshop: Balor Brown, Naggaroth Night
Fine detail brush
How to Paint Freehand on Imperial Fists – Step-by-Step Guide
Prepare the Surface:
Begin with a clean, primed chest plate of the Redemptor Dreadnought.
Outline the Fist:
Start with Vallejo Model Colour Black.
Sketch a rough outline of the fist. At this stage, focus on general placement rather than detail.
Ensure the fist is centralised to avoid asymmetry.
Blocking in Basic Shapes:
Using Neutral Grey, block in the shapes of the fingers and thumb.
Keep the shapes simple. Use the grey to sketch out the basic anatomy of the fist, ignoring finer details for now.
Adding Depth with Grey Shades:
Use a mix of Neutral Grey, German Grey, and Pale Blue Grey for varying shades.
Gradually define the fingers and palm, focusing on the curvature and how light would naturally hit these surfaces.
Remember, fingers are cylindrical, not flat.
Detailing with Lighter Colours:
Progressively lighten the greys as you add more detail.
The aim is to create a sense of depth and three-dimensionality in the fist.
Highlighting:
Use P3 Morrow White for the highest highlights.
Focus these highlights where the light would be strongest, creating a shiny, metallic effect.
Balance is key; too much white can reduce the shiny appearance.
Refining and Correcting:
Go back with Vallejo Model Colour Black to refine and correct the shape.
Use black to sharpen edges and deepen shadows, enhancing the three-dimensional look.
Weathering and Final Touches:
For weathering, apply Balor Brown to create chips and scratches, blending them into the overall design.
Use Naggaroth Night to glaze and add a subtle contrast to the yellow armour.
Finish by ensuring the highlights and shadows are well balanced and the symbol integrates seamlessly with the rest of the model.
Tips:
Use your own hand as a reference for the fist, but remember, the Space Marine gauntlet will differ in shape.
Ensure your brush is finely pointed for the intricate details.
Keep your hand steady. Resting your painting hand on a stable surface can help.
Work in good lighting to accurately see the effects of your shading and highlighting.
Video: Imperial Fist Freehand Text
Paints and Materials
Games Workshop: Baneblade Brown, Rhinox Hide, Morghast Bone, Screaming Skull, Balor Brown
Vallejo: Model Colour Black
Fine detail brush
Well palette
How to Paint Freehand on Imperial Fists – Step-by-Step Guide
Outline the Ribbon:
Start by sketching the basic shape of the banner with Morghast Bone. Use a smaller brush for detailed edges and a larger brush for the main section to achieve a smoother finish.
Detailing the Ribbon:
Paint the stringy ends of the ribbon with Morghast Bone. For shadowing, mix Baneblade Brown and Rhinox Hide (about 50/50).
Apply the shadow mix along the edges and folds of the ribbon to create depth. Remember, the colour dries lighter, so adjust accordingly.
Refining and Shading:
For the curled sections, ensure they are darker than the main ribbon for a three-dimensional effect.
Use a thin brush for smooth edges and avoid bumps. If necessary, go over the edges to sharpen them with Morghast Bone.
Weathering the Ribbon:
Apply Balor Brown for weathering and chipping effects. Focus on creating an aged and worn look but avoid overdoing it.
Final Touches:
Add highlights using Screaming Skull to the main parts of the ribbon for contrast. Blend carefully to achieve a natural look.
Steps for Painting the Text:
Initial Lettering:
Use Vallejo Model Colour Black for the text. Start by typing simple letters for spacing. Use the first and last letters as anchors, and ensure even spacing in between.
Refining the Font:
Once the basic lettering is done, refine the font. Make corrections and enhance the letters using Screaming Skull. Aim for sharp, clear lettering.
Finalising the Text:
Once you have the letters shaped, thicken and define them for legibility. Keep the line weight consistent throughout for a uniform look.
Use Morghast Bone or Screaming Skull to make corrections and sharpen the edges.
Weathering the Text:
If desired, weather the text lightly with Balor Brown. Be cautious not to distort the letters too much.
Applying a Filter:
For a worn effect, apply a heavily watered-down glaze of Mournfang Brown and Yriel Yellow over the entire freehand area. This softens the colours and blends the text with the banner.
Tips:
Use a well-supported posture for steady hand movements.
Ensure your brushes are in good condition. A sharper brush is essential for fine details.
Be patient and allow layers to dry before applying more paint.
Consistency in your brushwork is key to achieving a professional look.
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A tutorial on how to freehand paint a skull onto a clear surface, in this case the shoulder of a Titan.
All videos are recorded in HD 1080p or higher – use full screen for the full effect and let the video load completely.
Materials Required
Your miniature for the freehand to be painted on! Mine is a Warlord Titan,
Brushes (various sizes, including a size 0 for fine details)
Vallejo Model Color Black
Games Workshop paints: Rhinox Hide, Ceramite White, Balor Brown, Ushabti Bone, Mephiston Red, Wild Rider Red
Vallejo paints: Pale Grey Blue, Dark Sea Grey
Step 1: Preparing the Area
Begin with a flat area on your model. Make sure it is clean and free of any mould lines, dirt or grease.
Apply a black primer base, then airbrush layers of grey, a glaze of purple, and grey again to create a dynamic background.
Step 2: Sketching the Freehand Design
Start by blocking in the rough shape of a skull in the centre. Use Vallejo Model Color Black for strong coverage and a matte finish. Ensure the initial shape is smaller so you can adjust the size as needed without difficulty.
Step 3: Adding Details as You Freehand Paint a Skull
Add the eye sockets and nose hole, focusing on making the skull slightly asymmetrical to add interest.
Use Rhinox Hide to block in shadows and define the shape of the skull, especially around the cheekbones and beneath the eye sockets.
Step 4: Refining the Skull
Gradually build up the skull’s details using a mix of Balor Brown and Ushabti Bone. This process involves adding highlights and shadows to create depth and texture.
Pay attention to the top-down lighting, ensuring the highlights and shadows correspond to this light source.
Step 5: Painting the Blindfold and Chains
Paint the blindfold using Mephiston Red, ensuring it wraps realistically around the contours of the skull.
For the chains, start with Vallejo Model Color Black to outline the shapes, then use Pale Grey Blue and Dark Sea Grey to add highlights and shadows, creating a metallic look.
Step 6: Finishing Touches
Use Ceramite White for the highest highlights, focusing on areas like the forehead and teeth to enhance the skull’s dimensional effect.
Apply small amounts of shading and texture throughout the skull to refine its appearance.
Step 7: Adding Atmospheric Effects
To give the skull a darker, moodier feel, consider using a water mixable oil color like burnt umber around the edges and in the recesses. This step is optional but can add a significant impact to the final look.
Remember, the key to successful miniature painting, especially when dealing with freehand designs, lies in patience, practice, and attention to detail.
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Two videos on how to paint weathered armour plate, complete with rust, scratches and chips and a simple freehand banner. You won’t need an airbrush for this tutorial.
Video: Part One – Armour and Weathering
Materials and Paints Needed
Games Workshop Paints: Balor Brown, Yriel Yellow, Mournfang Brown, Rhinox Hide
Vallejo Paints: Neutral Grey, Pale Grey Blue, White
Brushes: Large dry brush (or makeup brush), fine detail brush, glazing brush (size 4 or similar)
Accessories: Water for thinning paints, kitchen towel for wiping brushes, well palette
Preparing the Model
Clean and prime your Redemptor Dreadnought model. A light grey or white primer is recommended for bright colours like yellow.
Base Coating with Stippling Technique
Mix Balor Brown with water in a roughly 50/50 ratio. This will be your base layer.
Stipple Balor Brown onto the armour panels using a large, round, flat brush. Aim for gentle touches to build up the texture without creating pronounced, three-dimensional brush marks. Allow the paint to dry fully before adding more layers. This creates a worn, battlefield-ready appearance.
Glazing for Colour Depth
Create glazes in your well palette by mixing Mournfang Brown and Yriel Yellow separately with water, using about 6-7 parts water to 1 part paint.
Apply Mournfang Brown glaze to shade areas, starting from lighter areas and moving the brush towards darker regions. This adds warmth to the shadows.
Apply Yriel Yellow glaze over the entire panel, focusing more paint towards the centre for a vibrant effect. Ensure to remove excess paint from your brush to avoid pooling.
Chipping for Weathered Effect
Use Rhinox Hide with a fine detail brush to create chipping along the edges of the armour panels where wear would naturally occur. Remember, less is more; avoid overdoing it with lines and crosses.
Highlight the lower edge of each chip with Yriel Yellow to simulate the armour’s wear and tear, making the chips stand out more against the base layers.
Detailing and Finishing Touches
Rivets: Paint each rivet with a dot of Pale Grey Blue on the top left and a tiny line on the bottom right to simulate light reflection.
Metal Exposure: Use Neutral Grey to paint areas where the metal beneath the yellow paint would show through, particularly around chips and edges. This technique helps redefine the model’s shape and adds dimensionality to the weathering.
Final Highlights: Add a final touch by placing a small dot of White on the most prominent parts of the chips and rivets to enhance the reflective effect.
Video: Part Two – Freehand Banner
Materials and Paints Needed:
Games Workshop Paints: Baneblade Brown, Rhinox Hide, Morghast Bone, Screaming Skull, Balor Brown
Vallejo Paints: Model Colour Black
Brushes: A smaller brush for initial sketching and detailing, and a larger brush for smoother finishes on larger sections.
Other Supplies: Water for thinning paints, a palette for mixing, and kitchen towel for wiping off excess paint.
Preparing the Banner:
Base Layer with Morghast Bone: Begin by sketching the basic shape of the banner on the shoulder pad using Morghast Bone. This step involves creating the outline and filling in the banner. For larger sections, use a larger brush to achieve a smoother finish.
Refining Edges: Use a smaller brush to refine the edges and the trailing ends of the banner. Aim for a shape that complements the space available on the shoulder pad, keeping in mind the overall design and avoiding overly stubby ends.
Applying Shadow with Baneblade Brown and Rhinox Hide Mix: Mix approximately 50/50 Baneblade Brown and Rhinox Hide to create a shadow colour. Apply this mixture to add depth and shadow to the banner, especially along the edges and the banner’s folds.
Highlight with Screaming Skull: To highlight the main body of the banner and give it a three-dimensional appearance, apply Screaming Skull, focusing on the central and raised areas. This step brings out the details and makes the banner stand out.
Painting the Text:
Sketching Text with Vallejo Model Colour Black: Using a fine detail brush and Vallejo Model Colour Black, begin sketching the text onto the banner. Start with basic shapes for letters and focus on spacing. The chosen word for this tutorial is “MORTIS.”
Refining Letters: Once the basic spacing and shape are down, refine each letter for clarity and style. Adjust the thickness of the lines and add any stylistic flourishes to match the desired font. Consistency in line weight and style across all letters is crucial for readability.
Correcting and Sharpening Edges: Use Morghast Bone and Screaming Skull to correct any overshoots or to sharpen the edges of the letters. This step allows for cleaner lines and more precise letter shapes.
Final Touches:
Weathering: To integrate the text and banner naturally with the rest of the model, apply weathering. Use Balor Brown to simulate chipped paint and wear on the banner and text. This step adds realism and character to the model.
Applying Filters: A filter of heavily diluted Mournfang Brown and Yriel Yellow can be applied over the entire freehand work. This unifies the colours, softens the contrast, and gives the banner and text a worn look, blending them seamlessly with the model’s overall weathered appearance.
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A video tutorial with step-by-step guide on how to freehand a skull on Castellan Knight legplate, with advanced shading and patterns.
This guide will take you through painting a detailed skull freehand on the shin panel of a Castellan Knight miniature from Games Workshop. We’re focusing on creating a striking skull design amidst a vivid background, with a two-part process that lays the groundwork for intricate background details to be added later. The process begins with modifying the shin panel for a smooth painting surface, followed by base colouring, sketching, and detailing the skull.
Video: Freehand Skull on Imperial Knight Part One
Materials Needed
Brushes:
Size 1 Artis Opus Brush (used throughout the video for detailed work)
Paints:
Games Workshop (Citadel):
Rhinox Hide: Base sketching of the skull
Balor Brown: Refining skull details
Ushabti Bone: Highlighting the skull
Ceramite White: Final highlights on the skull
Wild Rider Red: Used for airbrushing the background (mentioned as part of the orange base)
Troll Slayer Orange: Part of the airbrushed background
Mournfang Brown: Used in shadows and for airbrushing background details
Privateer Press (P3):
Battlefield Brown: Alternative to GW Scorched Brown, used for shading
Vallejo:
Model Colour Black: For defining eye sockets and other dark areas on the skull
Other Materials:
Airbrush: For applying the base layer of the shin panel
Scalpel: For modifying the shin panel to create a smooth surface
Fine Grit Sandpaper: For smoothing the modified shin area
Wet Palette: To keep paints hydrated and workable
Water Container: For rinsing brushes
Paper Towels: For brush cleaning and paint dabbing
Preparation Tools:
Filling Material: To fill in gaps after modifying the shin panel for a smooth painting surface
Step-by-Step Guide
Preparing the Surface
Modify the Shin Panel: Begin by carefully removing excess detail from the shin panel using a scalpel. Fill in any gaps to create a smooth surface for your freehand painting. Although minor dimples might remain, they will be covered by the paintwork.
Base Colouring
Airbrush Background: Apply an airbrushed base layer using Wildrider Orange, Troll Slayer Orange, and a touch of Mournfang Brown for shadows. This creates a vibrant orange backdrop, setting a stark contrast for the skull.
Sketching the Skull
Outline with Rhinox Hide: Start sketching the skull using Rhinox Hide, focusing on getting the overall shape rather than detailed features like eye sockets or teeth. This stage doesn’t require perfection in symmetry or detail, as adjustments can be made later.
Refine with Balor Brown: With Balor Brown, begin refining the skull’s structure, particularly around the temples, nose, and eye sockets. This layer adds dimension and prepares for detailed work.
Detailing the Skull
Highlight with Ushabti Bone: Use Ushabti Bone to start bringing out the highlights of the skull. This step involves building up from the darkest shadows to the lightest areas, considering the light source will be from the top left.
Deepen Shadows: Apply Vallejo Model Colour Black to define the eye sockets and other deep shadows within the skull, enhancing the contrast and depth.
Add Texture and Fine Details: Continue with Balor Brown and Ushabti Bone, applying very light, fine strokes to create texture and detail across the skull’s surface. Focus on asymmetry and imperfections for a more realistic appearance.
Final Highlights with Ceramite White: Use Ceramite White sparingly to add the brightest highlights, concentrating on areas that would catch the most light. This step dramatically increases the contrast and brings the skull to life.
Starting the Background Pattern
Outline Pattern with Black: Begin outlining the background pattern, starting with simple geometric shapes and lines to create a non-symmetrical, maze-like design. This base pattern sets the stage for further detailing.
Apply Initial Highlights: Initially, experiment with Fire Dragon Bright for highlights but plan to integrate the skull’s colours (Balor Brown, Ushabti Bone, Ceramite White) into the background for consistency.
Finishing Touches
Adjust and Refine: As the background pattern develops, continuously adjust and refine the design. Incorporate shadows and highlights to create depth and interest, using P3 Battlefield Brown for shading.
Merge Skull and Background: Begin to subtly blend elements of the skull into the background pattern, ensuring the entire piece feels cohesive.
Video: Freehand Skull on Imperial Knight Part Two
Where we focus on refining the maze-like background detail introduced in Part 1, enhancing the overall visual appeal and integrating the skull into the pattern for a cohesive look.
Materials Required:
Brushes: A fine detail brush, ideally size 0 or 1.
Paints: Games Workshop’s Wild Rider Red, Rhinox Hide, Ceramite White, Zamersi Desert, Ushabti Bone, Firedragon Bright, Abaddon Black, and P3’s Battlefield Brown (or Baneblade Brown as a GW alternative).
Other Supplies: A wet palette for mixing paints, water for thinning paints, and kitchen paper for brush cleaning.
Step-by-Step Guide:
Review and Refine the Existing Pattern:
Begin by assessing the pattern laid out in Part 1. Identify areas that require refining or adjustments to ensure a unified appearance across the entire shin armour.
Adjusting the Pattern:
Use a mix of Rhinox Hide and Battlefield Brown to refine areas needing adjustments. This may involve smoothing transitions between different sections of the pattern or altering shapes to better integrate with the overall design.
Focus particularly on areas around the white dots and sections that appeared overly bright or disjointed in Part 1. The aim is to create seamless transitions between the skull and the background pattern.
Enhancing Contrast and Depth:
Apply thin glazes of Rhinox Hide in areas needing more depth, helping to highlight details and make the pattern more intricate.
Increase contrast by selectively brightening areas with Zamersi Desert, followed by Ushabti Bone and Ceramite White for the highest highlights. This step is crucial for giving the pattern a three-dimensional look.
Blending the Skull into the Pattern:
To integrate the skull into the background, extend pattern elements over the edges of the skull. Use a fine detail brush and steady hand to draw lines and shapes that flow from the skull into the surrounding areas, unifying them.
Final Highlights and Touch-Ups:
Add final highlights with Ceramite White to the highest points of the pattern, enhancing the illusion of depth and detail.
Review the piece for any areas requiring further refinement or additional highlights before sealing your work.
Glazing for Cohesion:
Create a glaze with Firedragon Bright and water for a thin consistency. Apply this over the entire pattern, especially where transitions need softening or colours unifying. The glaze will blend highlights and shadows for a cohesive look.
Finishing Touches:
Once the glaze has dried, reassess the effect. If necessary, redefine any details with base colours that may have been softened too much by the glazing.
Sealing the Work:
After ensuring the paint is completely dry, apply a matte varnish to protect your work. This also helps unify the finish across different textures and layers.
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In my How to Paint Abaddon Cloak video series, we’ll be taking a deep dive into painting the cloak of Abaddon the Despoiler—one of the most iconic and menacing figures in the Warhammer 40K universe. From creating a rich, weathered leather effect to the intricate freehand designs symbolising the four Chaos Gods, this tutorial will guide you through every step. We’ll be using a mix of Games Workshop and Vallejo paints to bring out the dark, foreboding atmosphere of Abaddon’s cloak while ensuring it matches his brutal, battle-hardened aesthetic.
Video – How to Paint Abaddon Cloak (Leather Effect)Paints neededPainting the Inside of the Cloak Video – How to Paint Abaddon Cloak Freehand Part OnePaints and materials neededPreparing the CloakStarting the Freehand Video – How to Paint Abaddon Cloak Freehand Part TwoPaints needed:Refining the Slaanesh HeadDetailing and TexturingVideo – How to Paint Abaddon Cloak Freehand Part ThreePaints neededPainting the Khorne Head Video – How to Paint Abaddon Cloak Freehand Part FourPaints and materials neededPainting the Nurgle Head Video – How to Paint Abaddon Cloak Freehand Part FivePaints needed:Video – How to Paint Abaddon Cloak Freehand Final PartPaints neededWhy I Chose to Paint the Cloak This Way:All Abaddon TutorialsVideos Not Showing?
Video – How to Paint Abaddon Cloak (Leather Effect)
Paints needed
Paints:
Vallejo: Heavy Sienna, Dwarf Skin, Scab Red
Games Workshop: Rhinox Hide, Mournfang Brown
Painting the Inside of the Cloak
Base Coating:
Prime the cloak black. This will serve as the base for the following layers.
Apply a rough coat of Rhinox Hide. Use a scrubbing motion with your brush to create an uneven, patchy texture. This coat should be about 1.5 parts paint to 1 part water. The goal is to have a base colour that isn’t perfectly smooth, as this will add to the weathered effect.
First Layer of Texture:
Use Vallejo Heavy Sienna to add the first layer of texture. This paint is extra opaque, which makes it ideal for creating highlights and adding detail.
Apply the paint using the tip of your brush, creating very rough, random marks all over the cloak. Use a cross-hatching and squiggling technique to add a sense of worn leather. This coat should be around 50/50 paint to water for better flow.
Second Layer of Texture:
Once the first layer is dry, use Cadian Fleshtone to add more refined texture marks. These marks should be thinner and more considered than the previous layer. Focus on the highlight areas but make sure to add some detail in the shadowed areas as well.
Highlight Detailing:
With Dwarf Skin (or a similar light flesh tone), add fine highlights to the cloak. These highlights should be placed carefully to enhance the texture and add depth. Use very thin paint (more than 50/50 water to paint) and minimal paint on the brush to achieve subtle, translucent marks.
Glazing:
Prepare three colors on your wet palette: Mournfang Brown, Rhinox Hide, and Scab Red.
Using heavily thinned Mournfang Brown (around 6 parts water to 1 part paint), glaze over the cloak, focusing on the mid-tones and recesses. This will add a warm tone and help unify the previous layers.
Apply Rhinox Hide glaze to the shadow areas to enhance depth. This glaze should also be very thin.
Use Scab Red to add some variation and interest, especially in the darker areas.
Fading the Edges:
To create a faded effect at the bottom of the cloak, use Scab Red mixed with Rhinox Hide. Thin the paint significantly and apply multiple layers, building up the color gradually.
Make sure the transitions are soft by using long strokes that follow the flow of the cloak.
Final Touches and Varnishing:
After completing the texturing and glazing, apply a coat of matte varnish to protect your work and reduce shine. This will also help to soften the overall effect and integrate all the layers.
Video – How to Paint Abaddon Cloak Freehand Part One
Paints and materials needed
Paints:
Games Workshop: Emperor’s Children, Fulgrim Pink, Rhinox Hide, Kantor Blue
Vallejo: Black, Heavy Grey, Sunset Red
Brushes:
Detail brush with a fine tip (size 00 or 0)
Standard brush
Palette: Wet palette recommended
Tools:
Clean cloth or paper towel
Magnifying visor (optional for fine details)
Ultramar Varnish (for a protective layer)
Preparing the Cloak
Visualizing the Design:
Before starting the freehand, visualize your design. You can use a photo editing tool to superimpose a rough sketch on a picture of the cloak to align your design. This helps in understanding the flow and positioning of the elements.
Base Preparation:
Ensure the texture work on the cloak is complete. This includes the heavy weathering and crack effects as detailed in the previous videos.
Applying a Protective Layer:
Apply a thin coat of Ultramar Varnish to the cloak. This provides a slight protective layer that can make it easier to correct mistakes without damaging the underlying paint.
Starting the Freehand
Marking Guidelines:
Use a thinned black paint to draw a cross on the cloak. This helps in aligning your design elements and ensuring symmetry.
Blocking in Colors:
Start by blocking in rough shapes for each of the Chaos Gods. Use the following colors for the base blocks:
Slaanesh: Fulgrim Pink
Nurgle: Rhinox Hide
Khorne: Sunset Red
Tzeentch: Kantor Blue
Detailed Blocking for Slaanesh:
Focus on the Slaanesh section first. Block in the basic face shape using Fulgrim Pink. Remember, this is just the base layer, so it doesn’t need to be perfect.
Refining the Shape:
Add basic facial features with a darker pink or purple mixed with Fulgrim Pink. This includes the rough position of the eyes, nose, and mouth.
Adjusting and Correcting:
Use Rhinox Hide to correct and refine the shapes. Rhinox Hide is great for this purpose due to its translucency, which allows you to darken areas without completely obscuring the details underneath.
Video – How to Paint Abaddon Cloak Freehand Part Two
Paints needed:
Paints:
Games Workshop: Emperor’s Children, Fulgrim Pink, Mephiston Red
Vallejo: Black, Sunset Red
P3: Morrow White
Refining the Slaanesh Head
Starting with the Horns (Optional):
Initially, I planned to add horns to the Slaanesh head, but later decided against it for compositional reasons. If you prefer to include horns, start by blocking them in with Fulgrim Pink or a similar color. Remember, details on such a small scale can become cluttered quickly.
Painting Over Mistakes:
If you decide against an element (like the horns), don’t worry. Paint over it with the base color of the cloak (Rhinox Hide) to blend it back in. Mistakes are part of the process and can be easily fixed.
Adding Black Hair:
Using Vallejo Black, paint in the hair for the Slaanesh head. Keep the hair wavy and flowing to add movement and dynamism. Focus on keeping the strokes soft and thin.
Refining Facial Features:
Continue refining the face. Use Emperor’s Children mixed with Morrow White for highlights, and Sunset Red mixed with Black for shadows. Work slowly and build up the layers gradually.
Pay special attention to the eye sockets, nose, and mouth. These areas define the expression and overall look of the face.
Balancing Highlights and Shadows:
It’s important to balance your highlights and shadows. Ensure the lighting is consistent across the face to maintain a three-dimensional look. Use Fulgrim Pink and Emperor’s Children for lighter areas and mix in more white for the brightest highlights.
Detailing and Texturing
Teeth and Tongue:
For the teeth, use Morrow White. Since the teeth are very small, it’s challenging to add transitions. Focus on making them look sharp and slightly pointy without over-emphasizing.
For the tongue, start with Sunset Red and add shading with a darker red. Add subtle highlights with Emperor’s Children mixed with Sunset Red.
Softening the Edges:
Around the eyes and mouth, use diluted Rhinox Hide to soften the edges and blend the features into the face. This helps avoid a cartoony look and makes the face appear more natural.
Adding Red Tones:
Use Mephiston Red diluted with water (2.5 parts water to 1 part paint) to add red tones to the face. Apply this glaze lightly to enhance the overall color without overpowering the existing details.
Video – How to Paint Abaddon Cloak Freehand Part Three
Paints needed
Paints:
Games Workshop: Mephiston Red, Evil Sunz Scarlet, Wild Rider Red, Balor Brown, Rhinox Hide, Morghast Bone, Blue Horror
Vallejo: Model Colour Black
Painting the Khorne Head
Base Colours:
Start with Mephiston Red to block in the base color of the Khorne head. Ensure even coverage.
Use Evil Sunz Scarlet to add highlights, focusing on areas that catch the most light.
Outlining with Black:
Use Vallejo Black to outline the features of the face. This helps define the shapes and make them stand out against the brown leather background.
Focus on outlining the eyes, nose, and mouth areas to start shaping the face.
Shading and Highlighting:
For shadows, use Rhinox Hide mixed with Mephiston Red. This helps deepen the shadows without losing the red tone.
Use Balor Brown for the first layer of highlights, especially on the raised areas like the cheekbones and forehead.
For more pronounced highlights, use Wild Rider Red mixed with Morghast Bone. Apply these sparingly to maintain the red color.
Detailing the Horns:
Paint the horns with Balor Brown as the base color.
Add highlights using Morghast Bone, focusing on creating a ribbed texture to give the horns a natural look.
Use Rhinox Hide to add shadows and define the ribs on the horns. The goal is to create a cylindrical appearance.
Adding Facial Features:
Paint the eyes black, then add a small dot of Balor Brown to represent the iris.
Add details to the teeth using Morghast Bone. The teeth should be sharp and prominent.
Use Blue Horror for final highlights on the face and horns. This helps tie all the heads together with a consistent light source.
Additional Details:
Add small horns or spikes on the Khorne head to fill in empty spaces and add more detail. Paint these with Balor Brown and highlight with Morghast Bone.
Use Mephiston Red to paint the gums around the teeth, adding Rhinox Hide for shading.
Video – How to Paint Abaddon Cloak Freehand Part Four
Paints and materials needed
Paints:
Games Workshop: Rhinox Hide, Deathworld Forest, Warboss Green (optional), Balor Brown, Morghast Bone, Screaming Skull, Mournfang Brown, Bugman’s Glow, Cadian Fleshtone
Vallejo: Black, Heavy Grey (optional), Golden Olive, Pale Grey Blue
Painting the Nurgle Head
Base Coloirs:
Start by sketching the rough shape of the Nurgle head with Deathworld Forest.
Use Rhinox Hide to outline and add shadows to define the initial shape of the head.
Building Up Details:
Use Warboss Green and Golden Olive to add highlights, focusing on areas that catch the most light. For a less vivid color, minimize the use of Warboss Green.
Apply Vallejo Black to outline the eyes, nose, and mouth, adding definition to the facial features.
Adding Wrinkles and Texture:
Paint wrinkles and lines using Golden Olive mixed with Deathworld Forest. Follow the natural flow of the face to make the lines look more realistic.
Use Rhinox Hide to deepen the shadows and add more depth to the wrinkles.
Painting the Mouth and Teeth:
Use Bugman’s Glow and Cadian Fleshtone for the gums. Start with Bugman’s Glow for the base and highlight with Cadian Fleshtone.
Paint the teeth with Morghast Bone, and add highlights with Screaming Skull. Outline the teeth with Vallejo Black for better definition.
Highlighting and Shading:
Use Balor Brown and Morghast Bone for additional highlights on the face and horn.
Blend the highlights using Rhinox Hide for smooth transitions. This helps in maintaining the three-dimensional look of the head.
Painting the Horn:
Base coat the horn with Balor Brown. Add highlights using Morghast Bone and Screaming Skull.
Create a ribbed texture on the horn using fine lines and blend with Rhinox Hide.
Detailing the Eyes:
Paint the eyes with Vallejo Black for the pupils and Balor Brown for the iris. Add a small white dot for the light reflection.
Adding the Tongue:
Paint the tongue with Bugman’s Glow and highlight with Cadian Fleshtone.
Add depth and shadows using Rhinox Hide and Pale Grey Blue.
Adjust the shape of the tongue as needed for better composition.
Video – How to Paint Abaddon Cloak Freehand Part Five
Paints needed:
Paints:
Games Workshop: Rhinox Hide, Balor Brown, Morghast Bone, Ushabti Bone, Mournfang Brown, Bugman’s Glow, Cadian Fleshtone, Blue Horror, Night Lords Blue, Temple Guard Blue
Vallejo: Black
Painting the Tzeentch Head
Base Colours:
Start by blocking in the rough shape of the Tzeentch head with Night Lords Blue. This dark background will help define the initial shape.
Use Temple Guard Blue to add initial highlights and define the contours of the head. This contrast will make the shape more visible despite the translucency of the paint.
Refining the Shape:
Use Vallejo Black to outline and add bold details. This will help define the facial features and add depth.
Apply Balor Brown to areas that will represent the beak and other prominent features of the head.
Detailing the Beak:
Use Balor Brown as the base for the beak. Add highlights with Morghast Bone and Ushabti Bone to create a gradient effect.
Paint the inside of the mouth with Vallejo Black to create depth.
Add details to the beak, such as small teeth, using Morghast Bone. Highlight with Ushabti Bone for a more pronounced effect.
Creating Texture:
Use Blue Horror and Temple Guard Blue to create a feathery texture on the head. These marks should be softer and more translucent to blend well with the darker base.
Add small tendrils or feathery protrusions using the same colors to differentiate the Tzeentch head from the other Chaos heads.
Painting the Eye:
Paint the eye with Balor Brown. Use multiple layers to build opacity, focusing on the lower part of the iris for a highlighted effect.
Add the pupil with Vallejo Black and a small white reflection dot with Morghast Bone.
Adding the Tongue:
Use Bugman’s Glow and Cadian Fleshtone to paint the tongue. Start with Bugman’s Glow for the base and highlight with Cadian Fleshtone.
Add depth and shadows using Rhinox Hide and Blue Horror. Adjust the shape of the tongue as needed to fit the overall design.
Final Touches:
Use Mournfang Brown to add subtle shading and transitions on the beak and other areas. This colour’s low opacity will help create smooth blends.
Add small details, such as saliva or other organic textures, with Blue Horror. Ensure the marks are thin and subtle for a more natural look.
Video – How to Paint Abaddon Cloak Freehand Final Part
This final part of the freehand painting series brings together the intricate design on Abaddon’s cloak, highlighting the iconic eight-pointed star of chaos and adding weathering effects for a unified, detailed finish.
Paints needed
Paints:
Games Workshop: XV-88, Balor Brown, Mournfang Brown, Rhinox Hide, Mephiston Red, Evil Sunz Scarlet, Wild Rider Red, Cadian Fleshtone, Temple Guard Blue, Kantor Blue (for additional eyes – iris)
Vallejo: Black, Pale Grey Blue, Neutral Grey, Ice Yellow
P3: Morrow White
Painting the Eight-Pointed Star of Chaos
Base Color:
Start by painting the base of the eight-pointed star with XV-88. This will serve as the foundation for a non-metallic gold effect.
Sketch the star and its arrows lightly, ensuring they fit around the four Chaos Gods’ heads without overpowering the design.
Refining the Star:
Add detail to the arrows, making them irregular in size and shape for a chaotic effect. Be mindful of the faces you have already painted.
Incorporate the star into the existing design by blending it into the heads and the background.
Painting the Eye of Chaos:
In the center of the star, paint an oval shape with Vallejo Black for the eye.
Add highlights around the eye using Neutral Grey and Pale Grey Blue, leaving a black outline for definition.
Paint the iris with Mephiston Red, then layer Evil Sunz Scarlet and Wild Rider Red towards the bottom for a glowing effect.
Add a highlight shine with Pale Grey Blue and a small dot of Morrow White for a realistic eye.
Adding Non-Metallic Gold Effects
Highlighting and Shading:
Add highlights to the star using Balor Brown, Mournfang Brown, and Rhinox Hide for depth. Use Ice Yellow for sharp highlights.
Focus on creating a three-dimensional look by highlighting edges and adding shadow in the appropriate areas.
Use small dots of Morrow White for the brightest points to simulate metallic reflections.
Integrating the Design:
Paint subtle connecting lines from the star to the heads using the same gold colors. This helps unify the design.
Blend some of the gold into the heads, especially around the edges, to show that they are part of a single piece.
Weathering Effects
Adding Wear and Tear:
Use Cadian Fleshtone to add fine scratches and wear marks over the entire design. These should be thin and subtle to avoid overpowering the details.
Focus on the edges and high points of the design where natural wear would occur.
Glazing:
Create glazes with Rhinox Hide and Mournfang Brown by diluting them with water (7:1 or 10:1 ratio).
Apply these glazes over the scratches and around the heads to tone down the highlights and add depth.
Use Mournfang Brown to add warmth back to the gold areas where needed.
Final Touches
Additional Eyes:
Paint small additional eyes throughout the design using the same technique as the main eye, but using Temple Guard Blue and Kantor Blue for the iris.
These eyes add a creepy, chaotic element to the design.
Final Review:
Step back and review the entire cloak to ensure the design is cohesive and balanced.
Make any final adjustments to highlights, shadows, and details to ensure the freehand looks integrated and realistic.
Why I Chose to Paint the Cloak This Way:
When painting Abaddon’s cloak, I wanted to reflect both his status and the weight of his millennia-spanning crusades. The inside of the cloak features a worn, leather texture, which I chose to represent the endless battles Abaddon has fought—this cloak has been through as much war as the Warmaster himself. The scrubbing and layering techniques help give it a rich, aged look, adding a sense of history and character to the model.
The freehand design on the back is a visual homage to the four Chaos Gods—Slaanesh, Nurgle, Khorne, and Tzeentch—who each play a critical role in Abaddon’s rise to power. Each head is painted with its own unique style and colour scheme to represent their distinct personalities, but I also aimed to blend them into the chaotic flow of the cloak, reflecting how intertwined their influences are in Abaddon’s life.
The eight-pointed star of Chaos ties it all together, symbolising Abaddon’s mastery over the forces of Chaos Undivided. It’s not just about painting the symbols, but about integrating the chaos of these gods into the fabric of his existence, making the cloak more than just a piece of his armour—it’s a canvas for his dark legacy.
All Abaddon Tutorials
There are lots more tutorials for painting Abaddon! Follow the link below to watch them all, or scroll town to explore them by model part.
Abaddon the Despoiler
A series of videos on how to paint Abbadon the Despoiler to competition standard – (new step-by-step guides included!)
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A selection of tutorials on how to paint Master Lazarus’ Cloak. In these we explore simple freehand with bold, clean lines, then move onto the more complex custom Dark Angel symbol on the rear of Master Lazarus of the Dark Angels.
Video: Simple Freehand Cloak – Front
This video shows how to paint the simple Dark Angel freehand symbol on the inside of the cloak of Master Lazarus
The following paints were used: Games Workshop: Mephiston Red Vallejo: Ice Yellow, Neutral Grey, Pale Grey Blue
Step-by-Step – How to paint the cloak of Master Lazarus of the Dark Angels
Step 1: Preparation
Ensure that you have already glued the cloak onto the model.Have Mephiston Red paint ready for the freehand work.Make sure you’ve applied texture work to the cloak before starting the freehand.Step 2: Starting the FreehandBegin with a drag motion using Mephiston Red along the edge of the cloak. This will be your first guideline.Maintain consistent pressure while painting to ensure an even line.Step 3: Lower EdgeRepeat the process for the lower edge.Step 4: Creating Simple ShapesPaint a line equidistant from horizontal and vertical lines, forming the basis for the sword part of the wing.Be cautious with thickness and avoid making it too thick.Step 5: Painting WingsPaint the wings by going straight up towards the guideline, making your life easier.Focus on leaving space at the top for the hilt of the sword.Feel free to paint curves for feathers, keeping in mind the hilt’s space.Step 6: Painting the HiltPaint a line straight across for the hilt, extending it to touch the wings.Use neutral gray and pale gray blue to define the diamond shapes on the hilt.Cut into the edges with the appropriate gray colours to make it sharp.Step 7: Adding Details to FeathersUse neutral gray and pale gray blue to define individual feathers on the wing.Make them as sharp as possible, and don’t worry if they look slightly patchy.Step 8: Adding Lighting EffectsMix ice yellow with the base colour to create a gradient for the highlights.Paint a gradient up towards the lightest part on the cloak, following the natural flow of light.Ensure neat painting, using the tip of the brush and bracing your arms for stability.Step 9: Final TouchOptionally, add a touch of ice yellow to the line underneath the hand for a subtle transition.Soften the contrast and make the lighting more cohesive with the overall model.
Video: Complex Cloak – Back Freehand Part One
This video shows the difficulty of painting a design for the cloak of Master Lazarus and how to paint the freehand.
The following paints were used: Vallejo: Black, Pale Grey Blue, Dark Blue Pale, Dark Grey, Black P3: Morrow White
Step-by-Step – How to paint the cloak of Master Lazarus of the Dark Angels
Step 1: Prepare the BaseMake sure your model has been previously stippled and glazed, creating a smooth surface for the freehand work.If needed, adjust the base colours by adding white and gray-blue to achieve a smoother finish.Step 2: Outline the DesignBegin by using Vallejo model colour black to outline the freehand design on the rear of Master Lazarus’s cloak.Take note of any folds or challenges in the cloak’s sculpt, as these may impact the symmetry and centralization of the design.Step 3: Adjust PlacementAddress any issues with the cloak’s fold or bias to one side by adjusting the placement of the design.Consider the visibility of the main focal points, such as a sword, and ensure they are not hidden within creases.Step 4: Start the Freehand WorkUse black as a base colour for the freehand work, focusing on creating the overall shapes and outlines of the design.The black background allows for easier corrections, but the details should be lighter than black to ensure visibility.Step 5: Refine the DesignRefine the shapes and details by using a 50/50 mix of dark blue pale and dark gray.Take your time with the refining stage, using the tip of the brush to add intricate details to feathers and other elements.Step 6: Add Organic DetailsIntroduce organic details, such as veins in the feathers, to make the freehand design look more natural.Make small tweaks to enhance the overall appearance, ensuring the design is visually appealing.Step 7: Focus on Feather HighlightsHighlight the feathers using a 50/50 mix of dark blue pale and dark gray, focusing on the tips and edges.Avoid making the edge highlights too obvious, maintaining the illusion of feathers.Step 8: Work on Sword HiltMove on to the detailed and complex freehand on the hilt of the sword, planning for a non-metallic effect.Use various shades, starting with dark blue pale and gradually adding pale gray blue for highlights.Step 9: Create Texture and HighlightsBuild texture by creating small marks and bumps on the hilt, paying attention to the shapes and transitions.Add dots with white on the brightest parts to enhance contrast and create a more dynamic effect.Step 10: Final TouchesMake final adjustments as needed, ensuring that the freehand complements the overall model without overshadowing it.Take breaks when necessary to maintain focus and avoid painting when fatigued.Note: Keep an eye on the wet palette, especially in warmer conditions, to prevent paint from thickening and affecting the painting process.
Video: Complex Cloak – Back Freehand Part Two
This video is part 2 for how to paint the custom Dark Angel symbol on the rear of Master Lazarus of the Dark Angels.
The following paints were used: Vallejo: Dark Grey, Blue Grey Pale, Pale Grey Blue, Heavy Goldbrown, Ice Yellow, English Uniform, Black Games Workshop: Mournfang Brown P3: Morrow White
Step-by-Step – How to paint freehand on Master Lazarus of the Dark Angels
Step 1: PreparationEnsure you have the necessary paints ready: Dark Grey, Blue Grey Pale, Pale Grey Blue, Heavy Goldbrown, Nuln Oil, Pale Grey Blue, P3 Morrow White, and a 50/50 mix of Heavy Gold Brown and Ice Yellow.Step 3: Start with Skull and CircleUse English Uniform to roughly block in the skull and circle in the center of the cloak.Use Nuln Oil to define eye sockets and nose hole.Cut into shapes with black paint to refine details.Step 4: Gold Non-Metallic SkullHighlight skull with a mix of Heavy Goldbrown and Ice Yellow.Emphasize high contrast, especially on the forehead for a non-metallic look.Step 5: Detailing the BladePaint the blade using Blue, Blue Grey Pale, a 50/50 mix of Dark Gray and Pale Blue, and Pale Gray Blue.Consider the highlights on the blade separately to ensure clarity.Step 6: Refining the DesignCut back into the design with fluid black paint for sharper edges and finer highlights.Emphasize the central section of the blade, adjusting highlights accordingly.Add random highlights with Blue Grey Pale to enhance the non-metallic look.Step 7: Wings and TrimPaint the second wing with slight variations, maintaining an organic feel.Cut into black edges for sharpness, especially at the bottom of the cloak.Highlight the gold trim, aligning it with the natural highlights on the cloak.Step 8: Final TouchesCheck for any faults or blobs and address them.Avoid making highlights too bright, maintaining a realistic feel.Consider adding small details for visual interest without overshadowing the main design.
All videos are recorded in HD 1080p or higher – use full screen for the full effect and let the video load completely.
More Freehand tips:
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A set of video tutorials on How to Paint Mortarions Wings, with paints and step-by-step guides on freehand.
Demon Wing Details
First steps and basics For a pdf on how I cleaned the wing ready for painting, visit : https://richardgraycreations.com/mortarion-wing-prep-pdf/ )
All videos are recorded in HD 1080p or higher – use full screen for the full effect and let the video load completely.
Demon Wing Details: Part One
The following paints were used:Games Workshop: Rhinox Hide, Yriel Yellow, Kislev Flesh, Cadian Fleshtone, Moot Green, Xereus Purple, Evil Sunz Scarlet*note, in the video I show Emperor’s Children and Death Guard Green. These were not used in this video. Vallejo: Ivory
Demon Wing Details: Part Two
The following paints were used:Games Workshop: Mournfang Brown, Cadian Fleshtone, Kislev Flesh, Xereus Purple, Valejo: Ivory
Demon Wing Details: Part Three
The following paints were used:Games Workshop: Cadian Fleshtone, Kislev Flesh, Rhinox Hde, Xereus Purple, Vallejo Model Colour: Ivory
Step by Step Tips: How to Paint Mortarions Wings – Demon Wing Details
Part One:
Prepare the Model: Confirm that the model has been properly primed, and any base colors, such as carmine, have been applied. Take a moment to inspect the model and identify any pre-painted outlines or details.
Outline with Rhinox Hide: Utilise Rhinox Hide to start painting the outlines on the wings. This step involves creating the base pattern and initial details. Opt for Rhinox Hide over black to match the desired fleshy tone of the wings.
Paint Veins with Xereus Purple: Select Xereus Purple to paint the vein-like details on the wings. Use a larger brush for broader coverage and to establish the initial structure. The combination of Xereus Purple and Rhinox Hide will give a dark, diseased appearance to the veins.
Add Variation to Veins: Pay attention to the thickness and variation of the veins. Make deliberate wiggles and different shapes to create depth and interest. Ensure that the veins go over some of the previously painted thick lines for a more realistic effect.
Consider Viscosity of Paint: Observe the viscosity of the paint; it should be thick enough to allow for fine lines. This is crucial for painting detailed and thin veins. You can load the brush more freely when using a thicker paint.
Add Vein Details: Paint thin lines of purple coming out from certain areas, resembling veins spreading out. Use the thickness of the brush to your advantage, allowing for both longer lines and finer details.
Introduce Spot Colours: Incorporate spot colours using Moot Green from Games Workshop. These spots will contrast with the purple, adding visual interest to specific areas, like craters on the wings.
Highlight Veins: Highlight the veins by using Kislev Flesh, creating a raised vein effect. This will add depth and dimension to the wing.
Soften Edges and Add Shadows: Use glue to soften edges and make the veins appear less pustule-like. Introduce shadow areas around the veins to enhance the three-dimensional look.
Plan Lighting Directions: Consider the lighting directions on the model. Reflective lights and multiple light sources can contribute to a realistic 3D effect. Think about how the light interacts with the various elements on the wings.
Part Two:
Set Up Your Palette: Arrange your paints on the wet palette, as shown in the top right corner of the video. Let them mix a bit for added variation in your application.
Begin with Cadian Fleshtone: Using Cadian Fleshtone, highlight the small segments between the veins. Focus on the upper areas to mimic light hitting from above.
Use Reasonable Dilution: Ensure the paint is reasonably diluted, allowing for smoother application. As you’re highlighting, create the impression of shadows by avoiding direct application on dark vein edges.
Utilise Mournfang Brown and Xereus Purple: Outline details with Mournfang Brown, and use Xereus Purple to add depth. These details may evolve organically as you progress.
Fine-tune with a Sharp Brush: For fine details, use a sharp-tipped brush. Paint slightly thicker than usual, taking advantage of the wet palette to maintain consistency.
Create Organic Look: Emphasise the fleshy and organic feel by avoiding a precise pattern. Moths and butterflies inspire the style, but the focus is on a fleshy appearance.
Observe Light Source: Keep the light source in mind while highlighting. Work on veins to create shadows, ensuring a dynamic and realistic look.
Add Transition Colours: Utilise mixed-up areas on the palette for transition colours. This adds depth and enhances the shadow effect, especially on larger, rounder areas.
Experiment with Xereus Purple Outlining: Experiment with Xereus Purple outlining to enhance details. Remember, fine details may evolve as you progress, creating a unique and organic look.
Balance the Details: Constantly tweak and balance details as you go. Ensure the veins, fleshy areas, and fine details complement each other for a cohesive appearance.
Keep Consistency: Maintain consistency in the colour palette but vary the ratio of colours. This provides variation while adhering to a cohesive theme.
Avoid Exaggeration: While enhancing details, avoid exaggeration. The goal is to create an organic, fleshy look without turning it into a three-dimensional eyeball.
Part Three:
Understand the Existing Freehand Progress: Examine the progress of the freehand on the model, especially the veins and patterns. Note that Rhinox Hide comes in two versions, with the thinner one used for glazes and quick transitions.
Begin Painting the Veins: Start with Rhinox Hide to paint veins, emphasizing the connections and flow between them. Be mindful of curves and avoid making the veins look too straight or jarring.
Create Veins as Eyelashes: Connect the veins to the eye, using them as eyelashes. This adds a unique and natural touch to the model, representing an organic connection between the eye and wing.
Add Variation to Veins Around Holes: Paint veins around holes using Xereus Purple, varying the pattern to avoid repetition. Darken the area around the hole for contrast and tonal variation.
Adjusting Freehand for a Cohesive Look: As the freehand progresses, ensure that the details flow well with each other, avoiding a disconnected appearance. Veins should follow the natural contours of the wing.
Layering for Depth: Layer veins to create depth, using Kislev Flesh and Ivory for highlights. This technique makes the veins appear more 3D and layered.
Darken and Outline: Darken certain areas using Rhinox Hide to create shadows and depth. Outline veins and details to make them stand out clearly.
Highlighting and Refining: Use Vallejo Ivory to highlight specific sections, creating contrast and emphasizing the shapes. Continuously refine and tweak details, keeping an eye on the overall picture.
Glazing for Smooth Transitions and Shapes: Use glazing to create smooth transitions between different paint layers. This is particularly useful for blending colours seamlessly. Apply glazes to emphasise the shapes of painted sections, ensuring a smooth and coherent look.
Final Touches: Continue refining details, emphasising shapes, and making any final adjustments. Take your time to ensure a high-quality finish.
How To Paint Mortarions Wings: Blue Eye
The following paints were used:Games Workshop: Cybarite White, Flayed One Flesh, Doombull Brown, Balor Brown, Evil Sunz Scarlet, Lothern Blue, Ahriman Blue (optional) Rhinox Hide Vallejo: Ultramarine Blue, Night Blue (optional) Black, Pale Grey Blue P3: Ryn Flesh
Step by Step Tips: How to Paint Mortarions Wings – Blue Eye
Start with the Blue Detail on the Eyes: Commence the process by using Ultramarine Blue to paint a circle in the center of the existing black circle on the wing. Precision isn’t crucial at this point; you can refine it later.
Refine the Blue Circle: Utilize black paint to clean up and refine the edges of the blue circle, serving as a guideline for the forthcoming details.
Add Fine Details with Ultramarine Blue: Apply Ultramarine Blue to create fine lines and intricate details within the circle, representing the complex features of the eye. Allow the lines to follow the organic nature of the wing.
Highlight the Blue Details: Use Flayed One Flesh to highlight selected blue details, creating a smooth transition between colours and enhancing the eye’s three-dimensional appearance.
Introduce Pale Brown for Depth: Apply Pale Brown to add depth to the eye, concentrating on the lower section of the white. Be cautious not to use excessive paint to preserve the details from earlier steps.
Create Highlights with Flayed One Flesh: Revisit Flayed One Flesh to introduce highlights on the blue details, enhancing the overall aesthetic of the eye.
Glaze with Pale Grey Blue: Create a glaze using Pale Grey Blue and apply it to specific areas of the eye. This will help blend colours and add a layered effect to the strands and details.
Add Red Veins and Details: Carefully reintroduce red veins, resembling eyelashes from the bottom of the eye. Utilize a dragging motion with the brush for precise lines.
Correct Mistakes and Refine Detail: If any mistakes occur, use black paint to rectify errors and refine the intricate details, maintaining attention to the shape and flow of the lines.
Final Touches on Reflections: Add reflections to the eye using semi-white to highlight the central part of the reflection. Consider the light source and aim for a realistic and captivating result.
How To Paint Mortarions Wings: Demon Eye
The following paints were used:Games Workshop: Mephiston Red, Wild Rider Red, Rhinox Hide Doombull Brown, Zamesi Desert, Yriel Yellow, Moot Green Temple Guard Blue, Sotek Green, Abaddon Black, Cadian Fleshtone, Kislev Flesh, Ceramite WhiteVallejo Model Colour: Ivory, BlackP3: Iosen Green (GW Warpstone Glow alternative) Ryn Flesh
Step by Step Tips: How to Paint Mortarions Wings – Demon Eye
Outline the Pupil: Begin by outlining the pupil of the eye. Focus on the inner shape rather than the outer, as you can fix any wonkiness later.
Paint the Iris: Using a spread-out pattern, carefully paint the lines of the iris, starting from the center and moving outwards. Use a lighter colour to highlight some imperfections and indentations on the wing.
Refine the Lines: Separate the lines, especially around the Nurgle symbol. Use Abaddon Black as a rubber to create a rough outline and add depth to the design.
Introduce Different Colours: Experiment with different colours such as Temple Guard Blue and Wild Rider Red to add layers and details. Don’t be afraid to mix colours on the brush for a varied effect.
Paint the Sclera: Apply Temple Guard Blue to the sclera, ensuring a smooth transition from the red, and be cautious not to paint over the detailed lines.
Enhance Highlights: Use Ceramite White to brighten the eyes, creating a strong contrast. Paint carefully, following the shape of the eye for a rounded and natural look.
Add Veins: Use Mephiston Red to paint veins onto the white of the eye, creating a realistic effect. Keep the lines subtle and centered for a natural appearance.
Apply Glazes: Use glazes to soften transitions and tie the piece together. Deploy glazes by loading the brush from the wet palette.
Final Highlights: Highlight with Ivory to emphasize details on the veins and enhance the overall look.
Add Reflections: Apply White to the reflections on the eye to give it a lifelike and 3D effect.
Create Wetness Effect: Using a small amount of Kislev Flesh or a similar colour, add small irregular dots to represent the wetness of the eye.
Need more Mortarion? Check out the other tutorial videos, below:
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A video tutorial with paints and a step-by-step guide on How to Paint Mortarions Blue Eye on his wings.
How to Paint Mortarions Blue Eye
The following paints were used:Games Workshop: Cybarite White, Flayed One Flesh, Doombull Brown, Balor Brown, Evil Sunz Scarlet, Lothern Blue, Ahriman Blue (optional) Rhinox Hide Vallejo: Ultramarine Blue, Night Blue (optional) Black, Pale Grey Blue P3: Ryn Flesh
Step by Step Tips: How to Paint Mortarions Blue Eye
Start with the Blue Detail on the Eyes: Commence the process by using Ultramarine Blue to paint a circle in the center of the existing black circle on the wing. Precision isn’t crucial at this point; you can refine it later.
Refine the Blue Circle: Use black paint to clean up and refine the edges of the blue circle, serving as a guideline for the forthcoming details.
Add Fine Details with Ultramarine Blue: Apply Ultramarine Blue to create fine lines and intricate details within the circle, representing the complex features of the eye. Allow the lines to follow the organic nature of the wing.
Highlight the Blue Details: Use Flayed One Flesh to highlight selected blue details, creating a smooth transition between colours and enhancing the eye’s three-dimensional appearance.
Introduce Pale Brown for Depth: Apply Pale Brown to add depth to the eye, concentrating on the lower section of the white. Be cautious not to use excessive paint to preserve the details from earlier steps.
Create Highlights with Flayed One Flesh: Revisit Flayed One Flesh to introduce highlights on the blue details, enhancing the overall aesthetic of the eye.
Glaze with Pale Grey Blue: Create a glaze using Pale Grey Blue and apply it to specific areas of the eye. This will help blend colours and add a layered effect to the strands and details.
Add Red Veins and Details: Carefully reintroduce red veins, resembling eyelashes from the bottom of the eye. Utilize a dragging motion with the brush for precise lines.
Correct Mistakes and Refine Detail: If any mistakes occur, use black paint to rectify errors and refine the intricate details, maintaining attention to the shape and flow of the lines.
Final Touches on Reflections: Add reflections to the eye using semi-white to highlight the central part.
All videos are recorded in HD 1080p or higher – use full screen for the full effect and let the video load completely.
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How to paint a Deathshroud Terminator Cloak using freehand. This model won me a Golden Demon in 2017! These models represent the grotesque and decay-themed warriors of Nurgle, a faction known for their resilience and corrupted, plague-ridden aesthetics. So, in these tutorials we are aiming to enhance the models’ appearance with detailed faces and textures on their cloaks!
Quick note here – these are some of my earliest tutorial videos, so are not of the same quality as my current tutorials visually and sound-wise. My apologies for this.Richard
Video: Deathshroud Terminator Red Cloak
This process results in a textured, worn cloak suitable for a Death Shroud Terminator, using a simple but effective painting technique.
Materials and Paints Used
Gal Vorbak Red (Forge World) Cadian Fleshtone (Games Workshop) Eldandil Violet (Scalecolour Fantasy)
Step by Step Guide
Base Coat: Start with Gal Vorbak Red as the primary colour.
Detailing and Texture: Use Cadian Fleshtone for adding highlights and texture, creating a worn and mouldy appearance.
Shading: Apply Eldandil Violet for shading in the recesses, enhancing depth and wear.
Glazing with Evil Sunz Scarlet: Use it as a glaze to add warmth to the cloak.
Refining Texture: Focus on cross-hatching movements to build texture, emphasizing the worn look.
Final Touches: Add further glazes and highlights to refine the texture and depth, tailoring the effect to your desired level of detail.
Video: Deathshroud Terminator Cloak Freehand
Materials and Paints Used
The following paints were used:Games Workshop: Rhinox Hide Vallejo: Heavy Brown, Cork Brown, Ice Yellow, Black P3: Battlefield Brown *Note, Morrow White was not actually used in this video, but is used in part 2.
Step by Step Guide
Preparation: I used a test model to experiment with my design concept. This approach allows you to refine the freehand pattern before applying it to the main models.
Base Colours: Apply Vallejo Heavy Brown as a foundational colour. Enhance the base with Cork Brown for a richer texture. Use Rhinox Hide to outline the design, ensuring the lines are crisp and distinct.
Detailing: Carefully mark the eye sockets with black paint, paying attention to the cloak’s folds. These details will add depth and character to the freehand design.
Highlighting: Utilize Ice Yellow for highlights. This step involves blending the highlights with the base colors to achieve a natural, integrated look. The highlights should accentuate the topography of the cloak and enhance the freehand design.
Shading: Use Battlefield Brown to deepen the shadows and add complexity to the design. This shade will create a more dynamic and realistic appearance on the cloak.
Finishing Touches: Review the entire design, making final adjustments for consistency and balance. Focus on refining the freehand artwork, ensuring it harmonizes with the cloak’s texture and the overall theme of the model.
Video: Deathshroud Terminator Cloak Freehand Refinement
Materials and Paints Used
The following paints were used: Games Workshop: Cadian Fleshtone, Pallid Wych Flesh, Bugman’s Glow, Rhinox Hide, Loren Forest, Nurgling Green, Vallejo: Ice Yellow, Cork Brown, Black, Neutral Grey, Pale Grey Blue, Heavy Brown P3: Battlefield Brown, Morrow White
Step by Step Guide
Base Preparation: Start by painting a rough base of fleshy shapes using Cadian Fleshtone. This initial layer doesn’t need to be perfect or smooth.
Detailing Ears and Face: Add ears to distinguish the image from a skull, creating a more zombie-like face. Use Kadeem Flesh Tone for this step.
Sketching Flesh and Bone: Sketch out areas where flesh appears torn or missing, revealing bone underneath. This technique enhances the undead appearance and integrates the existing skull highlights.
Adding White Highlights: Use Pallid Wych Flesh to accentuate bone areas, making them stand out from the flesh tone.
Painting the Eyes: Employ Neutral Grey, followed by Pale Grey Blue for the eyes. Add white dots in the center and top left corner of each eye for a lifelike effect.
Mouth and Teeth Details: Refine the mouth and teeth using Rhinox Hide and Ice Yellow for highlights. Focus on defining the teeth shapes and adding depth to the mouth.
Adding Texture to Flesh: Use Bugman’s Glow and other flesh tones to create textured, worn skin. Apply these tones in layers, allowing the underlying skull details to peek through.
Final Touches: Finish by adding fine details and additional highlights to enhance the depth and realism of the freehand design.
The key to this process is building up the layers gradually, refining the details as you go, a
More Deathshroud Tutorials
How to Paint Deathshroud ArmourDeathshroud Scythe Handle WrappingDeathshroud Terminator Cloak FreehandHorn Painting Guide
All Deathshroud Bodyguard Video Tutorials
Death Guard Deathshroud Bodyguard
A series of video tutorials on how I painted my set of Golden Demon winning Death Guard Deathshroud Bodyguard! This includes nurgly armour, weathering, rust, metals, tentacles, freehand and more!
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Learn how to paint wing freehand on a Space Marine shoulder pad in this tutorial, with step-by-step guide including paints and materials needed.
This marine has lots more videos to follow, if you’d like to follow the link below! Or, if you are just interested in the freehand, scroll down to explore.
Black Marine
A set of video tutorials on how I painted this black marine, including small freehand tips, subtle weathering, leather and nmm gold detailing.
Watch Now
Video: How to Paint a Freehand on a Space Marine (bird skull and wings)
Materials Needed
Games Workshop paints: Balor Brown, Ushabti Bone
Vallejo paints: German Grey, Neutral Grey, Heavy Bluegrey
Fine detail brushes for the intricate work (I use the Artist Opus range).
A wet palette to keep your paints thinned and workable
A Space Marine model with a shoulder pad primed and base coated
Step by Step Guide to Freehand on a Space Marine
Step 1: Base Sketch – Start with a rough sketch of the raven skull in the centre of the shoulder pad using Balor Brown. Aim for an upside-down teardrop shape for the skull, keeping the paint light and not worrying about solid color or precise shape at this stage.
Step 2: Highlighting Background – Before detailing the freehand, ensure the shoulder pad is highlighted properly. This includes spot highlights and broader highlights to emulate light reflection. These will later integrate with the highlights on the freehand design.
Step 3: Painting the Wings – Using Neutral Grey by Vallejo, paint the rough shape of the wings flaring from the sides of the skull. The wings should be asymmetrical but balanced, with feathers ruffling outward. Utilize German Grey to add depth and shading, creating a transition between the colours and the black of the armour.
Step 4: Detailing the Skull – Refine the raven skull, paying special attention to its beak and eye sockets. Use German Grey to outline and add depth, ensuring the skull retains its distinct shape against the black armour. For the tip of the beak, maintain a dark but slightly contrasted tone to distinguish it from the background.
Step 5: Feather Texture – Gradually build up the feather texture on the wings using a combination of Neutral Grey and German Grey. Paint the feathers with a fine brush, starting from the base of the wing and working outwards, increasing in size. This creates a natural feathered effect.
Step 6: Final Highlights and Details – Use Ushabti Bone to add highlights to the skull, focusing on the top edges and the eye sockets to enhance its dimensional appearance. Apply Heavy Bluegrey for the final highlights on the wings, blending them into the armour’s highlights for a cohesive look.
Step 7: Finishing Touches – Review the entire piece, adding final adjustments to the skull and wings as necessary. You may need to retouch some areas to ensure a smooth gradient and correct any overspill. The aim is to have a clear, recognisable raven symbol that integrates well with the armour’s existing highlights and shadows.
Step 8: Sealing the Work – Once you’re satisfied with the painting, allow it to dry thoroughly. Consider sealing the model with a matte varnish.
All videos are recorded in HD 1080p or higher – use full screen for the full effect and let the video load completely.
Latest Freehand Tutorials:
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Video guides and step-by-steps on how to paint the Warcry Ogroid Myrmidon shield with this Scorpion Freehand.
Video: Scorpion Freehand First Steps
This first part of the tutorial covers the preparation and beginning stages of scorpion freehand painting on the Ogroid Myrmidon’s shield
Materials Needed:
Primer: Black
Base Colours: XV-88, Mournfang Brown, Zandri Dust, Morghast Bone (All Games Workshop)
Detailing: Model Colour Black (Vallejo)
Tools: Scalpel, fine-grit sandpaper, large and fine brushes, wet palette
Preparation:
Preparing the Shield: Remove the model’s original shield detail using a scalpel and fine-grit sandpaper to create a smooth surface for freehand painting. This process ensures a flat canvas for your artwork.
Priming: Prime the entire model, including the shield, in black to provide a uniform base coat. If desired, apply an underglow effect with Mephiston Red using an airbrush on the model’s underside for atmospheric lighting.
Painting the Shield’s Background:
Base Layer: Start by applying XV-88 in multiple thin layers to achieve an opaque finish. Mix approximately one part water to one part paint, using a fairly large brush for broad strokes. Patience is key; allow each layer to dry thoroughly.
Blending: While the XV-88 base is still workable, begin blending Mournfang Brown from the bottom of the shield upwards. This technique creates a gradient effect that adds depth to the shield’s background.
Highlighting and Texture: Use Zandri Dust and Morghast Bone to introduce highlights, particularly focusing on the top of the shield where light naturally hits. This process also starts to introduce the worn, textured look desired for the shield.
Brush Techniques: To achieve a smoother blend and avoid harsh brush marks, employ cross-hatching and other texturing techniques with your brush. This approach will help create a more natural transition between colours.
Glazing for Smoothness: After the initial layering and texturing, apply glazes of the same colours (XV-88, Mournfang Brown, Zandri Dust, Morghast Bone) diluted with water (about six or seven parts water to one part paint). Glazing helps smooth out transitions and enrich the colour depth.
Starting the Scorpion Freehand:
Design Placement: Before starting the scorpion freehand, consider the shield’s round shape and ensure your design aligns properly with the model’s orientation. Use the back of the shield as a reference to determine the top and bottom.
Sketching the Design: With Model Colour Black, begin sketching your scorpion freehand design. For this tutorial, a scorpion motif is used. Start with basic shapes and outlines, keeping the lines thin and manageable. This stage is about laying down the design’s foundation, so precision is more important than coverage.
Refining the Design: Gradually thicken and refine the outlines of your scorpion freehand design, paying close attention to symmetry and proportion. Adjust the thickness of the lines to create depth and interest.
Correcting Mistakes: If you make any errors or wish to adjust the design, you can cover mistakes with the base colours (XV-88, Mournfang Brown, Zandri Dust, Morghast Bone). This step may require reapplying glazes to blend the corrections into the background.
Video: Scorpion Freehand Refinement and Details
Looking at rendering the freehand scorpion to achieve a three-dimensional appearance and then weathering the shield for a battle-worn look.
Additional Materials:
A wet palette to keep paints hydrated and to mix custom colours.
Fine grit sandpaper for smoothing the shield surface after modifications.
A scalpel or hobby knife for removing details from the shield.
Water container for rinsing brushes.
Paper towels or a clean cloth for brush drying and paint removal.
Mixing palette for creating custom colours and diluting paints for glazing.
Hairdryer (optional) for speeding up the drying process between layers.
Sponge (optional, not used but mentioned) for creating textured weathering effects.
What do These Techniques Mean?:
Pointillism and Stippling: For creating textured effects on the scorpion’s carapace.
Glazing: Thin layers of paint applied to subtly shift colours or blend transitions.
Fine Detail Work: Using the very tip of a fine brush to outline and add intricate details to the scorpion.
Weathering: Applying chips, scratches, and wear to both the scorpion and the shield’s surface to create a battle-worn look.
Paints:
Games Workshop (Citadel):
Mournfang Brown
XV-88
Zandri Dust
Morghast Bone
Naggaroth Night
Khorne Red
Corax White (for mixing and creating lighter tones)
Vallejo:
Neutral Grey
Dark Grey
Warm Grey
Pale Grey Blue
Model Colour Black (for outlining and fine details)
P3 (Privateer Press):
Morrow White
Iyanden Yellow (mentioned as a substitute for Iosen Green for brighter effect)
Rendering the Scorpion
Base Layer: Begin with Neutral Grey for stippling and pointillism across the scorpion, creating texture and initial shadows. This technique simulates the scorpion’s shiny carapace.
Changing Techniques: Partway through, you might find the style needs adjustment to better represent the scorpion on a smaller scale. While aiming for realism, ensure the final look is visually appealing on the model.
Colour Palette Adjustment: Add Warm Grey and Pale Grey Blue to introduce subtle tonal variations, enhancing the scorpion’s three-dimensional appearance.
Highlighting: Use Morrow White sparingly for the highest highlights, focusing on areas like the pincers, the body segments, and the stinger to emphasize their importance and shininess.
Colour Glazing: Apply thin glazes of Naggaroth Night and Iyanden Yellow (substituted for Iosen Green for a brighter effect) to add colour depth without overpowering the grey tones. This step subtly alters the scorpion’s colour while maintaining its overall grey appearance.
Weathering the Shield
Preparation: Use the base colours (Mournfang Brown, XV-88, Zandri Dust, Morghast Bone) to match the weathering effects to the shield’s underlying tones.
Technique: Apply small, opaque marks with Dark Grey and Neutral Grey to simulate chips and wear, focusing on areas that would naturally receive more damage. Use a fine brush for precision.
Detailing: Enhance the weathering with thin lines and stippling, simulating scratches and abrasions. This creates a realistic effect of battle damage across the shield, including over the scorpion design.
Integration: To integrate the scorpion with the shield’s weathered look, apply thin glazes of Mournfang Brown over the entire design. This unifies the scorpion with the shield’s background, softening contrasts and blending the freehand work into the overall shield design.
Colour Highlights: For areas requiring correction or emphasis, use the shield’s base colours, adjusted one shade lighter, to subtly highlight edges and details, ensuring the scorpion remains the focal point.
How to Paint an Ogroid from Games Workshop – Step-by-step guides:
Ogroid Myrmidon
A selection of detailed videos including red OSL, NMM, fur effect, horns and freehand on his shield.
Watch Now
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Welcome to this detailed guide on how to paint the Legio Sinister freehand symbol for a Warlord Titan. I will be using various Games Workshop and Vallejo paints to achieve a polished and striking look. This guide is suitable for intermediate to advanced hobbyists due to the precision required in freehand painting.
Video – Legio Sinister FreehandPaints UsedSteps and Tips for the Legio Sinister FreehandStep By Step Image GuideMore Freehand Tutorials on the WebsiteFree Video Tutorials
Video – Legio Sinister Freehand
All videos are recorded in HD 720p or higher – use full screen for the full effect and let the video load completely.
Paints Used
Vallejo Model Colour Black
Games Workshop Paints: Mechanicus Standard Grey, Slaanesh Grey, Grey Seer, Mephiston Red, Mournfang Brown, XV-88, Dorn Yellow, Screaming Skull
Steps and Tips for the Legio Sinister Freehand
Mapping Out the Position: Begin by using Vallejo Model Colour Black to roughly outline where the symbol will be placed. Start with a small circle at the centre, gradually expanding outwards. Include a line at the top of the curve to centralise the image.
Refining the Shape: Progressively enlarge the symbol, focusing on refining its shape. Paint an approximate circle with spikes extending outward. Ensure even distribution of the black paint to provide a solid base for subsequent layers.
Applying Initial Colours: Commence with Games Workshop’s Mournfang Brown, applying it as a foundation for the non-metallic parts of the symbol. Layer on XV-88 next, followed by Dorn Yellow, with a focus on the top-left for the lighting direction. Remember, moderate use of Dorn Yellow prevents oversaturation.
Adding Highlights: Employ Screaming Skull to introduce highlights. Be judicious in this step, concentrating on the top left to evoke a lustrous appearance. The XV-88 should remain the predominant colour for the metallic aspects.
Painting the Lion’s Face: Utilise a range of greys (Mechanicus Standard Grey, Slaanesh Grey, Grey Seer) to depict the lion’s face. Start with basic shapes, refining them progressively. Pay special attention to the eyes, nose, and mouth, building depth with shadows and highlights.
Detailing with Red: Apply a glaze of Mephiston Red for a subtle red glow around the eyes and other facial areas. This step enhances the lion’s fierce visage.
Adding Fur Details: Use greys to render fur details, commencing with darker shades and progressing to lighter highlights. Focus on creating a three-dimensional effect with varied brushstrokes.
Final Details: Paint the Titanicus symbol on the lion’s forehead using black as a base. Layer greys for the non-metallic metal effect, ensuring a thinner central line for a precise appearance. Use Dorn Yellow and Screaming Skull for the highest highlights, ensuring they are well-placed to create a realistic metallic sheen.
Refining and Adjusting: As you near completion, revisit areas that require refinement. This may include sharpening edges, deepening shadows, or enhancing highlights. The key is to achieve a balance between contrast and harmony in the symbol’s details.
Final Touches: Examine the overall piece for any last-minute adjustments. This might involve intensifying certain colours, smoothing transitions, or adding small details to bring the symbol to life. Ensure the lighting direction is consistent and the symbol stands out against the background.
Step By Step Image Guide
The team at Warhammer Community approached me for some tips on freehand and I created an article with step by step imagery for the tutorial above – to view it, visit:
Tips on Freehand – Step-By-Step Image Guide : Adeptus Titanicus
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In my latest freehand for space marines tutorial “How to Paint a Shoulder Pad Tactical Marking for a Space Marine” we delve into the intricate process of painting the iconic shoulder pad marking for your Raven Guard Space Marine miniature from Games Workshop. Follow along as I break down each step, from laying down the base colour to adding highlights and battle damage, ensuring your model stands out on the battlefield!
Video: How to Paint a Shoulder Pad Tactical Marking for a Space Marine
All videos are recorded in HD 1080p or higher – use full screen for the full effect and let the video load completely.
Step-by-Step: How to Paint a Shoulder Pad Tactical Marking for a Space Marine
Prepare the Model – Ensure your Raven Guard Space Marine model is assembled and primed. Make sure to paint the highlights on the shoulder pad before starting on the tactical arrow marking.
Painting the Base Colour – Dip your fine detail brush into Vallejo Heavy Greyblue (Celestra Grey) paint. Begin by painting a line straight down the middle of the shoulder pad. Then, work outwards from this line to map the basic shape of the arrow. Focus on neat edges and use the tip of the brush for sharp lines.
Refining the Shape – Continue to refine the shape of the arrow, adjusting as needed to ensure symmetry and neatness. Pay attention to the edges, making sure they are clean and precise. Don’t worry too much about perfection, as minor mistakes can be covered with later detailing.
Adding Highlights – Using P3 Morrow White (Ceramite White), apply highlights to the arrow. Be cautious not to overlap onto the grey base too much. Focus on creating smooth transitions, blending the white into the grey gradually. Work from the centre of the arrow outwards for better control.
Glazing for Smoothness – To achieve a smoother finish, apply glazes of white paint towards the highlight areas. This helps to blend the colours seamlessly and enhances the overall appearance of the marking. Be mindful of brushstrokes and apply the glazes sparingly.
Adding Battle Damage – For a weathered look, use Vallejo German Grey (Skavenblight Dinge with a touch of black) to add battle damage to the arrow. Apply tiny marks and scratches strategically, focusing on areas that would naturally wear over time. Be careful not to go overboard, as realism is key.
Painting the Red Cord – Switch to painting the red cord that goes over the shoulder. Use Vallejo Amarantha Red (Evil Sunz Scarlet) to carefully paint the cord, layering it to achieve a rich colour. Be mindful not to get any red paint on areas you’ve already finished.
Adding Details to the Cord – For added realism, paint on some details such as individual strands on each notch of the cord. Use Citadel Wild Rider Red (Evil Sunz Scarlet) for this, applying thin lines to represent the strands. Take your time and focus on precision.
Final Highlights – Finish off the red cord by adding final highlights with Citadel Fire Dragon Bright (Wild Rider Red mixed with a touch of white). Apply these highlights sparingly to the top parts of the cord to maintain consistency.
Finishing Touches If needed, do some final touch-ups and adjustments. Use black paint for glazing to tidy up any areas where needed, ensuring a clean and polished look. Step back and admire your painted Shoulder Pad Tactical Marking for a Space Marine!
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Building and Painting a Shield for a Knight Lancer
By Richard Gray
Unleash your creativity with this comprehensive guide to Building and Painting a Shield for a Knight Lancer model. Discover how to create a traditional-looking shield instead of the cut-out style of the original, that perfectly complements your model’s aesthetic with intricate freehand designs and weathering effects.
What’s Inside the Building and Painting a Shield for a Knight Lancer Guide:
Creating the Shield: Learn how to trace and cut a shield shape from plasticard, and attach detailed resin corner sections from the original shield using a Dremel tool for precision.
Customising the Rear of the Shield: Find out how to modify the rear of the shield to connect seamlessly with the Knight Lancer’s fist, using circular connectors and additional stabilising pieces.
Priming and Base Coating: Prime the shield with Vallejo Black Surface Primer and apply base coats using Vallejo Game Colour Turquoise, Scalecolour Hiril Blue, and Games Workshop Mournfang Brown to achieve a vibrant, weathered look.
Freehand Design: Step-by-step instructions on painting a striking black circle and a bone fish design inspired by the symbol of Tzeentch, using a range of Vallejo and Games Workshop paints for detailed shading and highlights.
Eye Detailing: Expert tips for painting a realistic eye with intricate iris details, utilising Vallejo Game Colour Ultramarine Blue, Games Workshop Troll Slayer Orange, and more.
Rose Design: Techniques for creating a soft, blended rose design, with highlights and shadows to add depth and realism, using colours like Vallejo Model Colour Cork Brown and P3 Battlefield Brown.
Stem and Background Elements: Guidance on painting a detailed stem with curls and thorns, along with tiny skulls to balance the composition, using Games Workshop and P3 paints.
Adding Blood and Weathering: Instructions for adding realistic blood effects and weathering, including chipping and rust details, to enhance the shield’s battle-worn appearance.
Metallic Corner Sections: Tips for creating green metallic corners using Scale 75 metallic paints mixed with inks, and adding final touches with Rhinox Hide and metallic silver highlights.
This guide is ideal for hobbyists looking to elevate their Knight Lancer models with customised shields and advanced painting techniques. Follow along to transform your model into a masterpiece with a traditional yet cohesive look.
Download the full Building and Painting a Shield for a Knight Lancer guide, below, and start crafting your unique Knight Lancer shield today!
Turquoise-Knight-Shield-for-Patreon-FINAL-1
If the above link doesn’t work, visit this link to download the PDF directly:
https://richardgraycreations.com/wp-content/uploads/2017/07/Turquoise-Knight-Shield-for-Patreon-FINAL-1.pdf
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OSL (Object Source Lighting) and Glows
How to paint lava glow on the molten lava and body panels for Aeldari Avatar, although lots of these techniques can be used wherever you are painting lava. This guide will walk you through the process of painting both the glowing lava effect and the cooled magma appearance on the body.
Video – Aeldari Avatar Lava Glow
Materials Needed
Paints:
Flash Gitz Yellow (Games Workshop)
Firedragon Bright (Games Workshop)
Mephiston Red (Games Workshop)
Daemonette Hide (Games Workshop)
Black (Vallejo Model Colour or any black)
Morrow White (P3 or any white)
Tools: Wet palette, fine detail brushes, water for thinning paints.
Paint Lava Glow
Preparing Your Palette
On your wet palette, prepare a mix of Flash Gitz Yellow with a small amount of Morrow White to increase opacity. Aim for a shade slightly darker than Dawn Yellow but lighter than pure Flash Gitz Yellow.
Base Layer
Apply the yellow-white mix thoroughly into all the cracks between the model’s muscles, where you want the lava effect to show. This base layer might need to be applied liberally due to the translucency of the yellow.
Adding Brightness
While the first layer is still wet, add pure Morrow White into the mixture directly on the model, blending it in the centre of the lava channels to create a gradient effect from white to yellow.
Enhancing the Glow
After the initial layers dry, apply pure Flash Gitz Yellow at the base of the lava channels to diversify the intensity of the glow, adding depth to the effect.
Darkening the Muscles
Mix Mephiston Red with a bit of black to darken the muscle areas adjacent to the lava channels. This enhances the contrast and makes the glow appear more intense.
Painting the Cooled Magma
Initial Dark Layer
Apply a mix of black across the raised areas of the muscles, avoiding covering deep recesses or textural details to maintain a sense of depth and heat variation.
Adding Grey Tones
Lightly brush a mix of Daemonette Hide and black over the blackened areas to simulate cooled magma. Be sparing with this application to keep the high-contrast effect intact.
Final Highlights
Use pure Daemonette Hide to highlight the edges and highest points of the cooled magma areas, enhancing the texture and adding a final touch to the illusion of heat emanating from beneath.
Additional Tips
Contrast is Key: The effectiveness of the lava glow effect relies heavily on the contrast between the bright, almost white centres of the lava channels and the dark, cooled magma areas.
Layering: Build up the glow effect gradually, allowing each layer to dry before applying the next. This approach helps in achieving a smooth gradient.
Mixing Paints: Adjust the mixtures based on the specific details and shapes of your model. The suggested ratios are starting points; feel free to modify them to suit your needs.
Patience and Practice: Achieving a convincing lava glow effect requires patience and practice, especially when blending the colours directly on the model.
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A selection of tutorial videos on how to paint the OSL on the Emperors Champion. This includes his glowing red eyes, his glowing lamp and how to tackle the reflections of the object source lighting on metal objects around it.
Video Tutorial : OSL Glowing Red EyesMaterials NeededStep-by-Step GuideVideo Tutorial : How to Paint the OSL Lamp GlowMaterials NeededStep-by-Step GuideVideo Tutorial : Non Metallic Metal Chains and How to Paint the OSL ReflectionsMaterials NeededStep-by-Step Guide Explore more step-by-step Character Tutorials!
Video Tutorial : OSL Glowing Red Eyes
Materials Needed
Paints: Games Workshop Mephiston Red, Troll Slayer Orange, Yriel Yellow; P3 Morrow White
A fine brush suitable for detailed work
A wet palette (optional but helpful)
Water for thinning paints
Step-by-Step Guide
Initial Red Base: Start by applying a base coat of Mephiston Red. Ensure to fill in the entire eye area, including recesses and the upwards-facing section of the mask. It’s essential to cover all parts uniformly.
Creating a Colour Gradient:
Mix Troll Slayer Orange with Yriel Yellow on your palette.
Add a bit of Morrow White to get a lighter shade, resembling Ice Yellow.
You should have a gradient from Mephiston Red to a light orange-yellow on your palette.
Applying the Gradient:
Begin with the darkest colour (Mephiston Red) and apply it to the entire eye area.
Progressively apply lighter shades (the orange-yellow mix) towards the center of the eye. Each time you go up a shade, paint from the back to the middle and from the front to the middle of the eye. This technique ensures the middle part of the eye is the brightest, creating a natural transition.
Highlighting the Eyes:
The center of the eye should be the focal point. You might want to place the brightest highlight slightly forward in the eye to mimic the position of an iris.
For the final highlight, use a small dot of Morrow White at the brightest part.
Glazing for Effect:
Create a thin glaze with Mephiston Red (mix with water, approximately 4-5 parts water to 1 part paint).
Apply this glaze around the eye area, ensuring it blends into the surrounding areas of the helmet. This step enhances the red glow effect.
Final Touches:
Optionally, add a highlight on the lower edge of the protruding face mask, aligning it with the highest highlight point in the middle of the eye.
If desired, soften or adjust this reflection with more red glaze.
Finishing Up:
Once you are satisfied with the glow and highlights, give it a final inspection. Make any necessary adjustments to ensure a consistent and vibrant look.
Key Points to Remember
Ensure smooth transitions between shades for a natural gradient.
The placement of highlights is crucial for achieving a realistic glowing effect.
Video Tutorial : How to Paint the OSL Lamp Glow
Materials Needed
The following paints were used:Games Workshop: Troll Slayer Orange, Yriel Yellow Vallejo: Neutral Grey P3: Morrow White
Step-by-Step Guide
Colour Preparation:On your palette, prepare a range of colours using the four base paints. Mix Neutral Grey with Troll Slayer Orange to create varying shades. Create gradients with Troll Slayer Orange and Yriel Yellow, adjusting the ratios to get different shades. For the brightest highlights, mix Yriel Yellow with a small amount of Morrow White. You may need additional intermediate mixes for more seamless transitions.
Base Coating the Lantern: Begin by applying a mix of Neutral Grey and Troll Slayer Orange to the lantern. Make sure this base coat reaches all crevices and covers the area evenly.
Blocking in Light Placement: Commence painting the light effect on the model, starting close to the lantern. The closer to the lantern, the brighter the light should be. Utilise lighter shades as you get nearer to the light source.
Building Up Layers: Gradually add layers, moving from the darker mixes to the lighter shades as you approach the lamp. This technique creates a gradual and natural lighting effect. The light’s intensity should decrease as it moves away from the lamp.
Highlighting: For the most intense highlights, use the brightest mix of Yriel Yellow and Morrow White. Apply this sparingly, concentrating on the areas closest to the lamp where the light would be most intense.
Adjusting Opacity and Consistency: Thin the paint more than usual to achieve a translucent effect; about one and a half parts water to one part paint is a good ratio. Nevertheless, for the final stage highlights, use slightly thicker paint to make these areas stand out.
Creating a Natural Glow: Avoid leaving black lines or creating high contrast near the light source, as this can appear unnatural. Strive for a soft, diffused glow around the lamp, reflecting how real-life light sources often have a less defined edge due to their brightness and interaction with the surroundings.
Painting Over Armour and Cloth: When applying paint over different textures, such as armour or the tabard, ensure the paint is thin enough to form a glaze, thus preserving the underlying detail. Multiple layers of thinned paint will be required to achieve the desired intensity, leading to smoother transitions.
Working with Textured Surfaces: The proximity of the light source to the armour will naturally reduce the texture effect. Adjust your approach accordingly, aiming for a smoother finish in these areas.
Light Placement and Realism: Accurately tracing the light from the lamp onto the model is crucial. Visualise a direct line from the lamp to the armour and align your highlights along this line. Parts of the lamp, like the spike and top section, don’t emit light and will cast shadows, affecting where you place highlights.
Final Adjustments: Towards the end of the process, you may need to revisit and adjust the intensity of the highlights, especially near the lamp, to ensure they’re suitably bright. Balance the realism of the light placement with the dramatic effect you’re aiming for, using your judgement.
Video Tutorial : Non Metallic Metal Chains and How to Paint the OSL Reflections
Materials Needed
The following paints were used:Games Workshop: Troll Slayer Orange, Yriel YellowVallejo: Neutral GreyP3: Morrow White (Any White will do)
Step-by-Step Guide
Base Coating with Neutral Grey
Start by applying Vallejo Neutral Grey to the chain. This colour represents the primary light source hitting the chain from above. Paint thin lines on the upper edges of each chain link, leaving a black gap in the middle for contrast.
Painting Chain Link Variations:
Keep in mind that each chain link will have different edges facing upwards due to the looping nature of the chain from the wrist to the sword. Some links near the wrist may not catch any light, while others will have different lengths of edges illuminated.
Creating High Contrast:
To achieve the shiny, reflective look, ensure that the black gaps in the chain links are clear and distinct. This creates the impression of light hitting the chain from two sides, enhancing the shiny effect.
Adding OSL Reflections with Troll Slayer Orange:
Begin painting the lower reflections, which are light from the lamp, using Troll Slayer Orange. This paint is quite translucent, so it may require multiple layers for opacity. Use a slightly thicker mix (around one and a half parts paint to one part water) for solid lines.
Applying Yriel Yellow:
Overlay the Troll Slayer Orange with Yriel Yellow to enhance the OSL effect. Don’t completely cover the orange; leave some visible at the sides to simulate the orange glow from the lamp.
Increasing Contrast with Neutral Grey Mixes:
Mix Neutral Grey with white to create various shades of light grey. Use these mixes to paint the brighter highlights on the chain, focusing on the upper edges. This step significantly increases the contrast, making the chain look more reflective.
Final Highlights with Morrow White:
Apply Morrow White for the final, brightest highlights. Concentrate on the most curved parts of the chain links, where light would be most intense. Avoid over-applying white on flat surfaces to keep the reflections realistic.
Finishing Touches:
Ensure that the reflections and highlights work cohesively to create a high-contrast, reflective appearance. The goal is to make the chain look shiny and metallic, with clear light reflections from both the primary light source and the lamp.
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Here is the shorter version of my Alchemite Warforger video, which is available to watch on here or Youtube for free. For more detail, check out the longer version!
The following paints were used: Games Workshop: Rhinox Hide, Mournfang Brown, Balor Brown, Daemonette Hide, Slaanesh Grey, Mephiston Red, Yriel Yellow, Wild Rider Red, Troll Slayer Orange, Bugman’s Glow, Cadian Fleshtone, Morghast Bone, XV88.Vallejo: Ice Yellow, German Grey, Neutral GreyP3: Morrow White Grass: Mininatur Spring Moss Pads
Step-by-Step Guide to the Alchemite Warforger
Preparation:
Assemble your Cities of Sigmar Alchemite Warforger model from the Cities of Sigma box set.
Prime the model with black primer.
Omit the cube with smoke for easier painting (add it back when you’ve painted the model!)
Helmet Painting:
Use XV88 to block in highlights for a bronzy colour on the helmet.
Apply the paint loosely with a size 2 Artist Opus brush, focusing on where light naturally falls.
Thin the paint to around 1.5 parts water to 1 part paint for easy layering.
Metal Painting:
Use a gray base colour (Neutral Gray or Mechanicum Standard Gray) for most steel-colored objects.
Optionally, add colour with Daemonette Hide for a purpley-gray tone.
Apply the paint loosely and scribbly to create texture.
Use smaller brushes for refined marks in specific areas.
Consider adding Daemonette Hide and Slaanesh Gray for additional colour on metal pieces for reflections.
Leather Parts:
Base the leather apron and other leather parts with Rhinox Hide.
Apply the paint loosely with a mix of around 1.5 parts water to 1 part paint.
Keep the paint flowing with the shape of the sculpt for a harmonized look.
Highlighting:
Highlight the metal parts with Slaanesh Gray, applying smaller and more refined marks.
For leather, use Mornfang Brown for additional layers, creating a distinct color difference.
Glaze with Mourning Brown on top of the highlights for added contrast.
For leather straps, use larger black marks at the edges and smaller marks towards the core.
Skin Painting:
Base the skin with Rhinox Hide and layer with Mornfang Brown.
Highlight using the following sequence: XV88, Guardian Flesh Tone mixed with Baneblade Brown and a bit of white.
Keep the skin texture smooth, differentiating it from the heavily textured leather.
Final Details:
Apply Verdigris to metal clasps for a weathered look.
Add OSL (Object Source Lighting) with plain flesh tone for the rune effect.
Optionally, use Rhinox Hide for a runic effect.
Consider the placement of the cube with smoke for potential obstructions.
Remember, these steps are a guide, and you can adjust them based on your preferences and painting style. Happy painting!
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This full video shows how to paint an Alchemite Warforger from the Cites of Sigmar, which Games Workshop sent to me as an early review copy.This guide will cover various techniques such as non-metallic metal effects (NMM), leather texture, and object source lighting (OSL).
How to paint an Alchemite Warforger Video
You’ll Need:
Alchemite Warforger.
A range of brushes (including a size 3 Artist Opus M brush).
Paints from Games Workshop: Rhinox Hide, Mournfang Brown, Balor Brown, Daemonette Hide, Slaanesh Grey, Mephiston Red, Yriel Yellow, Wild Rider Red, Troll Slayer Orange, Bugman’s Glow, Cadian Fleshtone, Morghast Bone.
Vallejo paints: Ice Yellow, German Grey, Neutral Grey.
P3 paint: Morrow White.
Mininatur Spring Moss Pads for basing.
Let’s Get Started:
Base Coating: Initiate with a base layer of XV-88. This creates an ideal foundation for both gold and bronze non-metallic metal (NMM) effects. Apply these base colours in a relaxed manner; perfection isn’t the goal at this stage.
Non-Metallic Metal (NMM) Bronze/Gold: Use a combination of XV-88, Balor Brown, Ice Yellow, and a touch of Rhinox Hide. Mix these colours in various ratios to achieve the desired NMM effect.
Leather Textures: For the leather apron and straps, start with a base of Rhinox Hide. Then, build up the texture and highlights with Bugman’s Glow and Cadian Fleshtone, adding Morghast Bone for the lighter areas.
Skin Tones: Begin with Mournfang Brown as the base for the skin. Gradually layer up the skin tones using a mix of Mournfang Brown and Cadian Fleshtone, finishing with lighter highlights.
Object Source Lighting (OSL): For the glowing effects, such as the pot’s contents, start with Mephiston Red and build up to Yriel Yellow and Wild Rider Red for the intense glow.
Detailing: Use Slaanesh Grey and Daemonette Hide for the cooler tones, and Vallejo’s Ice Yellow and Neutral Grey for the metallic areas. German Grey can be used for darker shadows.
Finishing Touches: Use Morrow White for the brightest highlights and final touches. The base can be detailed with Mininatur Spring Moss Pads to add a natural touch.
Remember, painting is about building up layers and textures, so take your time and enjoy the process. Each layer adds depth and character to your Alchemite Warforger.
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Two videos on how to paint the Skaven Plague Monk. In these videos, we explore the Warpstone Rock on his staff, the wooden staff, plague smoke and his robe.
How to Paint a Skaven Plague Monk: Warpstone Rock, Staff and Robe
You’ll Need:
Skaven Plague Monk miniature
Wet Palette
A fine selection of brushes, including a size 2 Artist Opus M brush
Paints: Games Workshop’s Warpstone Glow, Death Korps Drab, Mournfang Brown, Balor Brown, Vallejo’s Ice Yellow and Black, P3’s Morrow White
How to Paint a Skaven Plague Monk – Step by Step Guide:
Basecoat the Staff: Start by basecoating the staff with Mournfang Brown. Remember, it doesn’t have to be immaculate at this stage. It’s all about getting a good foundation.
Warpstone Glow: Mix Warpstone Glow with a tiny bit of black – a little goes a long way. On your wet palette, create a gradient from this dark mix to pure Warpstone Glow, adding white progressively for the highlights.
Painting the Warpstone: Begin with the darkest green mix, working up to the lighter mixes. Focus on achieving a shiny look at the top of the warpstone. Remember, you’re going for a mix of realistic and high-contrast lighting here. The key is to make sure the top is bright and shiny, which will give most of the warpstone its luminous character.
Detailing the Warpstone: Use a size 2 brush for broader strokes, switching to a size 00 for finer details and edges. Your goal is to create a balance of light and dark, enhancing the natural shine of the warpstone.
Wood Grain on the Staff: Now, layer up with XV-88 followed by Balor Brown, adding Ice Yellow for highlights. Use thin, scratchy strokes to mimic wood grain, focusing on the natural textures and adding additional lines for detail. Don’t forget to leave the recesses dark for contrast.
Robe Sleeve: Base the sleeve with Death Korps Drab. As with the staff, build up the texture with scratchy strokes, lightening the colour with Ice Yellow as you highlight. Follow the natural lighting, but don’t be afraid to exaggerate the brightness for a bit of artistic flair.
Final Touches: Once satisfied with the staff and sleeve, revisit any areas that need more saturation or sharper contrasts. Glazing with the base colours can help reintegrate the original hues if they’ve been overpowered by the highlights
How to Paint a Skaven Plague Monk: Plague Smoke
You’ll also see a few of the difficulties I had while painting it! The rest of the model should be pretty smooth sailing.
You’ll Need:
Skaven Plague Monk miniature
A selection of brushes, including a size 2 for broader strokes
Paints: Games Workshop’s Moot Green, Yriel Yellow, Xereus Purple; P3’s Iosen Green (Warpstone Green is a suitable alternative), Morrow White; Vallejo’s Ice Yellow, and Airbrush Thinner
The Painting Process:
Basecoat with Iosen Green: Start with a basecoat of Iosen Green. You might need a few coats to get solid coverage. For a faster application, you can use an airbrush.
Mix Your Colours: On your palette, mix various shades. You’ll need pure Iosen Green, Iosen Green mixed with Moot Green, pure Moot Green, Iosen Green mixed with Xereus Purple, more Xereus Purple, and straight Xereus Purple. Additionally, mix Uriel Yellow, Ice Yellow, and Morrow White for later stages.
Inverted Painting Technique: Since we’re aiming for a glowing effect, paint the recesses lighter and the raised areas darker. This inverted approach can be tricky, so patience is key. Use the mixed greens and purples to create this effect, gradually transitioning from lighter to darker shades as you move outwards.
Highlighting and Blending: Highlight the raised areas using lighter greens and eventually Xereus Purple for the outermost areas. This creates a high-contrast look, making the smoke appear as if it’s glowing from within. Remember, smoother transitions are crucial for a realistic effect.
Stippling for Texture: If you fancy a textured look, use stippling. This method adds a softly textured effect, enhancing the ethereal quality of the smoke.
Finishing with Airbrush Glazing: Once you’re happy with your hand-painted transitions, use an airbrush to apply a thin glaze of Uriel Yellow. This unifies the entire smoke area, softening transitions and giving a final luminous quality. Be careful with the airbrush; you want a subtle effect, not an overpowering one.
Refining and Adjusting: Go back and refine areas as necessary. Add more green or purple where needed, and use the glazing technique to adjust the overall tone and smoothness. Your aim is a cohesive, glowing effect that still retains some of the hand-painted character.
Remember, the process of painting smoke, especially to create a glowing effect, can be iterative and might require several adjustments to get it just right. Take your time, and don’t be afraid to go back and tweak areas that don’t quite match your vision. Good luck, and enjoy bringing this smoky effect to life!
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Alright, let’s take a look at how to paint the smoke on our Skaven Plague Monk from the Warhammer Underworlds Skabbik’s Plaguepack. It’s a bit of a challenge (you’ll see I had a few issues!), but with some patience and the right technique, we’ll have it looking top-notch!
Video – How to Paint the Smoke
You’ll Need:
Skaven Plague Monk miniature
A selection of brushes, including a size 2 for broader strokes
Paints: Games Workshop’s Moot Green, Yriel Yellow, Xereus Purple; P3’s Iosen Green (Warpstone Green is a suitable alternative), Morrow White; Vallejo’s Ice Yellow, and Airbrush Thinner
Step by Step on How to Paint the Smoke:
Basecoat with Iosen Green: Start with a basecoat of Iosen Green. You might need a few coats to get solid coverage. For a faster application, you can use an airbrush.
Mix Your Colours: On your palette, mix various shades. You’ll need pure Iosen Green, Iosen Green mixed with Moot Green, pure Moot Green, Iosen Green mixed with Xereus Purple, more Xereus Purple, and straight Xereus Purple. Additionally, mix Uriel Yellow, Ice Yellow, and Morrow White for later stages.
Inverted Painting Technique: Since we’re aiming for a glowing effect, paint the recesses lighter and the raised areas darker. This inverted approach can be tricky, so patience is key. Use the mixed greens and purples to create this effect, gradually transitioning from lighter to darker shades as you move outwards.
Highlighting and Blending: Highlight the raised areas using lighter greens and eventually Xereus Purple for the outermost areas. This creates a high-contrast look, making the smoke appear as if it’s glowing from within. Remember, smoother transitions are crucial for a realistic effect.
Stippling for Texture: If you fancy a textured look, use stippling. This method adds a softly textured effect, enhancing the ethereal quality of the smoke.
Finishing with Airbrush Glazing: Once you’re happy with your hand-painted transitions, use an airbrush to apply a thin glaze of Uriel Yellow. This unifies the entire smoke area, softening transitions and giving a final luminous quality. Be careful with the airbrush; you want a subtle effect, not an overpowering one.
Refining and Adjusting: Go back and refine areas as necessary. Add more green or purple where needed, and use the glazing technique to adjust the overall tone and smoothness. Your aim is a cohesive, glowing effect that still retains some of the hand-painted character.
Remember, the process of painting smoke, especially to create a glowing effect, can be iterative and might require several adjustments to get it just right. Take your time, and don’t be afraid to go back and tweak areas that don’t quite match your vision. Good luck, and enjoy bringing this smoky effect to life!
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This video shows how to paint Horus Ascended from the Horus Heresy. The video looks at his skin, the red osl glow around his head, the armour and the NMM armour trim.
Video: How to Paint Horus – Part One
All videos are recorded in HD 1080p or higher – use full screen for the full effect and let the video load completely. You can also click the little “cog” and change the speed of the video, if I am going too fast (or slow!).
The following paints were used:
Games Workshop: Bugman’s Glow, Cadian Fleshtone, Mephiston Red, Wild Rider Red, Troll Slayer Orange, Yriel Yellow, Sons of Horus Green, XV-88, Mournfang Brown, Rhinox Hide, Balor BrownVallejo: Ice Yellow, Black, Neutral Grey P3: Morrow White
Steps and Tips
Assembly and Preparation:Assemble the model but leave the wolf pelt, cloak, and head unattached for ease of painting.Carefully address any mould lines on the mace, ensuring a clean finish.Utilise a heat gun to reshape the wolf pelt for an accurate fit on the model.
Priming:Prime the model thoroughly and allow it to set overnight.
Base Painting:Begin with a base coat of Mephiston Red, particularly on areas destined for the red glow (Object Source Lighting, OSL). Apply this in a brisk and relaxed style, without focusing on blending.
Building the Glow:Layer Wild Rider Red and Troll Slayer Orange, concentrating on recesses to enhance the glow effect.Incorporate Yriel Yellow for added brightness in the OSL areas.
Head Details:For the head, apply Cadian Fleshtone as a base to simulate natural lighting.Layer with Bugman’s Glow to establish depth and realistic skin tones.Highlight the forehead and areas receiving the main light with a mixture of Cadian Fleshtone and Vallejo’s Ice Yellow for a pronounced highlight.
Armour Details:Start the armour with a base of Sons of Horus Green.For depth, mix Sons of Horus Green with black for shadowed areas, and with Ice Yellow for highlighted regions.
Metallic Effects:For non-metallic metal effects on trims and details, commence with XV-88 as a base.Progressively apply layers using Mournfang Brown, Rhinox Hide, and Balor Brown, accentuating edges and raised details to mimic a metallic sheen.Employ Vallejo’s Neutral Grey for areas resembling steel or iron.
Finishing Touches:For ultimate highlights and refinement, use P3’s Morrow White.
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This video shows how to paint the OSL glow effect from the lamp in the Emperor’s Champion model. By following these steps, you should be able to effectively paint the OSL effect on the Emperor’s Champion’s lamp, creating a realistic and dramatic lighting effect. The key is to build up the light gradually, ensuring smooth transitions, and to consider how light interacts with different textures and parts of the model. Lets get started!
Materials Needed
The following paints were used:Games Workshop: Troll Slayer Orange, Yriel Yellow Vallejo: Neutral Grey P3: Morrow White
Step-by-Step Guide
Colour Preparation:On your palette, prepare a range of colours using the four base paints. Mix Neutral Grey with Troll Slayer Orange to create varying shades. Create gradients with Troll Slayer Orange and Yriel Yellow, adjusting the ratios to get different shades. For the brightest highlights, mix Yriel Yellow with a small amount of Morrow White. You may need additional intermediate mixes for more seamless transitions.
Base Coating the Lantern: Begin by applying a mix of Neutral Grey and Troll Slayer Orange to the lantern. Make sure this base coat reaches all crevices and covers the area evenly.
Blocking in Light Placement: Commence painting the light effect on the model, starting close to the lantern. The closer to the lantern, the brighter the light should be. Utilise lighter shades as you get nearer to the light source.
Building Up Layers: Gradually add layers, moving from the darker mixes to the lighter shades as you approach the lamp. This technique creates a gradual and natural lighting effect. The light’s intensity should decrease as it moves away from the lamp.
Highlighting: For the most intense highlights, use the brightest mix of Yriel Yellow and Morrow White. Apply this sparingly, concentrating on the areas closest to the lamp where the light would be most intense.
Adjusting Opacity and Consistency: Thin the paint more than usual to achieve a translucent effect; about one and a half parts water to one part paint is a good ratio. Nevertheless, for the final stage highlights, use slightly thicker paint to make these areas stand out.
Creating a Natural Glow: Avoid leaving black lines or creating high contrast near the light source, as this can appear unnatural. Strive for a soft, diffused glow around the lamp, reflecting how real-life light sources often have a less defined edge due to their brightness and interaction with the surroundings.
Painting Over Armour and Cloth: When applying paint over different textures, such as armour or the tabard, ensure the paint is thin enough to form a glaze, thus preserving the underlying detail. Multiple layers of thinned paint will be required to achieve the desired intensity, leading to smoother transitions.
Working with Textured Surfaces: The proximity of the light source to the armour will naturally reduce the texture effect. Adjust your approach accordingly, aiming for a smoother finish in these areas.
Light Placement and Realism: Accurately tracing the light from the lamp onto the model is crucial. Visualise a direct line from the lamp to the armour and align your highlights along this line. Parts of the lamp, like the spike and top section, don’t emit light and will cast shadows, affecting where you place highlights.
Final Adjustments: Towards the end of the process, you may need to revisit and adjust the intensity of the highlights, especially near the lamp, to ensure they’re suitably bright. Balance the realism of the light placement with the dramatic effect you’re aiming for, using your judgement.
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This video shows how to paint the eyes of the Emperor’s Champion using an OSL (Object Source Lighting – so a glow, basically!) technique to make them look extra mean and moody.
Video Tutorial : How to Paint OSL Eyes
Materials Needed
Paints: Games Workshop Mephiston Red, Troll Slayer Orange, Yriel Yellow; P3 Morrow White
A fine brush suitable for detailed work
A wet palette (optional but helpful)
Water for thinning paints
How to Paint OSL Eyes – Step-by-Step Guide
Initial Red Base: Start by applying a base coat of Mephiston Red. Ensure to fill in the entire eye area, including recesses and the upwards-facing section of the mask. It’s essential to cover all parts uniformly.
Creating a Colour Gradient:
Mix Troll Slayer Orange with Yriel Yellow on your palette.
Add a bit of Morrow White to get a lighter shade, resembling Ice Yellow.
You should have a gradient from Mephiston Red to a light orange-yellow on your palette.
Applying the Gradient:
Begin with the darkest colour (Mephiston Red) and apply it to the entire eye area.
Progressively apply lighter shades (the orange-yellow mix) towards the center of the eye. Each time you go up a shade, paint from the back to the middle and from the front to the middle of the eye. This technique ensures the middle part of the eye is the brightest, creating a natural transition.
Highlighting the Eyes:
The center of the eye should be the focal point. You might want to place the brightest highlight slightly forward in the eye to mimic the position of an iris.
For the final highlight, use a small dot of Morrow White at the brightest part.
Glazing for Effect:
Create a thin glaze with Mephiston Red (mix with water, approximately 4-5 parts water to 1 part paint).
Apply this glaze around the eye area, ensuring it blends into the surrounding areas of the helmet. This step enhances the red glow effect.
Final Touches:
Optionally, add a highlight on the lower edge of the protruding face mask, aligning it with the highest highlight point in the middle of the eye.
If desired, soften or adjust this reflection with more red glaze.
Finishing Up:
Once you are satisfied with the glow and highlights, give it a final inspection. Make any necessary adjustments to ensure a consistent and vibrant look.
Key Points to Remember
Ensure smooth transitions between shades for a natural gradient.
The placement of highlights is crucial for achieving a realistic glowing effect.
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This free video shows how to paint OSL on the Vargskyr from the Cursed City boxed game by Games Workshop with some easy to follow tips.
The following paints were used on the modelGames Workshop: Warpstone Glow, Moot Green, Yriel Yellow, Baharroth Blue, Blue Horror, Contrast Skeleton Horde Vallejo: Basalt Grey, Neutral Grey, Black, Pale Grey Blue
Top Tips on How to paint OSL on the Vargskyr
Priming and Base Coat:
Start by priming the model with an ultimate primer, like Badger primer, for a slightly satin finish.Use a black base coat for the OSL (Object Source Lighting) effect, as it provides high contrast.Begin with Warpstone, applying a couple of coats with an airbrush for the green glow.
Adding OSL Effect:
For a sickly look, hold the airbrush a bit further and add yellow to the warp stone glow.Rotate the model to ensure lighting works from multiple angles.Reduce the spray area and focus on the back with Baharroth Blue to enhance the OSL effect.
Matte Varnish and Detail Restoration:
Apply a coat of ultra matte varnish, like Lucky Varnish by Mig, to eliminate shine – this brings back detail lost in the varnishing process.Consider using multiple layers for a transition effect as layers build up.
Fur Texture:
Use Baharroth Blue for fur, but be cautious as it may create a high-contrast jump.Blend Pale Grey Blue into the fur for a smoother transition, applying thinner coats for textured effects.
Face Highlights:
Highlight the face, a major focal point, using Skeleton Horde as a guide for placement.Don’t worry about neatness; embrace the furry, textured nature of the model.
Texture Effect Painting:
Use a small brush for texture effect painting, but feel free to experiment with brush sizes.Maintain a wet paint mixture for precise dry brushing on fur, enhancing the model’s expressive nature.Accept some roughness in the paint as it adds character to a gaming model.
Green Glow and Final Touches:
Continue working on the green glow side, following the same process as the light side.Avoid excessive airbrushing for a clinical look; embrace expressive marks.Add a slightly darker gray colour to enhance details on non-glowing areas.
Frame with Black Rim:
Paint the model’s base with a black rim to frame and enhance the overall neatness.Consider the model’s orientation and adjust the painting accordingly to avoid missing details.
Blue Light from the Other Side:
Using Baharroth Blue, dry brush in the direction of the light to create a blue light effect.Maintain a consistent direction, capturing angles that highlight the green glow, face, and arm.
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I’ve created this tutorial to simply show you how to paint a plasma cannon with for a Fists Redemptor Dreadnought, in those striking purple!
Video – How to Paint a Plasma Cannon
All videos are recorded in HD 1080p or higher – use full screen for the full effect and let the video load completely.
Paints Used
Games Workshop: Naggaroth Night, Corvus Black, Abaddon Black
Vallejo: Black, German Grey, Neutral Grey, Pale Grey Blue
P3: Morrow White
How to Paint a Plasma Cannon – Step-by-Step Guide
Base Coat and Black Highlights:
Begin by painting the plasma gun in Vallejo Black. This base coat sets the stage for the plasma effect.
Create a gradient using a mix of Vallejo Neutral Grey and German Grey, starting from the lightest point at the bottom of the gun and transitioning to darker shades towards the skull.
Highlight the curved areas of the gun, as these naturally catch more light.
Rough Blending Technique:
Use a rough blending technique, starting with the 50/50 mix of Neutral Grey and German Grey, then working towards darker and lighter shades.
This method creates a textured look, suitable for a tabletop model, with less paint buildup.
Use Vallejo Model Colour Black to blend and create a matte effect, contrasting with the primer’s satin finish.
Highlighting the Gun:
Add highlights along the edges and hard lines of the gun, using Pale Grey Blue. Ensure these highlights are consistent and symmetrical on both sides of the gun for uniformity.
Paint rivets with Pale Grey Blue, adding a small dot and line underneath each for a reflective effect.
Preparing for OSL:
Before painting the plasma effect, make sure the surrounding areas, like the black of the gun, are well highlighted, as the OSL effect will overlap these areas.
Paint the plasma coils with Games Workshop Naggaroth Night, ensuring good coverage. This might require multiple coats due to the paint’s translucency.
Creating the Plasma Effect:
Mix Naggaroth Night with various amounts of Morrow White to create different shades, ranging from dark to light.
Start with the darkest purple, painting in between the coils, and then use lighter shades to highlight towards the center of the gun, creating a glow effect.
Focus the brightest highlights in the middle of the gun, using lighter purples and whites.
Be cautious with white, as it can create stark contrasts and visible brush strokes. Use stippling or glazing to soften these effects.
Glazing for Smoothness:
Use Corvus Black to glaze over the highlights, starting from the lightest areas and moving towards the darker areas. This technique will soften the transitions and unify the finish.
If needed, use Abaddon Black in the darkest areas for deeper contrast.
Final Touches:
Add additional details and refine any areas that need more attention, especially around the plasma coils.
For additional realism, you can create a subtle purple glow around the plasma gun using a glaze of Naggaroth Night.
Finishing the Model:
Once satisfied with the painting, apply a matte varnish if desired to reduce shine and unify the finish.
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I’ve finished up Zarbag, now just the rest of his Gitz so that I can game! He’s such a cool model, and a good warm up for the rest of the goblins I’ve bought. Read on to follow my detailed video tutorials on how I paint him in order from priming to applying the final glazes, or use the links below to quickly jump to a technique or part of the model.
Video: Zarbag the Goblin – Part OneMaterials NeededStep 1: PreparationStep 2: Base Colour ApplicationStep 3: Lighting and TexturingStep 4: HighlightingStep 5: GlazingStep 6: Detailing and Finishing TouchesTop TipsVideo: Painting Zarbag’s Sickle: A Step-by-Step Non-Metallic Metal GuideMaterials NeededStep 1: Adding Texture to the RobeStep 2: Non-Metallic Metal (NMM) Technique for the SickleStep 3: Refining Highlights and ShadowsStep 4: Final TouchesTop TipsVideo: Painting Zarbag’s Skin and EyesMaterials RequiredStep 1: Base Layer for the SkinStep 2: Enhancing Skin TonesStep 3: Facial DetailsStep 4: Final Touches to the SkinStep 5: Teeth and FingernailsTop TipsVideo: Zarbag’s Staff: Wood Grain and Copper PotMaterials NeededPainting the Wood Grain on the StaffPainting the Copper PotDetailing the Copper Pot and StaffPainting the Strap and MushroomsTips for SuccessVideo: Painting Zarbag’s Base Mushrooms and Fairy with Object Source Lighting (OSL)Materials NeededPainting the MushroomsPainting the Fairy/SpriteCreating Object Source Lighting (OSL)Final TouchesLearn How to Paint more Goblins and Gitz!
Video: Zarbag the Goblin – Part One
All videos are recorded in HD 1080p or higher – use full screen for the full effect and let the video load completely.
Materials Needed
Vallejo Black Surface Primer
Paints (Vallejo unless specified otherwise): German Grey, Dark Sea Green, Neutral Grey, Dark Sea Grey, Pale Grey Blue, Xereus Purple (Games Workshop), Abaddon Black (Games Workshop)
Wet palette
Fine detail paintbrushes
Water jar
Kitchen roll
Small portable hand dryer (optional)
Step 1: Preparation
Prime your Zarbag miniature with Vallejo Black Surface Primer. Although the miniature in the tutorial is fully assembled, it’s recommended to leave some parts unassembled to ease the painting process, especially the lower half which is obstructed by the lantern and mushrooms.
Step 2: Base Colour Application
On your wet palette, prepare the following colours: German Grey, Dark Sea Green, Neutral Grey, Dark Sea Grey, and Pale Grey Blue. These colours range from dark to light and will serve as the base for the cloth and other details.
Begin by applying Dark Sea Green to the default areas like the cloth, using rough strokes. Don’t worry about texture at this stage as we will refine it later.
Step 3: Lighting and Texturing
Use a top-down lighting effect to simulate natural light falling on the miniature. This will guide where your highlights and shadows will be placed.
Paint with downward strokes to follow the direction of the cloth’s creases. Consider adding your own creases for added detail and texture.
Step 4: Highlighting
Progressively work your way up through the lighter tones on your palette, starting with Neutral Grey and moving to Pale Grey Blue for the highest highlights. Apply these colours to areas where light would naturally hit, such as the top of the hood and the shoulders.
Use stippling and controlled brush marks to blend the colours and add texture to the cloth.
Step 5: Glazing
Prepare a glaze with Xereus Purple to tint the greys towards a purple hue. Apply the glaze carefully, focusing more on the mid-tones and shadows while preserving the brightness of the highlights.
Use Abaddon Black to deepen the shadows if necessary. Remember, glazing requires multiple thin layers, so patience is key here.
Step 6: Detailing and Finishing Touches
Revisit the highlights by reapplying the original grey tones to enhance the folds and textures. This step will soften the highlights and integrate them with the purple glaze.
Add final details and textures as needed, ensuring that any added creases or folds follow the overall lighting and shape of the model.
Top Tips
When painting him, maintaining a clean brush is crucial. Ensure excess water is removed from the brush after rinsing to avoid diluting the paint too much.
The consistency of the paint should be like single or double cream for strong, controlled marks.
Consider the use of a portable hand dryer to speed up the drying process between glazes.
Glazing should be done with care to avoid flooding the model. Aim for thin, controlled layers to build up the desired intensity.
Video: Painting Zarbag’s Sickle: A Step-by-Step Non-Metallic Metal Guide
Materials Needed
Primer: Vallejo Black Surface Primer (already applied)
Paints:
Vallejo: German Grey, Neutral Grey, Dark Sea Green, Pale Grey Blue
Games Workshop: Rhinox Hide, Ceramite White, Firedragon Bright
Tools: Fine detail brushes, wet palette, water jar, kitchen roll
Step 1: Adding Texture to the Robe
Start with Neutral Grey on your wet palette. Use a stippling technique over the previously applied purple glaze to create a soft transition and add texture to the robe. This method involves layering texture upon texture, glazing, and then adding more texture to achieve a dense and controlled effect.
Incorporate Dark Sea Green for stippling on the darker areas of the robe to blend the textures without making them look too stark against the shadows.
Step 2: Non-Metallic Metal (NMM) Technique for the Sickle
Map Out Highlights: Begin with Neutral Grey to map out the primary and secondary highlight areas on the sickle. Apply the paint to areas that would naturally catch the light, considering the sickle’s curved shape and edges.
Apply Pale Grey Blue: Over the initial highlights, layer Pale Grey Blue, focusing on the areas that will be the brightest. This step starts to define the metallic look of the sickle.
Adjust Contrast: Use a mix of the paints to create transitions and blends on the sickle. Add Black (or German Grey lightened with a touch of white) to deepen shadows and enhance the metallic effect.
Step 3: Refining Highlights and Shadows
Highlight Edges: With Ceramite White, add fine highlights to the edges and textures of the sickle to simulate light reflections. This creates a more realistic metallic effect by showing how light interacts with the metal’s surface.
Add Rust and Grime: Glaze with Rhinox Hide and possibly Fire Dragon Bright to simulate rust and grime on the sickle. Apply these glazes sparingly to avoid overpowering the metallic effect. This step adds realism and character to the weapon.
Step 4: Final Touches
Re-emphasize Details: Go back over the highlighted areas, especially after glazing, to re-emphasize the texture and highlights. This helps maintain the metallic look while incorporating the effects of wear and tarnish.
Use Ceramite White for Sharp Highlights: Apply very fine dots of Ceramite White in the darkest areas as well as the brightest points to enhance the contrast and visual interest of the NMM effect.
Top Tips
Stippling for Texture: Use stippling to build up texture on both the robe and the sickle. This technique allows for controlled, visible layers that contribute to the overall depth and realism.
Layering for NMM: Build up layers gradually when working with NMM techniques. Start with darker shades and move to lighter ones, focusing on where light naturally hits the object.
Glazing for Effects: Use glazes to subtly adjust colours and add effects like rust or grime. This can add depth and realism but should be done carefully to maintain the underlying details.
Video: Painting Zarbag’s Skin and Eyes
In this third installment of the Zarbag painting series, we focus on bringing Zarbag’s skin and eyes to life, excluding the Object Source Lighting (OSL) effects for now.
Materials Required
Primer: Vallejo Black Surface Primer (previously applied)
Paints (all by Games Workshop unless stated otherwise):
Base Layers: Warpstone Glow, Averland Sunset
Highlights and Detailing: Warboss Green, Ceramite White, Ushabti Bone, Balor Brown, Incubi Darkness, Pink Horror, Emperor’s Children, Mournfang Brown
Tools: Fine detail brushes, a wet palette, a water jar, and kitchen roll
Step 1: Base Layer for the Skin
Apply Warpstone Glow across the skin. Given its translucency, multiple applications may be necessary for even coverage. Alternatively, use P3’s Iosan Green or a similar Vallejo shade for better opacity.
Underpainting Technique: For enhanced vibrancy, consider underpainting the skin with a lighter colour, such as pale grey, before applying Warpstone Glow.
Step 2: Enhancing Skin Tones
Layer with Warboss Green to highlight. Adjust the intensity by mixing it with Warpstone Glow for a subtler effect.
Mix Ushabti Bone with Warboss Green for peak highlights, focusing on prominent features like the nose, cheeks, and knuckles.
Step 3: Facial Details
Nose: Mix Emperor’s Children with white for a pinkish hue. Adjust saturation as needed to avoid overly pale tones.
Eyes: Start with Averland Sunset for the iris’s base. Define the iris further with Mournfang Brown, then detail the pupil with Ceramite White.
Highlight the Eyes: Add a pinpoint of Ceramite White to each iris to simulate reflective light.
Step 4: Final Touches to the Skin
Shade with Incubi Darkness in the recesses to add depth, using this sparingly to maintain the skin’s vibrancy.
Apply Pink Horror lightly over the green to introduce subtle colour variation without obscuring the green base.
Detail Boils: Begin with Averland Sunset, highlighted with Ushabti Bone for a lifelike effect.
Step 5: Teeth and Fingernails
Teeth: Base with Balor Brown, then highlight with Ushabti Bone at the tips for a yellowed, aged appearance.
Fingernails: Use Balor Brown, adding Ushabti Bone highlights to define the shape and texture.
Top Tips
Layering for Depth: Build up the skin’s depth with multiple layers, especially when using translucent paints like Warpstone Glow.
Highlighting for Effect: Strategic highlighting brings out the miniature’s details without overwhelming the base colours.
Detailing for Personality: Paying attention to small details, such as eyes and boils, adds character and depth to the miniature.
Adjusting Paint Saturation: Modify the saturation of your paints by mixing in whites or other hues, especially when aiming for vibrant areas like the nose or boils.
Video: Zarbag’s Staff: Wood Grain and Copper Pot
This segment will guide you through painting the wood grain on Zarbag’s staff and achieving a textured copper pot effect
Materials Needed
Primer: Vallejo Black Surface Primer (already applied)
Paints (Games Workshop unless noted):
Base Colours: Rhinox Hide, Bugman’s Glow, Mournfang Brown
Detailing and Highlights: Balor Brown, Ushabti Bone, Ceramite White, Sotek Green, Mephiston Red
Special Effects: Vallejo Ice Yellow (or mix Screaming Skull with a touch of yellow for a similar effect)
Tools: Fine detail brushes, a wet palette, water jar, kitchen roll
Painting the Wood Grain on the Staff
Base Coat: Apply Rhinox Hide to the staff, taking care to avoid the already painted areas like the sickle and the goblin’s hands.
Wood Grain Effects: Use Balor Brown to start adding wood grain details. This involves freehand painting, simulating the natural curves and twists of wood grain. For a more natural look, include knots by painting swirls at points where the staff curves.
Highlighting: Accentuate the wood grain with Ushabti Bone, focusing on the edges of the curves and knots to enhance the 3D effect of the staff.
Refining: If necessary, use Rhinox Hide to tidy up any overly thick lines or to separate closely painted grains, ensuring each strand stands out distinctly.
Painting the Copper Pot
Textured Base: Begin with a base coat of Bugman’s Glow on the pot, applying the paint thickly enough to leave brush strokes for a textured look.
Adding Depth: Layer Mournfang Brown over the base, focusing on areas that would naturally be darker or have more shadow. This step starts to build the copper effect.
Highlighting: Use Vallejo Ice Yellow (or a Screaming Skull and yellow mix) to highlight the edges and raised areas, giving the pot a metallic sheen. Be judicious with this strong colour to maintain the coppery hue.
Glazing for Realism: Dilute Mournfang Brown with water to create a glaze. Apply this over the pot to soften the texture and blend the highlights, enhancing the overall metallic effect.
Detailing the Copper Pot and Staff
Enhancing Texture: Go back over the pot with Rat Skin Flesh and then Ushabti Bone, focusing on the most raised areas and edges to emphasise the worn, textured look.
Final Touches: Add final highlights with Ceramite White on the sharpest edges and highest points to mimic light reflections on the metal.
Painting the Strap and Mushrooms
Leather Strap: Paint the strap with Mournfang Brown, followed by Balor Brown and Ushabti Bone for highlights. Aim for a worn leather look by focusing highlights on edges and creases.
Mushrooms: Base the mushrooms with Sotek Green, adding layers mixed with white towards the tips for a gradient effect. For red mushrooms, start with Mephiston Red and blend towards the base for a natural transition.
Tips for Success
Freehand Techniques: Practising freehand techniques like painting wood grain will significantly improve your skills. Use a brush with a sharp point for the finest lines.
Texture Through Brushwork: Achieve texture not just with colour but how the paint is applied. Thick, visible brush strokes can simulate the roughness of materials like copper.
Glazing: Use glazing to unify your paintwork, softening transitions and blending highlights into the base colours.
Video:Painting Zarbag’s Base Mushrooms and Fairy with Object Source Lighting (OSL)
Welcome to the final installment of our tutorial series on painting Zarbag from Zarbag’s Gitz. In this part, we will focus on adding life to the base with mushrooms and a captivating fairy in a cage, which will serve as the source of our Object Source Lighting (OSL), illuminating Zarbag and enhancing the overall miniature
Materials Needed
Paints (Games Workshop unless specified):
Base Colours: Mephiston Red, Sotek Green, Yriel Yellow, Abaddon Black
Highlights and Details: Wild Rider Red, Fire Dragon Bright, Ceramite White
Glazes and Washes: Griffon Sepia Wash
Vallejo: Ice Yellow (or a mix of Screaming Skull with a touch of yellow)
Tools: Fine detail brushes, wet palette, water container, kitchen paper
Painting the Mushrooms
Base Coat: The mushrooms are based in Mephiston Red for the red mushrooms and Sotek Green for the blue ones. Despite its name, Sotek Green gives a bluish hue, especially when lightened, perfect for our needs.
Highlighting Red Mushrooms: Use Wild Rider Red followed by Fire Dragon Bright to highlight towards the tips of the red mushrooms. Achieve a gradient effect; perfect blending is not necessary due to the small scale and subsequent glazing.
Highlighting Blue Mushrooms: Follow a similar approach with the blue mushrooms, but aim for a pattern that mimics the ones seen on the staff’s pot for consistency across the model.
Painting the Fairy/Sprite
Base Layer: Start with Vallejo Ice Yellow for a solid coverage over the black primer. The aim is for a light, bright base that we can tint yellow.
Shading: Apply Griffon Sepia Wash to add depth and a yellowish tint, preparing for the OSL effect.
Highlighting: Use Ceramite White to highlight the fairy, focusing on the central body to enhance the glow effect.
Creating Object Source Lighting (OSL)
Choosing the Light Source: Our fairy in the cage will be the source of light, casting an ethereal glow on Zarbag and his surroundings.
Applying OSL on Zarbag: Dilute Yriel Yellow to a glaze consistency and apply it to areas that would naturally catch light from the fairy. Focus on the face, cloak edges, and hands, ensuring transitions are smooth and the underlying detail is preserved.
Enhancing the Mushrooms: Apply the same Yriel Yellow glaze to the mushrooms closest to the fairy, strengthening the illusion that the fairy’s light is hitting them.
Final Touches
Detailing the Fairy’s Wings: Use Ceramite White to add vein-like details to the wings, painting from the body outwards for a natural look.
Refining the Mushrooms: Add small white dots to the blue mushrooms for additional texture and interest, using a mix of Sotek Green and Ceramite White for the brightest highlights.
Adjusting the Light Intensity: Depending on the desired effect, you may choose to intensify or soften the OSL by adjusting the amount of Yriel Yellow used. Remember, less is more when aiming for a subtle glow.
Zarbag has lots of bigger friends, which I am looking forward to showing you, too…
Learn How to Paint more Goblins and Gitz!
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How to paint a Red Primaris Techmarine with this striking, stunning red NMM armour, weapon and gold and steel NMM chest pieces.
Video: How to Paint a Red Techmarine – Part One (Red Armour)
This part focuses on the upper of the red armour, with his head and chest the main part we look at in the video.
All videos are recorded in HD 1080p or higher – use full screen for the full effect and let the video load completely.
Materials Needed
Primed Miniature: Primaris Techmarine, primed in black.
Paints: Games Workshop’s Gal Vorbak Red, Khorne Red, Evil Sunz Scarlet, Wild Rider Red; Vallejo’s Neutral Grey, Pale Grey Blue, White Grey, Turquoise.
Brushes: Fine detail brushes for precise application.
Palette: Wet palette to keep your paints workable.
Water or Thinning Medium: For thinning paints as needed.
Step-by-Step Guide
Step 1: Base Layer
Start with Gal Vorbak Red: Apply this as your base layer over the black primer. Due to its high translucency, a couple of coats may be needed. This layer will serve as the base shading colour and for glazes later in the process.
Step 2: Main Armour Colour
Apply Khorne Red: This is your primary armour colour. Begin by mapping out highlights, but don’t worry about covering every area just yet. Focus on getting a solid base on visible parts of the armour.
Step 3: Highlighting
Progress to Evil Sunz Scarlet: Apply this brighter red sparingly as your first layer of highlights. Remember, the goal is to maintain the dark, moody look of the Techmarine while still providing contrast. Use the paint thinly to ensure smooth transitions.
Finish with Wild Rider Red: Use this for the brightest highlights but apply it very conservatively to avoid overpowering the red armour with too bright or orange tones.
Step 4: Enhancing Details
Create Depth with Glazes: Return to Gal Vorbak Red for glazing in shadows and softening transitions. This enhances depth and maintains the richness of the red.
Detail Work: Use fine detail brushes to add scratches and wear, enhancing the battle-worn look of the Techmarine’s armour.
Step 5: Tech Elements and Eyes
Paint Tubes and Trim: Start with Neutral Grey, moving through Pale Grey Blue to White Grey for metallic effects. Highlight edges and curves to simulate light reflection, keeping in mind the direction of the light source.
Glowing Eyes: Begin with a base of Vallejo Turquoise, layering up through mixed shades with White Grey for brightness. Focus the brightest points in the centre of the eyes, using glazing techniques to blend and soften edges.
Step 6: Final Touches
Matte Finish: Consider using a matte varnish on armour sections to contrast with the glossier look of metallic and glowing parts.
Adjustments: Revisit any areas that may need further refinement, ensuring a coherent look across the miniature.
Tips for Success
Layering: Build up colours gradually, allowing each layer to dry thoroughly before applying the next.
Highlighting: Keep highlights focused and restrained. Over-highlighting can desaturate the base colour and detract from the overall appearance.
Glazing: Use thin glazes to smooth out transitions and add depth to colours without obscuring underlying details.
Light Source: Consistency in highlighting according to a single light source adds realism to the miniature. Regularly take a step back and check you are painting the light source from the same angle.
Video: How to Paint a Red Techmarine – Part Two (Red Armour)
This part focuses on the lower areas of the red armour, with his leg and knee the main part we look at in the video.
Materials Needed:
Games Workshop paints: Gal Vorbak Red, Khorne Red, Evil Sunz Scarlet, Wild Rider Red, and a white paint of your choice for mixing.
A wet palette to keep your paints workable.
A fine detail brush for precise application and stippling.
A standard painting brush for broader strokes.
Step-by-Step Guide
Preparing the Model:
Base Coat: Begin by applying a base coat of Gal Vorbak Red over the black primer. This dark red serves as the foundation for our armour and helps subsequent layers stand out.
Painting the Knee:
Initial Highlights: Apply Khorne Red to map out highlights on the knee. Use a stippling motion rather than smooth strokes to create texture and blend into the Gal Vorbak Red base.
Adding Depth: As the paint dries, it will become duller. Add a light spot right at the front of the knee and a soft bounce highlight at the bottom to give the armor shape and definition.
Highlighting the Armor:
Building Up Highlights: Gradually build up highlights using Evil Sunz Scarlet and Wild Rider Red. Focus the brighter highlights (Wild Rider Red mixed with a small amount of white) on areas that would naturally catch the light, such as the top edges and curves of the armor.
Refining Highlights: Use a stippling technique to apply brighter highlights, ensuring you let each layer dry before adding more. This prevents removing previous layers and ensures a smooth transition between shades.
Adjusting Translucency:
Working with Translucent Paints: Reds are translucent, so work from a dark base upwards. Use the translucency to blend shadows naturally, focusing on highlights rather than covering everything in a bright red.
Creating Texture and Detail:
Stippling for Texture: Continue to use stippling to create a textured look, suggesting wear and maintenance on the armor. This technique also helps blend highlights seamlessly.
Adding Scratches: Use Wild Rider Red, and for the brightest points, mix Wild Rider Red with a small amount of white. Apply fine lines and dots to simulate scratches and wear, enhancing the model’s realism.
Finishing Touches:
Edge Highlighting: Use Wild Rider Red for edge highlighting, focusing on defining the shape of the armor without overpowering the main highlights.
Final Adjustments: If any area becomes too bright or loses its red hue, go back in with Gal Vorbak Red to glaze over and tone down the intensity. This also helps blend all elements together harmoniously.
Additional Tips:
Ensure your paint consistency is right; it should be thin enough to flow smoothly but not so thin that it loses coverage. A ratio of about 1.5 parts water to 1 part paint is a good starting point, but adjust as needed based on your paint’s condition and the ambient conditions.
Always wait for layers to dry before applying the next, especially when working with stippling techniques, to avoid lifting previous layers.
Use lighting references (such as holding the model under a lamp) to understand where natural highlights and shadows would fall, guiding your painting process.
Video: How to Paint a Red Techmarine – Part Three (Cables, robotic arm and gun holster.)
This section focuses on achieving a high-contrast, non-metallic metal look on various components of the Techmarine, including the cables on his chest, the mechanical arm, and a leather pouch
Materials Needed:
A selection of brushes, including fine detail brushes for precise work.
A wet palette to keep your paints hydrated and workable.
Vallejo and Games Workshop (GW) paints as listed:
Vallejo: Neutral Grey, Pale Grey Blue, White Grey, Black, Dark Grey, London Grey, Dark Blue Pale
Games Workshop: Doombull Brown, Balor Brown, Ushabti Bone
P3: Morrow White
Step-by-Step Guide:
Painting the Cables:
Base Colour: Start with Neutral Grey for the base of the cables, considering how light naturally hits each ridge but enlarging the highlighted area for visual effect.
Adding Depth: Utilize Black from Vallejo to correct any mistakes, leveraging its matte finish to adjust the appearance of cables against the satin finish of the primer.
Highlighting Techniques:
Building Highlights: Gradually build up highlights using Pale Grey Blue and White Grey, focusing on areas where light would naturally catch more intensely. Utilize Morrow White for the brightest points, ensuring to create dots slightly larger than the underlying highlight for a reflective effect.
Refining Details: Pay special attention to the underside of cables and other small details, possibly using a lighter grey or reflecting the armour’s red for realism, though maintaining high contrast for visual impact.
Painting the Leather Pouch:
Texture and Base: Start with Doombull Brown, applying the paint in a scribbly fashion to simulate the texture of worn leather. Focus more on the bottom of the pouch for a modulated look.
Highlighting the Leather: Progress through Balor Brown to Ushabti Bone, focusing on edges and areas of wear. The goal is to create a highly textured appearance, indicative of frequently used leather.
Glazing for Depth:
Subtlety with Glazes: Use glazes made from thinned-down Abaddon Black and a mix of Doombull Brown and Monopack Brown (or a similar light brown) to tone down the brightness of the highlights and add depth to the textures.
Painting the Mechanical Arm:
Non-Metallic Metal (NMM) Technique: Begin with Neutral Grey, layering up towards Pale Grey Blue and then to white for the brightest highlights. Utilize a scratchy, cross-hatching technique for a worn metallic look, ensuring to maintain the light source consistency across the model.
Detailing and Contrast: Focus on creating a contrast between the mechanical arm and the rest of the model, paying attention to the placement of primary and secondary (bounce) highlights to simulate metallic reflections.
Additional Tips:
Practice Makes Perfect: These techniques, especially the NMM and texturing on the leather pouch, require practice to master. Don’t be discouraged by initial attempts; each model you paint will help improve your skills.
Attention to Detail: Small details like the rivets and the banding between armour plates can significantly impact the model’s final appearance. Take your time with these areas to ensure they contribute to the overall look of the miniature.
Consistency in Lighting: Ensure that the light source is consistent across the model to maintain realism in your highlights and shadows. This applies to all aspects of the model, from the armour to the accessories.
Video: How to Paint a Red Techmarine – Part Four (NMM Axe)
This guide aims to help you achieve a realistic non-metallic metal effect on your Techmarine’s axe, with a focus on contrast, texture, and light reflection.
Materials Needed:
Fine detail brushes for precise application.
A wet palette to keep your paints hydrated.
Vallejo and Games Workshop paints: Doombull Brown, Mournfang Brown, Balor Brown, XV-88, Ice Yellow, Pale Grey Blue, and P3 Morrow White (or any white).
Preparing the NMM Axe:
Metal Pole: Begin by painting the metal pole using the same NMM techniques detailed in the previous video. This ensures consistency across metallic elements of the miniature.
Painting the Circular Detail on the NMM Axe:
Base Colour: Start with the darker brown (Doombull Brown), applying it as the base for the small circular detail on the pole. This connects the colour scheme with the axe head, adding warmth and interest.
Highlighting: Gradually build up the highlights transitioning from dark (Doombull Brown) to light (XV-88 to Ice Yellow) from the top to the bottom of the circular detail. Finish with a thin edge highlight at the top for definition.
Painting the NMM Axe Blade:
Vertical Lines: Initially, paint vertical lines across the blade with a mixture of 50:50 water to paint. This underlayer softens the stark contrast between subsequent horizontal lines and the dark primer.
Adding Texture: Apply horizontal lines over the vertical ones to create a cross-hatching effect. This technique adds texture and subtlety to the blade, avoiding harsh contrasts.
Defining Highlights: Focus on creating a diagonal highlight across the axe head, marking the primary light reflection. This line should be brighter at the top edge of the blade, tapering and becoming more subtle as it crosses the blade.
Building Up the Blade’s Texture:
Further Highlights: Use Mournfang Brown to add more texture and depth, emphasizing the top of the blade where the light is strongest. The aim is to make the top appear lighter than the bottom, enhancing the NMM effect.
Ice Yellow Highlights: Progress to Ice Yellow for the highest highlights, concentrating on areas that would catch the most light. Ensure these lines are fine and precise to maintain the textured look.
Detailing the Axe Head:
Base Texturing: With Mournfang Brown, create scribbly, textured marks on the flat of the axe head, focusing on creating a light to dark modulation from one edge to the other.
Enhancing Texture: Progress through Balor Brown and XV-88, adding finer, more controlled highlights to build up the texture. These should be more focused and less extensive than the base texture, adding depth and interest to the surface.
Final Highlights: Use Ice Yellow and Pale Grey Blue for the final highlights, paying particular attention to areas like the skull and the circle on the axe head. These colours should only be applied to the blade for differentiation, so don’t go too crazy with them, adding a cool tone to contrast with the warmer body of the axe head.
Finishing Touches:
Neatening Edges: Go back and tidy up any overspill or overly broad lines with the base colours, ensuring the texture remains coherent and the contrasts sharp.
Evaluation: Step back and review the entire piece, making any necessary adjustments to ensure the NMM effect is convincing and the textures and contrasts work together harmoniously.
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Learn how to paint red OSL in this video guide! A major focal point of Abaddon’s model is the red glow of chaos that he eminates. For this, I employed Object Source Lighting (OSL) techniques using Mephiston Red, Evil Sunz Scarlet, and Wild Rider Red. Carefully layering these reds over Bugman’s Glow and Kislev Flesh creates a subtle yet intense glow that adds a sense of malevolence to Abaddon’s visage.
Video – How to Paint Red OSL
Paints needed
Paints:
Games Workshop: Bugman’s Glow, Cadian Fleshtone, Kislev Flesh, Ushabti Bone, Mephiston Red, Evil Sunz Scarlet, Wild Rider Red, Abaddon Black, Rhinox Hide
P3: Morrow White
Painting the Head
Base Coating:
Start by applying a base coat of Bugman’s Glow to Abaddon’s head. The paint should be thinned to ensure translucency, allowing the black primer to show through slightly. This helps to build up the layers gradually and control the lighting effect.
Layering the Skin:
Apply multiple thin layers of Bugman’s Glow to build up the opacity on the areas where light would naturally hit, such as the forehead, cheeks, and chin. Avoid the recessed areas under the eyebrows and the lower parts of the face to maintain shadow.
Adding Shadows:
Use Abaddon Black thinned down with water (around 6:1 ratio) to glaze the lower parts of the face, such as under the cheeks, eyebrows, and chin. This creates a strong contrast and enhances the lighting effect.
Highlighting the Skin:
Begin highlighting the skin with Cadian Fleshtone, focusing on the higher points like the forehead, nose, and upper cheeks. Apply the paint in thin, controlled strokes to create smooth transitions.
Follow with Kislev Flesh for the next level of highlights. Concentrate on the most prominent areas, keeping the highlights small and precise.
Final Highlights:
Use Ushabti Bone mixed with Kislev Flesh for the highest highlights. Apply sparingly to the brightest areas, such as the forehead and the tops of the cheeks.
For the ultimate highlight, add a small amount of P3 Morrow White to the Ushabti Bone mix and apply tiny dots to the highest points. This adds a final touch of brightness.
Creating the Red OSL Effect
Base Red Glow:
Apply Mephiston Red to the areas where the red glow will be the strongest, such as the underside of the chin, lower cheeks, and under the eyebrows. The paint should be thinned and applied in layers to build up the intensity gradually.
Enhancing the Glow:
Use Evil Sunz Scarlet to intensify the red glow. Focus on the areas closest to the light source, such as the lower part of the face and the underside of the chin. Blend the edges smoothly into the Mephiston Red.
Highlighting the Red:
Add Wild Rider Red to the mix for the highlights within the red areas. Apply this to the recesses where the light would be most intense, such as the underside of the chin and the lower edges of the cheeks.
Balancing the Glow:
Occasionally switch back to Bugman’s Glow to refine the flesh highlights and balance them with the red glow. This ensures a seamless transition between the skin tones and the red lighting effect.
Refining and Detailing
Refining Shadows:
Use Rhinox Hide thinned down (around 7:1 ratio) to glaze the deepest recesses and enhance the shadows. Apply this carefully to avoid overpowering the existing layers.
Detailing the Eyes:
Paint the eyes black with Abaddon Black. Add a small white dot with P3 Morrow White to create a catchlight, giving the eyes a lifelike appearance.
Red Glows on Armour:
With the armour in place, use Mephiston Red and Evil Sunz Scarlet to add red highlights to the insides of the armour around the neck and any other areas that would catch the glow. This helps to integrate the head with the rest of the model.
There are lots more tutorials for painting Abaddon! Follow the link below to watch them all, or scroll town to explore them by model part.
Abaddon the Despoiler
A series of videos on how to paint Abbadon the Despoiler to competition standard – (new step-by-step guides included!)
Watch Now
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In this tutorial, we’ll explore how to paint a necron blade for the Necron Overlord from the Indomitus boxed set, aiming for a standout effect with an alien technology vibe. We’ll employ a combination of vibrant and contrasting colours to achieve this unique look.
Video: How to Paint a Necron Blade
Paints
Vallejo Game Colour Turquoise, Sunset Red, Ice Yellow, Black; Games Workshop Abaddon Black, Ahriman Blue, Incubi Darkness; P3 Morrow White.
Step-by-Step Guide: How to Paint a Necron Blade
Step 1: Base Details
Start with Ice Yellow, thinning it with approximately two parts water to one part paint for smooth flow. This thinned mixture should be applied to the recessed circular details on the blade, allowing capillary action to draw the paint into these areas. Let dry, then apply a second coat if needed for opacity.
Step 2: Adding Colour Contrast
Apply Sunset Red (a vibrant magenta/hot pink shade) to further highlight the recessed areas, contrasting sharply with the future turquoise and blue elements. This step enhances the alien technology aspect with its striking colour difference.
Step 3: Initial Highlights
Mix a little white with Sunset Red to desaturate the pink slightly for the first stage of highlights. Focus these lighter pink highlights around the recesses to emphasize the glow effect. Avoid adding too much white to maintain the vibrancy of the pink.
Step 4: Cleaning Up
Once the recessed areas are highlighted, use Vallejo Black (or Games Workshop Abaddon Black) to tidy up the edges around these highlights. This step will sharpen the contrast and make the details pop against the blade’s darker base.
Step 5: Turquoise Application
Begin applying Vallejo Game Colour Turquoise to the flat of the blade. This isn’t aimed at realistic reflection but rather at adding an otherworldly glow. Use this alongside a mix of Turquoise with a small amount of Black for shading and pure Turquoise for mid-tones.
Step 6: Adding Scratches and Texture
For creating scratches and texture on the blade’s surface, use a very fine brush and lightly apply lines using a mix of Turquoise and White, gradually increasing the amount of white for the brightest highlights. Add these scratches sparingly to avoid overwhelming the design.
Step 7: Glazing for Depth
To soften and blend the transitions on the blade, prepare glazes with Ahriman Blue (or an equivalent turquoise shade), Incubi Darkness for dark areas, and Abaddon Black for the deepest shadows. Apply these glazes carefully to merge the highlights and shades smoothly, enhancing the blade’s dimensional appearance.
Step 8: Final Highlights and Adjustments
Using Morrow White, add final spot highlights to the edges and tips of the blade where light would naturally catch the most. This step brings together all the elements, giving the blade a polished, gleaming look that stands out from the rest of the model.
Tips for Success:
Layering: Build up colours gradually, allowing each layer to dry before applying the next. This approach gives you more control over the final outcome.
Contrast: Make use of contrasting colours to create visual interest and highlight the alien nature of the technology.
Texture: Adding small scratches and imperfections can lend realism and character to the blade, suggesting wear and use.
For all of my Tutorials on how I painted this Necron, go here:
Necron Overlord NMM Gold
A series of video tutorials on how I painted this Necro Overlord, with gold non metallic metals and a guide to how to paint his glowing weapons. Plus, a guide on creating his base.
Watch Now
More Necron Tutorials
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Learn how to paint Fabius Bile Torture Tools in this comprehensive video and guide. Watch the video on how I created the glass effect of Fabius Biles’ vials of suspicious liquids and shining non-metallic metals on his torture instruments!
Video Tutorial – Fabius Bile Torture Tools
All videos are recorded in HD 1080p or higher – use full screen for the full effect and let the video load completely.
Paints and Materials:
Paints for Torture Tools:
Greys for Metal Tools:
Vallejo Dark Grey
Vallejo Neutral Grey
Vallejo Pale Grey Blue
Optional: Black and White (for mixing various greys if specific greys are not available)
Highlighting:
P3 Morrow White (for the highest points of highlights)
Paints for Glass Canisters:
Ahriman Blue (Games Workshop) – Base color for liquid in canisters.
White (P3 Morrow White recommended) – For mixing with Ahriman Blue to create gradients and highlights.
Paints for Red Liquid in Canisters:
Mephiston Red (Games Workshop) – Base color for red liquid.
Wildrider Red (Games Workshop) – Mid highlight for red liquid.
Lugganath Orange (Games Workshop) – Bright highlight for red liquid.
Paints for Torture Tools:
Dark Grey (Vallejo recommended) – Base color for torture tools.
Neutral Grey (Vallejo recommended) – For mid-tones on torture tools.
Pale Grey Blue (Vallejo recommended) – For highlights on torture tools.
Black and White (Vallejo Black and P3 Morrow White recommended) – For mixing custom shades of grey.
Additional Materials:
Fine-tip Brushes (e.g., size 00 Artificer brush) for detailed painting.
A palette for mixing paints (wet palette recommended).
Water for thinning paints.
Kitchen roll or paper towel for brush cleaning and paint control.
Optional:
Incubi Darkness (Games Workshop) – For glazing and adjusting tones, especially in the liquid canisters.
How to Paint Fabius Bile Tutorials
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A set of videos on how to paint a Skorpekh Lord from the Indomitus boxed set from Games Workshop. With NMM (Non-metallic metal) and red OSL. Read on to explore the tutorials in order, or quick jump using the contents below!
Video – How to Paint Skorpekh Lord Part OnePaints and Materials NeededStep-by-Step GuideVideo – How to Paint Skorpekh Lord Part TwoPaints and Materials NeededStep-by-Step Guide
Video – How to Paint Skorpekh Lord Part One
Paints and Materials Needed
Paints:
Vallejo Paints:
Black
Dark Grey
Heavy Grey
Deep Blue Pale
P3 Paints:
Morrow White (Alternatively, you can choose your preferred white paint)
Brushes:
Fine Detail Brush: For intricate work and precise highlights, a Size 00 brush is recommended. This will allow you to apply the smaller, more detailed marks needed for the final highlights and finer details.
Standard Brush: A Size 0 or 1 brush for the broader strokes and layering. This will be useful for the initial application of the 50/50 mix of Dark Grey and Heavy Grey, and for applying the Heavy Grey.
Step-by-Step Guide
Step 1: Preparation
Assemble and prime your Skorpekh Lord. Note that the model is push-fit, so keeping parts separate for detailed painting can be tricky. However, assembling it fully then painting is possible and can yield great results.
Step 2: Establishing Base Tones
Start by applying a mix of Vallejo Dark Grey and Heavy Grey (mixed in a 50/50 ratio). This mix is your foundation for mapping out light points on the model. Apply it roughly to create texture, aiming for a grungy look.
Step 3: Adding Depth with Heavy Grey
Use Vallejo Heavy Grey to add depth. This grey has a slight green tint, enhancing the contrast with later red elements. Apply it over the initial mix, enhancing the textured, worn effect.
Step 4: Working with Blue Tones
Introduce Vallejo Deep Blue Pale to your palette. Apply this to areas you want to emphasise as reflecting the sky, adding a colder, metallic feel.
Create a 50/50 mix of Deep Blue Pale and White (P3 Morrow White or your choice of white) for lighter highlights. Apply these to the most raised and prominent areas, following the form of the model.
Step 5: Finishing with White Highlights
Use pure white paint for the final highlights. Focus on the smallest and brightest light points. This step requires precision – use a fine brush and aim for small, deliberate marks.
Step 6: Considerations During Painting
Align your brushstrokes with the armour’s shape. Vary your marks to reflect different levels of wear and tear.
Use a smaller brush (I used Artist Opus size 0 or 00) for finer details, especially as you work towards smaller, more precise highlights.
Be mindful of the light source. Understand how it interacts with the model to guide your placement of primary and secondary highlights.
Step 7: Refinement and Detailing
As you progress, refine the details. Ensure that areas like the head and weapons stand out.
Adjust your brushwork to enhance the model’s intricate features, adding depth and dimension.
Video – How to Paint Skorpekh Lord Part Two
Paints and Materials Needed
Paints:
Games Workshop: Mournfang Brown, Mephiston Red, Wildrider Red
Vallejo: English Uniform, Japanese Uniform, Ice Yellow, Neutral Grey, Dark Grey
Step-by-Step Guide
Golden Necklace:
Start with Vallejo English Uniform. Focus on specific areas, leaving sides dark to create a light-shining effect. This technique helps avoid a flat, overly contrasted appearance and maintains a gold-like hue.
Progress to Vallejo Japanese Uniform, highlighting details while considering the light reflecting from surrounding metal.
Use Vallejo Ice Yellow for final highlights. Place dots and dashes on hard edges and corners, simulating imperfections and dents in the metal.
Eyes:
Begin with Mephiston Red from Games Workshop.
Layer Wildrider Red, adding a little Ice Yellow for higher highlights. Be cautious not to make the eyes too pinkish. Adjust the red glow to achieve a sinister, darker tone.
Blade:
Use Vallejo Neutral Grey and Dark Grey as base colors.
Mix Neutral Grey with Ice Yellow, creating two mixes: one with a 2:1 ratio and another with more Ice Yellow.
Apply the mixes to the blade, starting with larger brushstrokes and gradually decreasing the size for finer details. Follow the blade’s curve with your brushstrokes.
Add Vallejo Ice Yellow with Neutral Grey for the final highlights. Apply with a delicate touch to maintain the metal’s weathered appearance.
For added realism, place tiny dots and lines using Vallejo Ice Yellow and Neutral Grey mix, simulating scratches and imperfections.
Rod on Weapon Handle:
Glaze the rod with Mournfang Brown, diluted with water (approximately 4 parts water to 1 part paint). Apply over the metallic colors previously painted, creating a brass-like effect.
Final Details and Touch-ups:
Go back and refine any areas as needed. Be especially careful with the sharp edge of the blade to maintain a clean, bright highlight.
Adjust any colors or highlights to ensure consistency and realism across the model.
Finishing Touches:
Once satisfied with the painting, you can apply a matte varnish to reduce any unwanted shine from the paint, enhancing the model’s overall appearance.
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Drach’nyen, Abaddon’s sword, is a daemon weapon capable of wreaking havoc on the battlefield, and painting it was one of the most exciting parts of this project. The blade’s eerie blue and green glow, achieved with Warpstone Glow and Sotek Green, draws attention to the faces that seem to emerge from the sword itself. Using NMM techniques for the metallic parts of the hilt adds a cohesive look, tying the weapon into the overall feel of Abaddon’s model.
Video – How to Paint Drach’nyen – A Daemon-Infused Sword
Paints needed
Paints:
Games Workshop: Warpstone Glow, Sotek Green, Gauss Blaster Green
Vallejo: Neutral Grey, Pale Blue Grey, Black
P3: Morrow White
Painting the Blade
Base Coating:
Start by applying a base coat of Warpstone Glow mixed with Sotek Green. This mix should have a bluish tint. Apply multiple thin layers to build up a solid base colour, as Warpstone Glow has poor coverage.
Highlighting the Blade:
Begin highlighting the blade with a mix of Sotek Green and Gauss Blaster Green. Focus on the central and lower sections of the blade to create a gradient effect. Use thin layers to gradually build up the highlights.
Use Gauss Blaster Green for the brightest highlights, especially near the bottom of the blade and around the eyes and mouths of the faces sculpted on the blade.
Detailing the Faces:
Paint the eyes and mouths of the faces on the blade using Gauss Blaster Green. Apply multiple layers to achieve a smooth, glowing effect. Focus the highlights towards the bottom of the eyes and mouths for a more intense glow.
Ensure there is a fine dark line around the edges of the eyes and mouths to maintain definition.
Adding Non-Metallic Metal (NMM) Effects to Drach’nyen
Mapping Out the NMM Areas:
Use Neutral Grey to map out the areas where you want the NMM effects. Apply this to the edges and central spine of the blade. Keep your brush strokes in the same direction to create a feathered edge effect.
Building Up the NMM Highlights:
Gradually build up the highlights using Pale Blue Grey. Focus on the edges and central spine of the blade. Apply thin layers, blending them into the Neutral Grey.
Add P3 Morrow White for the brightest highlights. Use small, controlled dots and lines to simulate light reflecting off the blade. Be sparing with this colour to avoid overpowering the other highlights.
Refining the Details:
Use Black to deepen the shadows and add contrast. Apply this carefully around the eyes and mouths to enhance the glow effect and define the edges.
Revisit the highlights with Gauss Blaster Green and P3 Morrow White as needed to maintain the glowing effect and sharpness of the NMM.
Painting the Hilt
Base Coating:
Apply a base coat of Rhinox Hide to the hilt. Ensure an even coverage, as this will be the foundation for the gold NMM effect.
Building Up the Gold NMM:
Use English Uniform to start building up the highlights. Apply this to the raised areas and edges of the hilt. Focus on the left-hand side of the demon face on the hilt to create a focal point.
Gradually add Japanese Uniform and Ice Yellow to the highlights. Be careful with the amount of Ice Yellow used, as it is a significant step up in tone.
Final Highlights:
Apply P3 Morrow White for the final highlights. Use tiny dots and lines to simulate light glinting off the metallic surfaces. Focus on the highest points and edges.
Refining and Blending:
Use Mournfang Brown to glaze over the gold areas, unifying the colours and softening transitions. Apply thin layers to avoid losing the detail in the highlights.
There are lots more tutorials for painting Abaddon! Follow the link below to watch them all, or scroll town to explore them by model part.
Abaddon the Despoiler
A series of videos on how to paint Abbadon the Despoiler to competition standard – (new step-by-step guides included!)
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Welcome to this detailed guide on how to paint Abaddon the Despoiler, the Warmaster of Chaos. Follow along with my videos to achieve a competition-standard display model. Make sure you have the necessary paints and tools ready – each video will have a complete materials list below it.
Scroll down to explore the tutorials in order, or quick jump to a technique or part on how to paint Abaddon the Despoiler, just below:
Video – How to Paint Abaddon the Despoiler Part One (Gold Armour)Materials and paints neededPreparationInitial AssemblyBase CoatingAdding TexturesHighlights and DetailsDetailing the ArmourFinishing TouchesVideo – How to Paint Abaddon the Despoiler: Skull and LeatherPaints neededPainting the SkullPainting the Leather LoinclothVideo – How to Paint Abaddon Sword, Drach’nyenPaints neededPainting the BladeAdding Non-Metallic Metal (NMM) EffectsPainting the HiltVideo – How to Paint Abaddon Armour TrimPaints neededPainting the Golden TrimPainting the ArmourPainting the Tubing and CablesVideo – How to Paint Abaddon Head and Red OSLPaints neededPainting the HeadCreating the Red OSL EffectRefining and DetailingVideo – How to Paint Abaddon Hair and TalonPaints neededPainting the Talon (Non-Metallic Metal Effect)Painting the HairFinal TouchesVideo – How to Paint Abaddon Cloak (Leather Effect)Paints neededPainting the Inside of the Cloak Video – How to Paint Abaddon Cloak Freehand Part OnePaints and materials neededPreparing the CloakStarting the Freehand Video – How to Paint Abaddon Cloak Freehand Part TwoPaints needed:Refining the Slaanesh HeadDetailing and TexturingVideo – How to Paint Abaddon Cloak Freehand Part ThreePaints neededPainting the Khorne Head Video – How to Paint Abaddon Cloak Freehand Part FourPaints and materials neededPainting the Nurgle Head Video – How to Paint Abaddon Cloak Freehand Part FivePaints needed:Video – How to Paint Abaddon Cloak Freehand Final PartPaints neededVideo – How to Paint Abaddon Trophy RackPaints used:Space Marine HelmetWooden SpikesNMM Metal Spike TipsStep 4: SkullsVideo – How to Paint Abaddon Shoulder PadPaints usedPreparing the SurfaceBase Coating the EyePainting the PupilPainting the IrisHighlighting the EyePainting the NMM Gold TrimAdding Final Details
Video – How to Paint Abaddon the Despoiler Part One (Gold Armour)
Materials and paints needed
Paints:
Games Workshop: Daemonette Hide, Balor Brown, XV-88
Vallejo: Pale Grey Blue, Neutral Grey
Brushes:
Detail brush (size 0 or 00 – I used the Artist Opus range for details)
Standard brush
Primer: Black spray primer
Tools:
Blu Tack
Palette
Water cup
Clean cloth or paper towel
Preparation
Prime the Model:
Ensure the model is clean and free from any mould lines.
Use a black spray primer to coat the entire model evenly. This helps the paint adhere better and provides a solid base for painting.
Not sure how to build and clean your Abaddon?
This video and step by step guide shows the whole process how to build Abraxia, which shows you the techniques you can use when cleaning and prepping your Abaddon. I go over lots of little tips and tricks to hide join lines, remove and smooth down mould marks and fill in gaps.
Watch Now
Read PDF Guide
Initial Assembly
Temporary Assembly:
Use Blu Tack to temporarily hold the model together. This allows easy access to hard-to-reach areas while painting. Parts like the claw and sword can be glued on as they won’t hinder your brush.
Base Coating
Non-Metallic Metal Gold:
Start with the non-metallic gold areas using XV-88 and Balor Brown. These colours are less saturated to create a more desaturated gold effect.
Apply XV-88 as the base coat for the gold areas.
Add Balor Brown to create depth and variation.
Adding Textures
Texture Application:
Use a stippling technique with Balor Brown to create a rough, textured look on the gold areas.
This involves applying the paint in a dabbing motion to simulate scratches and imperfections.
Highlights and Details
Highlighting Gold:
Mix Pale Grey Blue with Balor Brown for the highlights. This will desaturate the gold, giving it a cooler, metallic appearance.
Apply the highlights sparingly, focusing on the edges and raised areas to create contrast.
Painting the Armour:
Use Daemonette Hide for the armour. This light purple has good coverage and adds a unique hue to the model.
Apply it in a rough, uneven manner to maintain the textured look.
Detailing the Armour
Detail Brush Work:
Use a size 0 detail brush to carefully apply highlights and details. This helps avoid accidental paint application on unwanted areas.
For the tubing and other details, use Vallejo Neutral Grey. This neutral colour separates these elements from the armour, providing visual contrast.
Finishing Touches
Final Highlights and Adjustments:
Revisit the highlighted areas with Pale Grey Blue, adding final touches to ensure the gold and armour have the desired reflective quality.
If needed, use a fine brush to add edge highlights with Balor Brown or Pale Grey Blue, ensuring they are sharp and precise.
Balancing the Model:
Ensure that the focal points, like the chest and head, are balanced. Add more warmth to the gold if necessary using a mix of XV-88 and a tiny amount of ice yellow.
Video – How to Paint Abaddon the Despoiler: Skull and Leather
Paints needed
Paints:
Games Workshop: XV-88, Morghast Bone, Screaming Skull, Rhinox Hide, Cadian Fleshtone, Mournfang Brown
Vallejo: Neutral Grey
P3: Morrow White
Painting the Skull
Base Coat:
Start by applying a base coat of XV-88 to the skull. Use a rough, stippling technique to create texture. Thin the paint slightly (1.5 parts water to 1 part paint) to allow the black primer to show through, providing natural shading.
First Highlight:
Apply Morghast Bone using a similar stippling technique. Focus on smaller areas than the base coat, building up highlights gradually. Ensure the paint is thin and applied delicately to avoid overpowering the base coat.
Second Highlight:
Use Screaming Skull for the next layer of highlights. Apply smaller stipples, concentrating on the areas that would catch the most light from the top left. This creates a sense of depth and realism.
Final Highlight:
Add the final highlights with P3 Morrow White. Use a fine brush to apply very small, controlled stipples. This step emphasizes the brightest points on the skull, giving it a natural bone appearance.
Detailing the Studs:
Paint the service studs on the forehead with Vallejo Pale Grey Blue and add a small dot of P3 Morrow White for the final highlight, creating a shiny metallic effect.
Painting the Leather Loincloth
Base Coat:
Apply a rough base coat of Rhinox Hide to the leather loincloth. The coverage doesn’t need to be perfect; a patchy application adds to the texture and realism.
Initial Highlights:
Mix Rhinox Hide and Cadian Fleshtone in a 50/50 ratio. Apply this mix to the highlight areas, using a rough, textured technique. Highlight both convex and concave areas, reflecting where the light hits.
Further Highlights:
Use pure Cadian Fleshtone to add more delicate highlights. Focus on the most raised or prominent areas, using fine, controlled strokes to create the appearance of worn leather.
Final Highlights:
Carefully apply Morghast Bone to the highest points of the leather. Use thin, controlled lines to simulate creases and cracks in the leather, adding depth and realism.
Adding Wear and Tear:
Apply Vallejo Neutral Grey to the torn edges of the leather. This step is optional but adds an interesting worn effect. Be sparing with this colour to avoid overpowering the brown tones.
Glazing:
Glaze the entire loincloth with Rhinox Hide to unify the colours and add depth. Thin the paint to a wash consistency and apply it carefully, focusing more on the shadowed areas to enhance contrast.
Final Touches:
For additional warmth and contrast, apply very light glazes of Mournfang Brown to selected areas. Be cautious with this step to avoid lightening the shadows too much.
Video – How to Paint Abaddon Sword, Drach’nyen
Paints needed
Paints:
Games Workshop: Warpstone Glow, Sotek Green, Gauss Blaster Green
Vallejo: Neutral Grey, Pale Blue Grey, Black
P3: Morrow White
Painting the Blade
Base Coating:
Start by applying a base coat of Warpstone Glow mixed with Sotek Green. This mix should have a bluish tint. Apply multiple thin layers to build up a solid base colour, as Warpstone Glow has poor coverage.
Highlighting the Blade:
Begin highlighting the blade with a mix of Sotek Green and Gauss Blaster Green. Focus on the central and lower sections of the blade to create a gradient effect. Use thin layers to gradually build up the highlights.
Use Gauss Blaster Green for the brightest highlights, especially near the bottom of the blade and around the eyes and mouths of the faces sculpted on the blade.
Detailing the Faces:
Paint the eyes and mouths of the faces on the blade using Gauss Blaster Green. Apply multiple layers to achieve a smooth, glowing effect. Focus the highlights towards the bottom of the eyes and mouths for a more intense glow.
Ensure there is a fine dark line around the edges of the eyes and mouths to maintain definition.
Adding Non-Metallic Metal (NMM) Effects
Mapping Out the NMM Areas:
Use Neutral Grey to map out the areas where you want the NMM effects. Apply this to the edges and central spine of the blade. Keep your brush strokes in the same direction to create a feathered edge effect.
Building Up the NMM Highlights:
Gradually build up the highlights using Pale Blue Grey. Focus on the edges and central spine of the blade. Apply thin layers, blending them into the Neutral Grey.
Add P3 Morrow White for the brightest highlights. Use small, controlled dots and lines to simulate light reflecting off the blade. Be sparing with this colour to avoid overpowering the other highlights.
Refining the Details:
Use Black to deepen the shadows and add contrast. Apply this carefully around the eyes and mouths to enhance the glow effect and define the edges.
Revisit the highlights with Gauss Blaster Green and P3 Morrow White as needed to maintain the glowing effect and sharpness of the NMM.
Painting the Hilt
Base Coating:
Apply a base coat of Rhinox Hide to the hilt. Ensure an even coverage, as this will be the foundation for the gold NMM effect.
Building Up the Gold NMM:
Use English Uniform to start building up the highlights. Apply this to the raised areas and edges of the hilt. Focus on the left-hand side of the demon face on the hilt to create a focal point.
Gradually add Japanese Uniform and Ice Yellow to the highlights. Be careful with the amount of Ice Yellow used, as it is a significant step up in tone.
Final Highlights:
Apply P3 Morrow White for the final highlights. Use tiny dots and lines to simulate light glinting off the metallic surfaces. Focus on the highest points and edges.
Refining and Blending:
Use Mournfang Brown to glaze over the gold areas, unifying the colours and softening transitions. Apply thin layers to avoid losing the detail in the highlights.
Video – How to Paint Abaddon Armour Trim
Paints needed
Games Workshop: XV-88, Balor Brown, Rhinox Hide, Mournfang Brown, Daemonette Hide
Vallejo: Pale Grey Blue
P3: Morrow White
Painting the Golden Trim
Base Coating:
Start by applying a base coat of XV-88 to all the golden trim areas. Use thin layers to ensure an even coverage and maintain the details of the model.
Building Up the Gold:
Apply Balor Brown over the base coat, focusing on the raised areas and edges. This will create depth and variation in the gold.
Add Mournfang Brown to warm up the gold. Apply this colour to the shadowed areas and deeper recesses, blending it smoothly into the Balor Brown.
Highlighting:
Use Pale Grey Blue to start highlighting the trim. This will create a cooler, more desaturated look. Apply the highlights carefully, focusing on the edges and raised areas.
Add final highlights with P3 Morrow White. Use small dots and lines to simulate light reflecting off the gold. Be sparing with this colour to avoid overpowering the other highlights.
Refining and Balancing:
Go back with Balor Brown to reinforce the mid-tones and blend the highlights smoothly. This helps maintain the warmth in the gold and prevents it from looking too silver.
Use Rhinox Hide for deeper shadows, applying it to the darkest areas to enhance the contrast and depth.
Painting the Armour
Base Coating:
Apply a base coat of Daemonette Hide to the armour. Use a textured technique with a stippling or scrubbing motion to create a rough, worn look.
Building Up the Armour:
Mix Daemonette Hide with Pale Grey Blue in a 50/50 ratio. Use this mix to highlight the armour, focusing on the raised areas and edges. Apply the paint in a textured manner, using small dots, scratches, and smears to create a worn effect.
Highlighting:
For the highest highlights, use pure Pale Grey Blue. Apply it sparingly to the most prominent areas, such as the chest and shoulders, to create a focal point.
Refining and Blending:
Use Rhinox Hide and Abaddon Black to glaze the shadows and unify the colours. Apply thin layers to deepen the shadows and enhance the contrast. This step is crucial for creating a dramatic lighting effect.
Painting the Tubing and Cables
Base Coating:
Start with a base coat of Neutral Grey for the tubing and cables. Ensure an even coverage, paying attention to the ribbed sections.
Building Up the Highlights:
Use Pale Grey Blue to highlight the tubing and cables. Apply the highlights to the raised areas, following the curves and contours of the model.
Add final highlights with P3 Morrow White, focusing on the edges and most prominent parts. Use small dots and lines to simulate light reflecting off the cables.
Creating Shiny Effects:
Pay attention to the direction of the light source when applying highlights. Ensure that the highlights are aligned with the light direction on the rest of the model.
Use very small amounts of paint and apply it with the tip of the brush to create precise, controlled highlights.
Video – How to Paint Abaddon Head and Red OSL
Paints needed
Paints:
Games Workshop: Bugman’s Glow, Cadian Fleshtone, Kislev Flesh, Ushabti Bone, Mephiston Red, Evil Sunz Scarlet, Wild Rider Red, Abaddon Black, Rhinox Hide
P3: Morrow White
Painting the Head
Base Coating:
Start by applying a base coat of Bugman’s Glow to Abaddon’s head. The paint should be thinned to ensure translucency, allowing the black primer to show through slightly. This helps to build up the layers gradually and control the lighting effect.
Layering the Skin:
Apply multiple thin layers of Bugman’s Glow to build up the opacity on the areas where light would naturally hit, such as the forehead, cheeks, and chin. Avoid the recessed areas under the eyebrows and the lower parts of the face to maintain shadow.
Adding Shadows:
Use Abaddon Black thinned down with water (around 6:1 ratio) to glaze the lower parts of the face, such as under the cheeks, eyebrows, and chin. This creates a strong contrast and enhances the lighting effect.
Highlighting the Skin:
Begin highlighting the skin with Cadian Fleshtone, focusing on the higher points like the forehead, nose, and upper cheeks. Apply the paint in thin, controlled strokes to create smooth transitions.
Follow with Kislev Flesh for the next level of highlights. Concentrate on the most prominent areas, keeping the highlights small and precise.
Final Highlights:
Use Ushabti Bone mixed with Kislev Flesh for the highest highlights. Apply sparingly to the brightest areas, such as the forehead and the tops of the cheeks.
For the ultimate highlight, add a small amount of P3 Morrow White to the Ushabti Bone mix and apply tiny dots to the highest points. This adds a final touch of brightness.
Creating the Red OSL Effect
Base Red Glow:
Apply Mephiston Red to the areas where the red glow will be the strongest, such as the underside of the chin, lower cheeks, and under the eyebrows. The paint should be thinned and applied in layers to build up the intensity gradually.
Enhancing the Glow:
Use Evil Sunz Scarlet to intensify the red glow. Focus on the areas closest to the light source, such as the lower part of the face and the underside of the chin. Blend the edges smoothly into the Mephiston Red.
Highlighting the Red:
Add Wild Rider Red to the mix for the highlights within the red areas. Apply this to the recesses where the light would be most intense, such as the underside of the chin and the lower edges of the cheeks.
Balancing the Glow:
Occasionally switch back to Bugman’s Glow to refine the flesh highlights and balance them with the red glow. This ensures a seamless transition between the skin tones and the red lighting effect.
Refining and Detailing
Refining Shadows:
Use Rhinox Hide thinned down (around 7:1 ratio) to glaze the deepest recesses and enhance the shadows. Apply this carefully to avoid overpowering the existing layers.
Detailing the Eyes:
Paint the eyes black with Abaddon Black. Add a small white dot with P3 Morrow White to create a catchlight, giving the eyes a lifelike appearance.
Red Glows on Armour:
With the armour in place, use Mephiston Red and Evil Sunz Scarlet to add red highlights to the insides of the armour around the neck and any other areas that would catch the glow. This helps to integrate the head with the rest of the model.
Video – How to Paint Abaddon Hair and Talon
Paints needed
Paints:
Games Workshop: Mournfang Brown, Rhinox Hide, Cadian Fleshtone, Ushabti Bone
Vallejo: Neutral Grey, Pale Grey Blue
P3: Morrow White (or any preferred white)
Painting the Talon (Non-Metallic Metal Effect)
Base Coating:
Start by applying a base coat of Neutral Grey on the talon. Ensure an even coverage over the entire claw.
Initial Highlights:
Using Pale Grey Blue, begin to highlight the raised areas and the edges of the talon. The highlights should be applied in a random, scratchy manner to replicate a worn and weathered effect. Focus more highlights towards the tips of the talon.
Refining the Highlights:
Add Morrow White to your palette. Apply this white in smaller, more concentrated areas to create a strong highlight effect. These highlights should follow the scratches and wear marks to enhance the worn look.
Adjusting Shadows:
If any areas are too bright or need more definition, use Abaddon Black or a mix of Neutral Grey and black to tone down and refine the shadows. Apply this mix to the recesses and areas further from the light source.
Adding Depth:
Introduce a bit of Mournfang Brown thinned with water (around 2:1 ratio) to glaze over the lower parts of the talon. This adds a subtle dirt effect and ground reflection, enhancing the realism.
Painting the Hair
Base Coating:
Start by applying a base coat of Rhinox Hide over all the hair. Be careful around the face to avoid damaging the detailed work already done.
Building Up Highlights:
Use Mournfang Brown to paint the majority of each hair strand, leaving the deeper recesses in Rhinox Hide. This creates the first level of highlight.
Refining Highlights:
With Cadian Fleshtone, begin highlighting the edges and raised areas of the hair. Apply the paint in a slightly scruffy manner to mimic the texture of hair strands. Ensure to follow the direction of the hair flow.
Final Highlights:
Apply Ushabti Bone to the very edges and tips of the hair strands to create the brightest highlights. Use a fine detail brush to add individual strands and enhance the overall texture.
Enhancing Shine:
Introduce Neutral Grey, Pale Grey Blue, and a mix of both to the palette. Apply these colors sparingly to areas where the hair would naturally catch the most light, creating a shiny effect. Add Morrow White to the highest points for a final touch of brightness.
Balancing Colors:
To prevent the hair from looking too non-metallic, glaze over with Rhinox Hide or Mournfang Brown thinned down to dull any overly bright areas. This helps integrate the hair with the rest of the model’s coloor scheme.
Final Touches
Detailing the Leather Wrap:
Paint the leather wrap around the hair with Rhinox Hide as the base coat. Highlight with Mournfang Brown and then add finer highlights with Cadian Fleshtone and Ushabti Bone. Apply small lines and dots to mimic worn leather.
Painting Metal Spikes:
Paint the small metal spikes on the leather wrap using the same NMM technique as the talon. Use Neutral Grey, Pale Grey Blue, and Morrow White to create highlights and depth.
Matte Varnish:
Apply a coat of matte varnish to the model to protect your work and tone down any unwanted shine. This will also help to differentiate between the non-metallic metal effect on the talon and the shiny hair.
Video – How to Paint Abaddon Cloak (Leather Effect)
Paints needed
Paints:
Vallejo: Heavy Sienna, Dwarf Skin, Scab Red
Games Workshop: Rhinox Hide, Mournfang Brown
Painting the Inside of the Cloak
Base Coating:
Prime the cloak black. This will serve as the base for the following layers.
Apply a rough coat of Rhinox Hide. Use a scrubbing motion with your brush to create an uneven, patchy texture. This coat should be about 1.5 parts paint to 1 part water. The goal is to have a base color that isn’t perfectly smooth, as this will add to the weathered effect.
First Layer of Texture:
Use Vallejo Heavy Sienna to add the first layer of texture. This paint is extra opaque, which makes it ideal for creating highlights and adding detail.
Apply the paint using the tip of your brush, creating very rough, random marks all over the cloak. Use a cross-hatching and squiggling technique to add a sense of worn leather. This coat should be around 50/50 paint to water for better flow.
Second Layer of Texture:
Once the first layer is dry, use Cadian Fleshtone to add more refined texture marks. These marks should be thinner and more considered than the previous layer. Focus on the highlight areas but make sure to add some detail in the shadowed areas as well.
Highlight Detailing:
With Dwarf Skin (or a similar light flesh tone), add fine highlights to the cloak. These highlights should be placed carefully to enhance the texture and add depth. Use very thin paint (more than 50/50 water to paint) and minimal paint on the brush to achieve subtle, translucent marks.
Glazing:
Prepare three colors on your wet palette: Mournfang Brown, Rhinox Hide, and Scab Red.
Using heavily thinned Mournfang Brown (around 6 parts water to 1 part paint), glaze over the cloak, focusing on the mid-tones and recesses. This will add a warm tone and help unify the previous layers.
Apply Rhinox Hide glaze to the shadow areas to enhance depth. This glaze should also be very thin.
Use Scab Red to add some variation and interest, especially in the darker areas.
Fading the Edges:
To create a faded effect at the bottom of the cloak, use Scab Red mixed with Rhinox Hide. Thin the paint significantly and apply multiple layers, building up the color gradually.
Make sure the transitions are soft by using long strokes that follow the flow of the cloak.
Final Touches and Varnishing:
After completing the texturing and glazing, apply a coat of matte varnish to protect your work and reduce shine. This will also help to soften the overall effect and integrate all the layers.
Video – How to Paint Abaddon Cloak Freehand Part One
Paints and materials needed
Paints:
Games Workshop: Emperor’s Children, Fulgrim Pink, Rhinox Hide, Kantor Blue
Vallejo: Black, Heavy Grey, Sunset Red
Brushes:
Detail brush with a fine tip (size 00 or 0)
Standard brush
Palette: Wet palette recommended
Tools:
Clean cloth or paper towel
Magnifying visor (optional for fine details)
Ultramar Varnish (for a protective layer)
Preparing the Cloak
Visualizing the Design:
Before starting the freehand, visualize your design. You can use a photo editing tool to superimpose a rough sketch on a picture of the cloak to align your design. This helps in understanding the flow and positioning of the elements.
Base Preparation:
Ensure the texture work on the cloak is complete. This includes the heavy weathering and crack effects as detailed in the previous videos.
Applying a Protective Layer:
Apply a thin coat of Ultramar Varnish to the cloak. This provides a slight protective layer that can make it easier to correct mistakes without damaging the underlying paint.
Starting the Freehand
Marking Guidelines:
Use a thinned black paint to draw a cross on the cloak. This helps in aligning your design elements and ensuring symmetry.
Blocking in Colors:
Start by blocking in rough shapes for each of the Chaos Gods. Use the following colors for the base blocks:
Slaanesh: Fulgrim Pink
Nurgle: Rhinox Hide
Khorne: Sunset Red
Tzeentch: Kantor Blue
Detailed Blocking for Slaanesh:
Focus on the Slaanesh section first. Block in the basic face shape using Fulgrim Pink. Remember, this is just the base layer, so it doesn’t need to be perfect.
Refining the Shape:
Add basic facial features with a darker pink or purple mixed with Fulgrim Pink. This includes the rough position of the eyes, nose, and mouth.
Adjusting and Correcting:
Use Rhinox Hide to correct and refine the shapes. Rhinox Hide is great for this purpose due to its translucency, which allows you to darken areas without completely obscuring the details underneath.
Video – How to Paint Abaddon Cloak Freehand Part Two
Paints needed:
Paints:
Games Workshop: Emperor’s Children, Fulgrim Pink, Mephiston Red
Vallejo: Black, Sunset Red
P3: Morrow White
Refining the Slaanesh Head
Starting with the Horns (Optional):
Initially, I planned to add horns to the Slaanesh head, but later decided against it for compositional reasons. If you prefer to include horns, start by blocking them in with Fulgrim Pink or a similar color. Remember, details on such a small scale can become cluttered quickly.
Painting Over Mistakes:
If you decide against an element (like the horns), don’t worry. Paint over it with the base color of the cloak (Rhinox Hide) to blend it back in. Mistakes are part of the process and can be easily fixed.
Adding Black Hair:
Using Vallejo Black, paint in the hair for the Slaanesh head. Keep the hair wavy and flowing to add movement and dynamism. Focus on keeping the strokes soft and thin.
Refining Facial Features:
Continue refining the face. Use Emperor’s Children mixed with Morrow White for highlights, and Sunset Red mixed with Black for shadows. Work slowly and build up the layers gradually.
Pay special attention to the eye sockets, nose, and mouth. These areas define the expression and overall look of the face.
Balancing Highlights and Shadows:
It’s important to balance your highlights and shadows. Ensure the lighting is consistent across the face to maintain a three-dimensional look. Use Fulgrim Pink and Emperor’s Children for lighter areas and mix in more white for the brightest highlights.
Detailing and Texturing
Teeth and Tongue:
For the teeth, use Morrow White. Since the teeth are very small, it’s challenging to add transitions. Focus on making them look sharp and slightly pointy without over-emphasizing.
For the tongue, start with Sunset Red and add shading with a darker red. Add subtle highlights with Emperor’s Children mixed with Sunset Red.
Softening the Edges:
Around the eyes and mouth, use diluted Rhinox Hide to soften the edges and blend the features into the face. This helps avoid a cartoony look and makes the face appear more natural.
Adding Red Tones:
Use Mephiston Red diluted with water (2.5 parts water to 1 part paint) to add red tones to the face. Apply this glaze lightly to enhance the overall color without overpowering the existing details.
Video – How to Paint Abaddon Cloak Freehand Part Three
Paints needed
Paints:
Games Workshop: Mephiston Red, Evil Sunz Scarlet, Wild Rider Red, Balor Brown, Rhinox Hide, Morghast Bone, Blue Horror
Vallejo: Model Colour Black
Painting the Khorne Head
Base Colours:
Start with Mephiston Red to block in the base color of the Khorne head. Ensure even coverage.
Use Evil Sunz Scarlet to add highlights, focusing on areas that catch the most light.
Outlining with Black:
Use Vallejo Black to outline the features of the face. This helps define the shapes and make them stand out against the brown leather background.
Focus on outlining the eyes, nose, and mouth areas to start shaping the face.
Shading and Highlighting:
For shadows, use Rhinox Hide mixed with Mephiston Red. This helps deepen the shadows without losing the red tone.
Use Balor Brown for the first layer of highlights, especially on the raised areas like the cheekbones and forehead.
For more pronounced highlights, use Wild Rider Red mixed with Morghast Bone. Apply these sparingly to maintain the red color.
Detailing the Horns:
Paint the horns with Balor Brown as the base color.
Add highlights using Morghast Bone, focusing on creating a ribbed texture to give the horns a natural look.
Use Rhinox Hide to add shadows and define the ribs on the horns. The goal is to create a cylindrical appearance.
Adding Facial Features:
Paint the eyes black, then add a small dot of Balor Brown to represent the iris.
Add details to the teeth using Morghast Bone. The teeth should be sharp and prominent.
Use Blue Horror for final highlights on the face and horns. This helps tie all the heads together with a consistent light source.
Additional Details:
Add small horns or spikes on the Khorne head to fill in empty spaces and add more detail. Paint these with Balor Brown and highlight with Morghast Bone.
Use Mephiston Red to paint the gums around the teeth, adding Rhinox Hide for shading.
Video – How to Paint Abaddon Cloak Freehand Part Four
Paints and materials needed
Paints:
Games Workshop: Rhinox Hide, Deathworld Forest, Warboss Green (optional), Balor Brown, Morghast Bone, Screaming Skull, Mournfang Brown, Bugman’s Glow, Cadian Fleshtone
Vallejo: Black, Heavy Grey (optional), Golden Olive, Pale Grey Blue
Painting the Nurgle Head
Base Coloirs:
Start by sketching the rough shape of the Nurgle head with Deathworld Forest.
Use Rhinox Hide to outline and add shadows to define the initial shape of the head.
Building Up Details:
Use Warboss Green and Golden Olive to add highlights, focusing on areas that catch the most light. For a less vivid color, minimize the use of Warboss Green.
Apply Vallejo Black to outline the eyes, nose, and mouth, adding definition to the facial features.
Adding Wrinkles and Texture:
Paint wrinkles and lines using Golden Olive mixed with Deathworld Forest. Follow the natural flow of the face to make the lines look more realistic.
Use Rhinox Hide to deepen the shadows and add more depth to the wrinkles.
Painting the Mouth and Teeth:
Use Bugman’s Glow and Cadian Fleshtone for the gums. Start with Bugman’s Glow for the base and highlight with Cadian Fleshtone.
Paint the teeth with Morghast Bone, and add highlights with Screaming Skull. Outline the teeth with Vallejo Black for better definition.
Highlighting and Shading:
Use Balor Brown and Morghast Bone for additional highlights on the face and horn.
Blend the highlights using Rhinox Hide for smooth transitions. This helps in maintaining the three-dimensional look of the head.
Painting the Horn:
Base coat the horn with Balor Brown. Add highlights using Morghast Bone and Screaming Skull.
Create a ribbed texture on the horn using fine lines and blend with Rhinox Hide.
Detailing the Eyes:
Paint the eyes with Vallejo Black for the pupils and Balor Brown for the iris. Add a small white dot for the light reflection.
Adding the Tongue:
Paint the tongue with Bugman’s Glow and highlight with Cadian Fleshtone.
Add depth and shadows using Rhinox Hide and Pale Grey Blue.
Adjust the shape of the tongue as needed for better composition.
Video – How to Paint Abaddon Cloak Freehand Part Five
Paints needed:
Paints:
Games Workshop: Rhinox Hide, Balor Brown, Morghast Bone, Ushabti Bone, Mournfang Brown, Bugman’s Glow, Cadian Fleshtone, Blue Horror, Night Lords Blue, Temple Guard Blue
Vallejo: Black
Painting the Tzeentch Head
Base Colours:
Start by blocking in the rough shape of the Tzeentch head with Night Lords Blue. This dark background will help define the initial shape.
Use Temple Guard Blue to add initial highlights and define the contours of the head. This contrast will make the shape more visible despite the translucency of the paint.
Refining the Shape:
Use Vallejo Black to outline and add bold details. This will help define the facial features and add depth.
Apply Balor Brown to areas that will represent the beak and other prominent features of the head.
Detailing the Beak:
Use Balor Brown as the base for the beak. Add highlights with Morghast Bone and Ushabti Bone to create a gradient effect.
Paint the inside of the mouth with Vallejo Black to create depth.
Add details to the beak, such as small teeth, using Morghast Bone. Highlight with Ushabti Bone for a more pronounced effect.
Creating Texture:
Use Blue Horror and Temple Guard Blue to create a feathery texture on the head. These marks should be softer and more translucent to blend well with the darker base.
Add small tendrils or feathery protrusions using the same colors to differentiate the Tzeentch head from the other Chaos heads.
Painting the Eye:
Paint the eye with Balor Brown. Use multiple layers to build opacity, focusing on the lower part of the iris for a highlighted effect.
Add the pupil with Vallejo Black and a small white reflection dot with Morghast Bone.
Adding the Tongue:
Use Bugman’s Glow and Cadian Fleshtone to paint the tongue. Start with Bugman’s Glow for the base and highlight with Cadian Fleshtone.
Add depth and shadows using Rhinox Hide and Blue Horror. Adjust the shape of the tongue as needed to fit the overall design.
Final Touches:
Use Mournfang Brown to add subtle shading and transitions on the beak and other areas. This colour’s low opacity will help create smooth blends.
Add small details, such as saliva or other organic textures, with Blue Horror. Ensure the marks are thin and subtle for a more natural look.
Video – How to Paint Abaddon Cloak Freehand Final Part
This final part of the freehand painting series brings together the intricate design on Abaddon’s cloak, highlighting the iconic eight-pointed star of chaos and adding weathering effects for a unified, detailed finish.
Paints needed
Paints:
Games Workshop: XV-88, Balor Brown, Mournfang Brown, Rhinox Hide, Mephiston Red, Evil Sunz Scarlet, Wild Rider Red, Cadian Fleshtone, Temple Guard Blue, Kantor Blue (for additional eyes – iris)
Vallejo: Black, Pale Grey Blue, Neutral Grey, Ice Yellow
P3: Morrow White
Painting the Eight-Pointed Star of Chaos
Base Color:
Start by painting the base of the eight-pointed star with XV-88. This will serve as the foundation for a non-metallic gold effect.
Sketch the star and its arrows lightly, ensuring they fit around the four Chaos Gods’ heads without overpowering the design.
Refining the Star:
Add detail to the arrows, making them irregular in size and shape for a chaotic effect. Be mindful of the faces you have already painted.
Incorporate the star into the existing design by blending it into the heads and the background.
Painting the Eye of Chaos:
In the center of the star, paint an oval shape with Vallejo Black for the eye.
Add highlights around the eye using Neutral Grey and Pale Grey Blue, leaving a black outline for definition.
Paint the iris with Mephiston Red, then layer Evil Sunz Scarlet and Wild Rider Red towards the bottom for a glowing effect.
Add a highlight shine with Pale Grey Blue and a small dot of Morrow White for a realistic eye.
Adding Non-Metallic Gold Effects
Highlighting and Shading:
Add highlights to the star using Balor Brown, Mournfang Brown, and Rhinox Hide for depth. Use Ice Yellow for sharp highlights.
Focus on creating a three-dimensional look by highlighting edges and adding shadow in the appropriate areas.
Use small dots of Morrow White for the brightest points to simulate metallic reflections.
Integrating the Design:
Paint subtle connecting lines from the star to the heads using the same gold colors. This helps unify the design.
Blend some of the gold into the heads, especially around the edges, to show that they are part of a single piece.
Weathering Effects
Adding Wear and Tear:
Use Cadian Fleshtone to add fine scratches and wear marks over the entire design. These should be thin and subtle to avoid overpowering the details.
Focus on the edges and high points of the design where natural wear would occur.
Glazing:
Create glazes with Rhinox Hide and Mournfang Brown by diluting them with water (7:1 or 10:1 ratio).
Apply these glazes over the scratches and around the heads to tone down the highlights and add depth.
Use Mournfang Brown to add warmth back to the gold areas where needed.
Final Touches
Additional Eyes:
Paint small additional eyes throughout the design using the same technique as the main eye, but using Temple Guard Blue and Kantor Blue for the iris.
These eyes add a creepy, chaotic element to the design.
Final Review:
Step back and review the entire cloak to ensure the design is cohesive and balanced.
Make any final adjustments to highlights, shadows, and details to ensure the freehand looks integrated and realistic.
Video – How to Paint Abaddon Trophy Rack
Paints used:
Games Workshop: Balor Brown, Mournfang Brown, XV-88, Morghast Bone, Screaming Skull, Rhinox Hide, Khorne Red, Evil Sunz Scarlet, Wild Rider Red
Vallejo: Neutral Grey, Pale Grey Blue, Ice Yellow, White Grey, Heavy Black Green, Black
Space Marine Helmet
Base Coat:
Apply a base coat of Vallejo Heavy Black Green, thinned down with water (about 50/50 water to paint). Apply a couple of coats for a smooth finish.
Initial Highlights:
Mix Heavy Black Green with Ice Yellow for the first highlight. Start applying this mix to the raised areas, especially the forehead and the curves of the helmet.
Refining Highlights:
Gradually add more Ice Yellow to the mix and continue highlighting. Focus on the forehead curve, the edges, and the top of the helmet. Use controlled brush strokes towards the center of the highlight areas to build opacity and achieve a smooth transition.
Scratches and Battle Damage:
Use the same highlight mix to add scratches and battle damage. Vary the length and direction of the scratches, focusing on edges and raised areas. For deeper scratches, add Rhinox Hide to the mix and apply thin lines.
Final Highlights:
Use a mix of mostly Ice Yellow with a small amount of Heavy Black Green for the brightest highlights. Apply these to the most prominent areas, such as the center of the forehead and the edges of the helmet.
Eye Lens:
Paint the eye lens with Khorne Red, then layer Evil Sunz Scarlet and Wild Rider Red towards the front. Add a tiny dot of Ice Yellow mixed with Wild Rider Red for the final highlight. Finish with a small white dot in the back corner for a reflection.
Wooden Spikes
Base Coat:
Base coat the wooden spikes with Rhinox Hide.
Grain and Texture:
Use Mournfang Brown to paint the wood grain, following the sculpted lines on the model. Focus on the top and bottom of the spikes, leaving the middle section darker.
Layering:
Apply XV-88 to the raised areas and the grain lines, blending it into the Mournfang Brown. This creates a natural wood texture.
Highlights:
Use Morghast Bone for the final highlights, focusing on the edges and the splintered parts of the wood. Add a few thin horizontal lines to represent scratches and imperfections.
NMM Metal Spike Tips
Base Coat:
Base coat the metal tips with Neutral Grey.
Initial Highlights:
Apply Pale Grey Blue to the highlight areas, focusing on the upper parts of the tips and the edges.
Refining Highlights:
Add White Grey to Pale Grey Blue and apply smaller highlights, concentrating on the sharp edges and points.
Final Highlights:
Use pure White Grey for the brightest highlights, applying small dots and lines to the edges and points to simulate a shiny metal effect.
Consistency:
Ensure that the highlight direction is consistent with the light source. For the spikes on the left side, highlight the left edges, and for those on the right, highlight the right edges to create a natural look.
Step 4: Skulls
Base Coat:
Apply a base coat of Rhinox Hide to the skulls.
First Layer:
Apply Balor Brown in thin layers, focusing on the raised areas and leaving the deeper recesses darker.
Building Highlights:
Layer Morghast Bone over Balor Brown, concentrating on the upper sections of the skulls and the areas facing the light source.
Final Highlights:
Use Screaming Skull for the final highlights, applying it to the most prominent areas, such as the forehead, cheekbones, and edges. Use thin layers and build up the color gradually.
Details:
Paint the teeth and eye sockets carefully, using a mix of Morghast Bone and Screaming Skull for highlights. Add small dots and lines to represent cracks and imperfections.
Video – How to Paint Abaddon Shoulder Pad
Paints used
Games Workshop: Flash Gitz Yellow, Temple Guard Blue, Kantor Blue, Cadian Fleshtone, Ushabti Bone, Balor Brown, Mournfang Brown, Rhinox Hide
Vallejo: Black, Pale Grey Blue, Ice Yellow
P3: Morrow White
Preparing the Surface
Surface Preparation:
Start by filling in any sculpted details you don’t need, such as the V-shape on the shoulder pad, using green stuff. Make sure it’s smooth and even. Prime the entire area with black primer.
Base Coating the Eye
Base Coat:
Apply a base coat of Cadian Fleshtone to the entire area where the eye will be. Thin the paint with water (about 1.5 parts water to 1 part paint) and apply 3-4 coats for a smooth, opaque finish.
Painting the Pupil
Pupil Outline:
Using Vallejo Model Color Black, paint a small black circle in the center of the eye area. Gradually enlarge the circle, ensuring it stays centered and smooth. Thin the paint with water (about 1.5 parts water to 1 part paint).
Painting the Iris
Base Layer:
Paint the iris using Kantor Blue. This layer doesn’t need to be perfect; it just provides a base for the subsequent layers.
Detailing the Iris:
Use Temple Guard Blue to paint the detailed lines and shapes within the iris. These lines should radiate from the pupil outward. Vary the direction and thickness of the lines to create a natural look. Ensure the paint is thin and the brush tip is sharp for precise lines.
Adding Depth:
Apply Flash Gitz Yellow over the Temple Guard Blue lines to create a greenish tone. Then, use Pale Grey Blue to refine the details and add highlights within the iris.
Highlighting the Eye
White of the Eye:
Highlight the white of the eye using Ushabti Bone. Thin the paint (1.5 parts water to 1 part paint) and build up the highlights towards the center of the eye. Use stippling to blend the transitions smoothly.
Veins:
Paint veins in the eye using Khorne Red. Make sure the lines are thin and subtle. Draw them from the edges towards the center, and then glaze over them with heavily thinned Doombull Brown (about 6 parts water to 1 part paint) to blend them in.
Shadow and Depth:
Add shadows using Rhinox Hide. Thin the paint (about 2 parts water to 1 part paint) and apply it to the upper eyelid area to create a shadow. This adds depth and realism to the eye.
Painting the NMM Gold Trim
Base Layer:
Apply a base coat of XV-88 to the trim. Ensure smooth coverage.
Building Layers:
Layer Balor Brown over XV-88, focusing on the raised areas and edges. Use Mournfang Brown for shadows and deeper areas.
Highlights:
Add highlights with Ice Yellow. Apply them to the upper parts and edges of the trim. Use Pale Grey Blue sparingly to add cool tones to the gold.
Final Highlights:
Use Morrow White for the brightest highlights. Apply small dots and lines to the edges and points for a sharp, reflective effect.
Adding Final Details
Texture and Scratches:
Add texture to the trim with Balor Brown and Mournfang Brown. Use thin, scratchy lines to create a worn effect. Blend these with Mournfang Brown to maintain the warmth of the gold.
Rivets and Reflections:
Highlight rivets with the same colors used for the trim. Ensure they are brighter than the surrounding areas. Add additional reflection points with Ice Yellow and Morrow White to enhance the metallic effect.
All videos are recorded in HD 1080p or higher – use full screen for the full effect and let the video load completely.
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I created two versions of this model from Cult of Paint – I hope you enjoy! Both focus on painting the armour. The method involves a balance of contrasting colours and careful blending to achieve a non-metallic metal look with a unique environmental reflection.
Garrett from Cult of Paint – Green Armour Version
This guide outlines the process of painting the Garrett model from Cult of Paint with non-metallic metal (NMM) armour featuring green reflections
Paints and Materials Used
The following paints were used: Games Workshop: Balor Brown, Corvus Black, Baharroth Blue, Vallejo: Neutral Grey (Mechanicum Standard Grey), Pale Grey Blue (Blue Horrow) P3: Iosen Green (Warpstone Glow), Morrow White
Step-by-Step Guide
Initial Base Coat: Begin with Vallejo Neutral Grey, roughly blocking in the highlight points on the armor. This grey serves as a foundation for building up the metallic look.
Adding Depth with Corvus Black: Utilize Games Workshop Corvus Black for its translucency, blending it with the grey to create depth and shadows. This black adds a nuanced shading effect.
Green Reflections: Apply P3 Iosen Green to areas facing downwards or horizontally, simulating reflections from a forest environment. These green accents provide a unique touch to the non-metallic metal effect.
Detailing with Baharroth Blue: Use Games Workshop Baharroth Blue to enhance the sky reflections on upward-facing surfaces. This blue adds a cooler tone to the highlights.
Warming with Balor Brown: Add touches of Balor Brown to the green areas for warmth, suggesting a lush, possibly tropical forest surrounding.
Fine Tuning: Continuously refine and adjust the placement and intensity of highlights and shadows. This process involves blending and layering the colors to achieve a realistic metallic effect.
Final Highlights: Finish with fine highlights using Morrow White for the brightest points, especially on edges and curves, to make them stand out.
All videos are recorded in HD 1080p or higher – use full screen for the full effect and let the video load completely.
“Garrett was a decorated pathfinder in the Colonial Rangers. Now, many decades later, he finds work for himself on the frontier as a tracker and specialist, dealing with the various megafauna the pioneers come across on each new planet. Armed with a laser lance and his old hostile environment equipment from his days in service to the Corps he’s a most welcome addition to Ana’s crew.” – https://www.cultofpaint.com/shop/garrett
Garrett from Cult of Paint – Red Armour Version
Paints and Materials Used
The following paints were used:Games Workshop: Corvus Black, Baharroth Blue, Mephiston Red, Wild Rider Red, Troll Slayer OrangeVallejo: Neutral Grey (Mechanicum Standard Grey), Pale Grey Blue (Blue Horrow) P3: Morrow White
Step-by-Step Guide
Initial Red Base: Start with Games Workshop’s Mephiston Red to cover areas previously painted green. Apply roughly to maintain existing highlights while eliminating the green.
Blending Technique: Employ a circular brush motion to blend the red, allowing for variations in opacity and translucency. This creates a patchy yet cohesive red effect, representing different intensities of reflection.
Strategic Repainting: Tilt the model to reach underside areas, focusing on spots where red glow from the environment would naturally hit. Consider environmental elements like nearby lava or volcanic landscapes to influence the red placement.
Enhancing the Red Glow: Use Games Workshop’s Wild Rider Red and Troll Slayer Orange for more vibrant, intense areas of glow. Keep the shapes rough and blend the edges softly.
Adjusting Mid-tones with Corvus Black: Transition the mid-tones to a darker shade by glazing with Corvus Black. This enhances the contrast, making the highlights and the red glow more prominent.
Highlight Adjustments: Revisit and adjust the placement of highlights to suit the new red environment, ensuring they complement the model’s overall atmosphere.
Finishing Touches: Add final touches by accentuating details like rivets with white highlights and red bounce light, and tweaking any areas that require further refinement.
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Nurgle
A series on how to paint a Nurgle Sorcerer from the Death Guard. It will be painted in preparation for Golden Demon!
Quick Jump to:
Bellyplate
Plaguecaster Head
Rotten BellyLeg Armour
NMM Bronze Trim
Nurgle Ribbons and Text
Smoke and Flies
How to Paint a Nurgle Sorcerer: Part One – Belly Plate
In this video you will learn how to paint the belly plate with texture and corruption.
Materials Needed:
Nurgle Sorcerer Miniature from the Spaceman Hero Set
Brushes: Various sizes, including a size two for broad strokes and size zero zero for details
Paints (Games Workshop): Death Guard Green, Balor Brown, Morghast Bone, Ushabti Bone, Screaming Skull, Dark Reaper, Mournfang Brown
Paint (P3): Morrow White
Step 1: Base Coating
Start by applying a base coat of Death Guard Green, thinned with about one and a half parts water to one part paint, using a size two brush for a smooth, thin layer.
Add warmth to the colour with a layer of Balor Brown, applying it in a similar manner to maintain texture.
Step 2: Building Texture
Gradually build up the texture using Morghast Bone. Focus on creating a stippling effect, allowing the green to show through. This creates a transition and adds depth to the plate.
Continue to refine the texture, making the marks finer as you move towards the front of the belly plate, where the light would be strongest.
Step 3: Shadow and Highlight
Paint a distinct line of Dark Reaper down the middle of the belly plate, creating a shadow effect. This divides the plate visually, with a lighter left side and a darker right side.
Progressively lighten the left side of the belly plate, moving up through Ushabti Bone to Screaming Skull, and finally to Morrow White for the brightest highlights.
Step 4: Detailing and Corruption
Using Dark Reaper, begin to add corruption effects. Look for shapes in the texture and expand them into blob-like, corrupt markings.
Over these Dark Reaper blobs, lightly stipple with Morghast Bone to create a sense of corruption protruding from the armour.
For areas that require softer transitions or less intensity, mix Death Guard Green with Morghast Bone for a subtler effect.
Step 5: Refinement and Contrast
Continuously refine the texture and highlights, ensuring the lightest points are at the front of the belly plate.
Add Mephiston Red, thinned heavily, around the edges of the belly plate for a corrupted, wound-like appearance. Blend this in carefully to maintain the integrity of the armour texture.
Step 6: Final Touches
Add finishing touches, such as more precise highlights using Morrow White, especially along the top edges and where the light would naturally be strongest.
Adjust the texture and shading as needed to create a balanced, cohesive look that conveys both corruption and the Nurgle aesthetic.
How to Paint a Nurgle Sorcerer: Part Two – NMM Bronze Trim with Verdigris
The video focuses on the bronze NMM trim and verdigris weathering.
Materials Needed:
Paints:
Games Workshop: Mournfang Brown, Rhinox Hide, XV-88, Balor Brown, Sotek Green, Sybarite Green
Vallejo: Ice Yellow
P3: Morrow White
Brushes: Fine detail brushes (sizes 00 and 2 recommended)
Steps:
1. Base Layer
Paint: Mournfang Brown
Application: Apply a base layer of Mournfang Brown over the areas you want to paint the bronze trim. This layer doesn’t have to be perfectly even; it serves as a foundation.
2. First Highlights
Paint: XV-88
Application: Start applying XV-88 to highlight the raised areas. These highlights should be broad at this stage, as we’ll refine them later.
3. Second Highlights
Paint: Balor Brown
Application: Now, apply Balor Brown to enhance the highlights. Focus on the top edges and areas where light naturally hits.
4. Mixed Highlights
Paint: Mix of Balor Brown and Ice Yellow
Application: Mix Balor Brown with a small amount of Ice Yellow to create a lighter shade. Apply this to the highest points of the highlighted areas for a more intense shine.
5. Brightest Highlights
Paint: P3 Morrow White
Application: Using Morrow White, apply the brightest highlights. These should be on the most raised edges where the light would be strongest.
6. Shading
Paints: Mournfang Brown, Rhinox Hide
Application: Use Mournfang Brown and Rhinox Hide to add shadows and depth. Focus on recessed areas and where the trim meets other parts of the model.
7. Verdigris Effect Base
Paint: Mix of Sybarite Green and a tiny bit of Sotek Green
Application: Thin this mix with water (approx. 2:1 ratio of water to paint) and apply it selectively in recesses and crevices for a weathered look.
8. Lighter Verdigris
Paint: Sybarite Green mixed with a bit of white
Application: Lighten the verdigris effect in some areas for variation. Remember, less is more – don’t cover all the verdigris base layer.
9. Final Adjustments
Technique: Glazing and Smoothing
Application: If necessary, use a glazing technique with the lighter colours to smooth out transitions and add final touches to the highlights.
10. Clean Up
Action: Tidy any overspill or mistakes with appropriate base colours.
Tips:
Consistency: Keep your paint at the right consistency. For NMM, a slightly thicker mix is preferred for stronger colours, but ensure it’s still flowable.
Lighting: Pay attention to the overall lighting of your model. Highlights should be consistent with the light source.
Brush Care: Be mindful of your brushes. Use a separate brush for mixing paints to preserve the tips of your detail brushes.
Patience: Take your time with each step, and let layers dry before applying the next.
How to Paint a Nurgle Sorcerer: Part Three – Plaguecaster Head
How to paint the head, which includes the red hood and chain mask.
Materials Needed:
Paints:
Games Workshop: Khorne Red, Mephiston Red, Bugman’s Glow, Mournfang Brown, Trollslayer Orange, Sotek Green
Vallejo: Black
P3: Morrow White
Brushes: Size 00 and 2 Artist Opus Brushes
Palette: For mixing and diluting paints
Water pot
Steps:
1. Base Colour for the Hood
Paint: Mix of Khorne Red and Black
Application: Apply a base layer of this mix to the hood. Ensure no pure Khorne Red is used; the mix should always include black to desaturate the colour.
2. Adding Highlights
Paints: Various mixes of Khorne Red with Black and White
Application: Create a gradient of shades by mixing Khorne Red with varying amounts of Black and White. Use these mixes to highlight the hood, focusing on the raised areas and textures.
3. Texturing the Hood
Technique: Texture Painting
Application: With a size 00 brush, apply textures using the lighter shades. Focus on creating a worn and weathered look. Balance the textures; don’t overdo them.
4. Chain Mask Detailing
Paint: Neutral Grey and White
Application: Start with Neutral Grey to pick out the chain links. Progressively add White to the mix for highlighting, focusing on the lower edges and curves of each chain link.
5. Glazing the Hood
Paint: Mephiston Red
Application: Dilute Mephiston Red significantly (approx. 4:1 water to paint ratio). Use this glaze to unify the hood’s colour, applying it more in the shadows and less on the highlights.
6. Skin Tones
Paint: Bugman’s Glow with Black and Grey
Application: For the skin, start with Bugman’s Glow mixed with Black and Grey to desaturate. Add White for highlights, focusing on chin, lips, and facial details.
7. Worm and Pustules
Paint: Sotek Green, Mournfang Brown, Trollslayer Orange, Ice Yellow
Application: Paint the worm coming out of the head in Sotek Green. For pustules, use Mournfang Brown for the base, add Trollslayer Orange for mid-tones, and highlight with Ice Yellow.
8. Final Adjustments
Action: Make any necessary tweaks to ensure all elements are coherent and well-blended.
Tips:
Dilution is Key: Ensure paints are correctly diluted, especially lighter colours, to avoid a chalky texture.
Layering: Build up the highlights gradually, allowing each layer to dry before applying the next.
Focus on Details: Spend time on the head as it’s a focal point, especially for a competition piece like Golden Demon.
Brush Care: Use newer, sharper brushes for fine details and textures, saving older brushes for broader strokes and glazing.
How to Paint a Nurgle Sorcerer: Part Four – Nurgle Ribbons and Text
Materials Needed:
Paints:
Games Workshop: XV-88, Morghast Bone, Screaming Skull, Mephiston Red, Rhinox Hide
Vallejo: Neutral Grey
Kimera Colours: Black
Brushes: Size 00 and 3 S (Standard) and M (Miniature) Brushes
Palette: For mixing paints
Water pot
Steps:
1. Base Layer
Paint: XV-88
Application: Start by applying XV-88 as a base layer on the ribbons. Use a size 3 S brush for quick coverage, being careful not to touch the paint while it’s wet to avoid patchiness.
2. Adding Depth
Paint: Morghast Bone
Application: Apply Morghast Bone, focusing on the upward-facing curves and leaving recesses and downward-facing sections in the darker base colour. This step starts to bring out the ribbon’s flow and texture.
3. Highlighting
Paint: Screaming Skull
Application: Now switch to a size 00 brush and use Screaming Skull to pick out the raised details and edges. This lighter colour enhances the texture and gives the ribbons more dimension.
4. Freehand Detailing
Paint: Mephiston Red
Application: Using the size 00 brush, add Nurgle symbols and letters as freehand details. These should be evenly spaced and varied in size for a more natural look. Remember, these don’t need to be perfect as they’re meant to mimic hand-drawn symbols.
5. Text Simulation
Paint: Mephiston Red
Application: Create a text effect using small dots and dashes with Mephiston Red. This simulates handwriting and adds intricate detail to the ribbons. Aim for varied mark-making to avoid a repetitive pattern.
6. Weathering and Shading
Paint: Neutral Grey and Rhinox Hide
Application: Thin down Neutral Grey and Rhinox Hide for glazing. Apply Neutral Grey to shadows and Rhinox Hide to recesses and edges for a dirty, weathered look.
7. Final Touches
Paint: Black (Kimera Colours)
Application: Finally, use thinned black paint to refine the freehand details and text. This step enhances contrast and makes the red details stand out more effectively against the ribbon’s base colour.
Tips:
Consistency: Ensure the right consistency of paint for detailed work, especially for the text. It should flow easily but not be too runny.
Brush Angle: Adjust the brush angle according to the ribbon’s curvature to maintain consistent pressure and mark size.
Layering: Build up colours gradually, allowing layers to dry before applying the next.
Freehand Techniques: Practice freehand techniques separately before applying them to the model to gain confidence.
Detail Focus: Concentrate on the details but remember the overall look. Imperfections can add character, especially for Nurgle-themed models.
How to Paint a Nurgle Sorcerer: Part Five – Rotten Belly and Maggots
Materials Needed:
Paints:
Games Workshop: Bugman’s Glow, Khorne Red, Balor Brown, Morghast Bone, Screaming Skull
Vallejo: Ice Yellow, Neutral Grey
Brushes: Sizes 0 and 3 S (Standard) and M (Miniature) Brushes
Palette: For mixing paints
Water pot
Steps:
1. Base Layer for Rotten Belly
Paint: Bugman’s Glow mixed with Neutral Grey
Technique: Apply this mix to the fleshy areas, avoiding the maggots. This creates an ill-looking skin tone. Initially, use a larger brush, then switch to a size 0 for more detailed work.
2. Adding Depth
Paint: Khorne Red (watered down)
Technique: Apply in the recesses to create a shaded effect and to separate the skin from the armor. This stage is about defining the texture and contours of the belly.
3. Flesh Highlights
Paint: Same base mix (Bugman’s Glow and Neutral Grey) with added Ice Yellow
Technique: Highlight the raised areas and ridges of the flesh, focusing on light sourcing. The addition of Ice Yellow gives a sickly hue, enhancing the rotten look.
4. Painting the Maggots
Paint: Khorne Red
Technique: Paint each maggot, ensuring the red is in the recesses but not covering the entire maggot. Aim for precision to keep the maggots distinct from the skin.
5. Highlighting Maggots
Stage 1: Balor Brown for the first highlight, focusing on the segments but avoiding recesses.
Stage 2: Morghast Bone for the second highlight, applied more selectively.
Final Highlight: Screaming Skull, targeting the most raised segments for a final pop of brightness.
6. Final Touches
Paint: Watered-down Khorne Red
Technique: Apply as a light wash/glaze to add a gory effect, enhancing the realism of the maggots burrowing in and out of the flesh.
Tips:
Consistency and Dilution: Adjust paint dilution based on the step. More watered-down paint is suitable for shading and glazing.
Light Source Alignment: Ensure highlights align with the light source established in other parts of the model.
Texture Focus: Pay attention to the texture of the flesh and maggots, using the paint to enhance the model’s sculpted details.
Clean Up: If you overstep with the paint, go back with the original colour to tidy up any mistakes.
Layering: Build up the colour gradually, allowing layers to dry before applying the next.
Detail Work: Smaller brushes are crucial for the intricate detailing required, especially on the maggots.
How to Paint a Nurgle Sorcerer: Part Six – Smoke and Flies
Materials Needed:
Paints:
Pro Acryl: Grey Blue, Pale Yellow (Alternatively, opt for Games Workshop’s Sotek Green and Ice Yellow)
Games Workshop: Sotek Green, Daemonette Hide, Khorne Red, Balor Brown, Morghast Bone, Screaming Skull
Vallejo: Black (or Kimera Colours: Black)
P3: Morrow White
Brushes: Assorted sizes for varied details
Palette: For mixing paints
Water pot
Steps:
1. Smoke Effect
Paints: Grey Blue, Pale Yellow (or Sotek Green and Ice Yellow)
Technique: Start with Grey Blue, blending into the smoke areas. Gradually introduce Pale Yellow (or Ice Yellow) to lighten and add variation. Employ greys for shadowy areas.
2. Refining the Smoke
Technique: Concentrate on the creases and fine details. Use stippling to introduce texture, imitating particles and spores. Emphasise raised areas and curves with highlights. Apply glazes to soften and blend stippling for a natural look. (Note – I messed up the smoke in this video, I will be revisiting it!)
3. Maggots
Base Colour: Khorne Red
Highlight: Balor Brown for segments.
Technique: Apply red judiciously, avoiding recesses. Use Balor Brown highlights on segments to create dimension.
4. Flies
Base Colour: A blend of Chimera Black and Ice Yellow for a dark grey.
Highlight: Incrementally add more Ice Yellow for highlights. Focus on wing edges and eyes for detail.
Final Touches: Add tiny dots of Ice Yellow for highlights to enhance the glossy appearance.
5. Additional Details
Technique: Employ various mixes of Daemonette Hide and Ice Yellow for wing highlights. For the flies, focus on segmenting and crafting a realistic, shiny texture.
Eggs: Paint with Balor Brown, then add a dot and line of Screaming Skull for luminosity.
Tips:
Layering: Build up the smoke colour progressively, allowing layers to dry before adding the next.
Texture Emphasis: Pay close attention to the texture in the smoke, using stippling to add depth and a lifelike appearance.
Light Source Consistency: Ensure highlights on maggots and flies align with the light source established in other parts of the model.
Detailing: Utilise smaller brushes for intricate work, especially on the flies and maggots.
Glazing: Use glazing techniques to blend and soften the stippled texture on the smoke.
How to Paint a Nurgle Sorceror: Part Seven – Leg Armour
In this tutorial, I’ll be continuing to paint the Malignant Plaguecaster model, specifically focusing on the lower left leg, the trim, and the Nurgle symbol.
Materials Needed
Paints:
Games Workshop:
Death Guard Green
Balor Brown
Morghast Bone
Ushabti Bone
Screaming Skull
Dark Reaper
Mournfang Brown
XV-88
Sotek Green
Sybarite Green
Vallejo: Ice Yellow
P3: Morrow White
Brushes:
Size 0 Artist Opus brush (or similar fine detail brush)
Step-by-Step Instructions
1. Base Coat with Death Guard Green
Preparation: Place a small amount of Death Guard Green on your wet palette.
Application: Use the size 0 brush to apply Death Guard Green over the lower leg armour. This layer doesn’t need to be overly neat as we are aiming for a textured, organic look.
2. Adding Texture with Balor Brown and Dark Reaper
Balor Brown:
Add Balor Brown to the palette.
Using the tip of the brush, apply Balor Brown in random, scratchy strokes to create a textured effect on the armour.
Dark Reaper:
Similarly, place Dark Reaper on the palette.
Use it to paint roughly circular shapes to represent the Nurgle corruption. These shapes should vary in size and be applied in a random pattern.
3. Highlighting with Morghast Bone and Ushabti Bone
Morghast Bone:
Add Morghast Bone to the palette.
Highlight the raised areas of the armour, focusing on the upper parts of the Nurgle bumps to create a slight 3D effect.
Ushabti Bone:
Mix Ushabti Bone with some white if needed for a brighter highlight.
Apply this mix to the very tops of the bumps and the most prominent edges to accentuate the texture.
4. Glazing for Smooth Transitions
Balor Brown Glaze:
Thin Balor Brown with water (approximately 50/50 ratio) to create a glaze.
Apply this glaze over the textured areas to blend the colours and soften the transitions.
Dark Reaper Glaze:
Thin Dark Reaper similarly and use it to add depth to the shadowed areas, particularly around the lower part of the leg.
5. Detailing the Nurgle Symbol
Mournfang Brown Base:
Base coat the Nurgle symbol and trim with Mournfang Brown.
Highlight with XV-88 and Ice Yellow:
Gradually highlight the trim by mixing XV-88 into Mournfang Brown, followed by Balor Brown, and finally adding Ice Yellow for the brightest highlights.
Focus on creating sharp, bright edges to simulate a non-metallic metal (NMM) effect.
6. Applying Verdigris Effect
Base with Sybarite Green:
Mix Sybarite Green with a touch of Sotek Green and apply it to the areas where you want the verdigris effect.
Highlight with Sotek Green and White:
Gradually lighten the Sybarite Green mix with white to create layers of verdigris. Focus on the lower parts of the trim and the areas where water would naturally collect and cause corrosion.
7. Refining and Finishing Touches
Final Glazes and Highlights:
Use thin glazes of Ushabti Bone and Morghast Bone to refine the highlights and ensure smooth transitions.
Final Details:
Add any additional details like rust streaks or further texturing as needed. Use very fine lines and dots to simulate wear and tear.
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This is the first in a series looking at how to paint the Harbinger of Decay model that Games Workshop sent me. This will be my main Golden Demon entry for Adepticon! In this video I look at how to paint his face, beard, horns and felt hood.
Video Tutorial – Harbinger of Decay – Face, Beard, Felt Hood, Horns
The following paints were used: on the Harbinger of Decay:
Games Workshop: Skavenblight Dinge, Bugman’s Glow, Cadian Fleshtone, Mournfang Brown, Deathworld Forest, Death Corps Drab, Morghast Bone, Ushabti Bone, Screaming Skull, Rhinox Hide,P3: Morrow White
Step-by-Step Guide
Step 1: Preparing the Harbinger of Decay Head
The head is modified using a combination of existing models, with details like the beard sculpted on. The horns are simplified by removing excess details.
Step 2: Base Coating
Start with Deathworld Forest for the beard, applying it thinly.
For the face, mix Bugman’s Glow with Skavenblight Dinge.
Use Death Corps Drab for the base color of the hood.
Step 3: Refining the Face
Apply highlights to the face using Cadian Fleshtone mixed with white, focusing on raised areas.
Adjust the nose and eyebrow areas for natural shading.
Consider adding green irises for a more demonic look.
Step 4: Detailing the Beard
Lighten Deathworld Forest with white (or Morghast Bone) and apply to the Harbinger of Decay beard in layers.
Enhance the beard texture with thin lines, gradually lightening the colour towards white.
Glaze with a mixture of Deathworld Forest and white to add depth and maintain a hint of green.
Step 5: The Hood
Apply textured highlights to the hood using a mixture of Death Corps Drab and white, building up towards pure white.
Ensure the front section near the forehead is the lightest to draw focus to the face.
Step 6: Painting the Horns
Begin with a mix of Death Corps Drab and white.
Add successive layers of Deathworld Forest mixed with Morghast Bone, then Morghast Bone on its own, and finally Screaming Skull for the highest highlights.
Glaze the horns with Mournfang Brown, focusing on the tips, and add details with Ushabti Bone.
Step 7: Final Touches
Refine the horns with Deathworld Forest and Morghast Bone to enhance the green tinge.
Add more texture to the hood using very light colours, blending towards white.
Continually review and refine the Harbinger of Decay, ensuring harmony in lighting and colour across different parts.
Note:
The process involves alternating between highlighting and glazing to build up texture and colour depth.
Keep the paint thin for stippling and glazing, allowing underlying colours to show through for natural transitions.
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These videos show how to a paint a Nurgle shield with freehand for an Ogroid from the Slaves to Darkness army box.The freehand is if a Nurgle Plaguebearer head and is intended as a potential Golden Demon entry.
Scroll down to explore the tutorials and steps in order, or click the below to quick jump to a technique or section.
Video One: How to Paint a Nurgle Shield with FreehandPaints and Materials UsedPaintsBrushesOther MaterialsStep-by-Step Guide: PreparationBase PaintingFreehand SketchingRefining and DetailingFinal TouchesImportant NotesVideo Two: How to Paint the Shield Shine and NMM TrimPaints and Materials UsedPaintsBrushesOther MaterialsStep-by-Step GuidePreparing the PalettePainting the ShinePainting the NMM TrimFinal TouchesImportant NotesMore Freehand Tutorials to Explore
Video One: How to Paint a Nurgle Shield with Freehand
Paints and Materials Used
Paints
Games Workshop Paints:
Rhinox Hide
Bugman’s Glow
Mournfang Brown
Morghast Bone
Deathworld Forest
Yriel Yellow
Khorne Red
Ushabti Bone
Vallejo Paints:
Black
Ice Yellow
P3 Paint:
Morrow White
Brushes
Artist Opus:
Size 00 brushes (both a newer brush for finer details and an older brush for blending)
Other Materials
Wet Palette: To keep paints moist and workable.
Scalpel: For removing details from the shield.
Sandpaper: For smoothing the shield after using the scalpel.
Primer: Ultimate primer (specifically thinned with X20A for this project).
Mixing Water: For thinning paints on the palette.
Matte Varnish: To even out the surface and finish of the paint job.
Step-by-Step Guide:
Preparation
Prep the Nurgle Shield with Freehand: Remove intricate details from the shield using a scalpel and sand it slightly. Keep some battle damage for authenticity, if you wish.
Prime the Shield: Use Ultimate primer, thinned with X20A, applied in 4-5 thin coats.
Base Painting
Wet Palette Setup: Prepare a wet palette with the following Games Workshop colours: Ice Yellow, Bugman’s Glow, Rhinox Hide, Mournfang Brown, Morghast Bone, Deathworld Forest, Yriel Yellow, Khorne Red, and Ushabti Bone. Also, have Vallejo Black and P3 Morrow White ready.
Mixing Colours: Create various mixes of these colours on the palette, adjusting with water for a thinner consistency (approximately 50/50).
Freehand Sketching
Initial Sketch: Start sketching the Nurgle face on the shield using Bugman’s Glow. This doesn’t have to be symmetrical or realistic.
Adding Details: Gradually add more details like eyes, horns, and facial deformations using the mixed colours. Use Rhinox Hide for shading.
Background Technique: Use Vallejo Black as a ‘rubber’ to tweak and correct the sketch as needed.
Refining and Detailing
Light and Shadow: Use the lighter and darker mixes to create depth, focusing on the facial features. Ensure a balance between highlights and shadows.
Adding Texture: Pay attention to the direction of brushstrokes to replicate skin texture and facial creases.
Final Touches
Metallic Effects: For a Golden Demon entry, ensure to incorporate light volumes and reflective effects on the shield, as well as on the freehand.
Glazing: You may need to glaze over the freehand to integrate it with the shield’s overall shine and metallic effect.
Varnishing: Finish the shield with a matte varnish to even out different paint finishes.
Important Notes
Brush Technique: Use the very tip of your brush for detailed work. Switch between an older brush for blending and a newer one for sharp details.
Colour Importance: While exact colour mixes are flexible, ensure to maintain the overall desaturated, moody look characteristic of Nurgle.
Patience and Layers: Build up the image with multiple thin layers, allowing for smooth transitions and a detailed finish.
Personal Style: Remember, this guide is a base. Feel free to adjust and experiment according to your style.
Video Two: How to Paint the Shield Shine and NMM Trim
Paints and Materials Used
Paints
Vallejo Paints:
Black
German Grey
Neutral Grey
Ice Yellow
White
Games Workshop Paints:
Mournfang Brown
Brushes
Size 00 Brush: Ideal for detailed work and fine textures. Used for most of the work including the shine and trim.
Size 2 Brush: Used for broader strokes and glazing, especially over larger areas.
Other Materials
Wet Palette: To keep the paints moist and workable.
Lamp: For observing how natural light falls on the model, crucial for accurate highlight placement.
Blu Tack or Similar Adhesive: To temporarily attach the shield to the model for correct angle assessment.
Step-by-Step Guide
Preparing the Palette
Setup Wet Palette: Prepare a wet palette with Vallejo Black, German Grey, Neutral Grey, Ice Yellow, White, and Games Workshop Mournfang Brown. Create a gradient of grey shades from black to white, mixing in Ice Yellow and White with Neutral Grey for various mid-tones.
Painting the Shine
Analyzing Light Direction: Position the model under a lamp to observe natural light fall. This will guide the placement of the shine.
Initial Highlights: Start with a Neutral Grey or a mix of Neutral Grey and German Grey to block in the primary highlight areas on the shield.
Building Up Layers: Gradually increase the brightness of the highlights, focusing on the top left as the primary light source. Remember, the paint will appear brighter when wet and duller when dry.
Textured Effect: Use scratchy and stipple brushstrokes with minimal paint for a textured shine effect. Use the very tip of your brush.
Bounce Highlight: Add a bounce highlight at the bottom of the shield, reflecting light from the ground. This should be less bright than the primary highlight. Use a watered-down Mournfang Brown for a glaze over this area.
Painting the NMM Trim
Blocking in Highlights: Use Neutral Grey to block in primary highlights on the trim, focusing on the top area.
Adding Variation: Create a variety of light grey blocks along the trim, ensuring they get darker and more spaced out as they move away from the top highlight.
Refining Highlights: Gradually add lighter tones, culminating in white for the brightest parts. Ensure these highlights align with the shield’s central highlight.
Detailing Scratches: Use white to pick out tiny dots on sculpted scratches for added realism and depth.
Bounce Highlight on Trim: Similar to the shield, add a less intense bounce highlight at the bottom of the trim.
Final Touches
Glazing: Apply a thin glaze of Mournfang Brown over certain areas for colour integration and smooth transitions.
Detail Checks: Make any necessary adjustments to neaten the highlights and ensure consistency in lighting and texture across the shield and trim.
Important Notes
Consistency and Control: Maintain a good balance in paint consistency – not too thick for opaque marks and not too watery to avoid spreading.
Brush Technique: Always pull the brush towards yourself for control and precision, especially important when working near the freehand area.
Learning and Experimentation: Remember, this technique is both challenging and rewarding. Don’t be afraid to experiment and learn from the process.
These guides should provide a clear roadmap to achieving a high-standard finish for your freehand on shields, suitable for display or competition. Remember, practice and patience are key to mastering these techniques and don’t be afraid to do your own thing and add your own personal touch or style to your freehand!
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This video shows how to paint the Warcry Bloated One from the Rotmire Creed warband from the new Warcry box that Games Workshop sent me.The Rotmire Creed, a cabal of swamp-dwelling devotees of Chaos, employ pestilence as their primary means of warfare, unleashing devastating plagues upon their adversaries. Among their ranks, the Bloated Ones stand as grotesque testaments to the Creed’s dark practices. These individuals, having been subjected to the Witherlords’ most vile potions without succumbing to death, have become swollen vessels of contagion, their bodies grotesquely expanded and their movements hindered by their unnaturally engorged limbs. Revered by their brethren as harbingers of immortality—a belief bolstered by the bizarre mutations that emerge from their putrid flesh—Bloated Ones are formidable foes in combat. They wield raker-claws to eviscerate enemies or cast hooked nets to ensnare those who dare flee. Moreover, their bloated bodies serve as deadly weapons; when breached, they expel a corrosive bile that dissolves both metal and bone with terrifying efficiency.
Video: How to Paint a Warcry Bloated One
All videos are recorded in HD 1080p or higher – use full screen for the full effect and let the video load completely. You can also click the little “cog” and change the speed of the video, if I am going too fast (or slow!).
Paints and Materials
Games Workshop (Citadel):
Deathworld Forest
Mournfang Brown
Rhinox Hide
Balor Brown
Hobgrot Hide
Bugman’s Glow
Morghast Bone
Screaming Skull
Darkreaper
Skeleton Horde (Contrast Paint)
Seraphim Sepia (Contrast Paint)
Vallejo:
Neutral Grey
Black
P3:
Morrow White
Brushes
Artist Opus Size 2 Brush (for softer, broader highlights and smoother finishes)
Artist Opus Size 0 Brush (for detailed work and fine highlighting)
A larger brush for base coating (specific size not mentioned, but a general-purpose larger brush will work)
Primers
Badger Ultimate Primer (Black)
Additional Materials
Water for thinning paints
Wet palette (to keep paints workable longer)
Mixing palette (for mixing paints and creating custom shades)
Mod Podge (for basing, to create a wet, swampy effect)
Grass tufts (for basing, to add texture and detail to the base)
Black paint for touch-ups and corrections
Step by Step Guide
Priming
Prime the model black using Badger Ultimate Primer. This will help in creating deep shadows and contrast for the layers to come.
Base Coating
Apply Deathworld Forest to all cloth areas. Don’t worry about perfect coverage on the first pass; the black undercoat showing through can add depth.
Paint the forearm guard and wooden elements with Mournfang Brown. Aim for a base coat that covers well but allows some of the black primer to show through for natural shading.
For flesh areas, use Bugman’s Glow. The paint’s consistency should be about 50:50 with water to ensure it spreads evenly without being too thick.
Apply Hobgrot Hide to any bamboo-like areas, aiming for even coverage but accepting some transparency for depth.
Shading
Shade the bamboo using Skeleton Horde (Contrast Paint) to add depth and enhance the texture.
Create a wash with Darkreaper for the flesh, thinning it significantly with water. This adds a grey-green hue, contributing to the desaturated look.
Apply Seraphim Sepia to wound areas for a sickly effect.
Highlighting
Begin highlighting the cloth by adding white to Deathworld Forest, creating a lighter shade for the raised areas. Use a size 2 brush for softer, broader highlights.
Highlight the wooden and bamboo elements by mixing Mournfang Brown with white, then progressively adding more white for brighter highlights.
For flesh highlights, start with Bugman’s Glow mixed with a bit of white, increasing the white for subsequent layers to achieve a gradual, soft transition.
Leather straps and bone elements should be highlighted starting with Balor Brown, then Morghast Bone, and finally Screaming Skull for the brightest points.
Paint the horns starting with a base of Rhinox Hide, adding layers of Morghast Bone and Screaming Skull towards the base where it meets the hood for a light source effect.
Use Rhinox Hide to paint veins and corruption spreading from the wounds. Thinly apply Darkreaper for a subtle, visible texture.
Finishing Touches
For the gourd, start with Mournfang Brown, gradually adding white for highlights, ensuring a smooth transition.
Finalise the model by adding texture and fine details, such as chipping and weathering, to enhance the realism and depth.
Basing
Base the model using a combination of Deathworld Forest and Rhinox Hide, followed by patches of Skeleton Horde for variation. Finish with tufts of grass and a layer of Mod Podge for a wet, swampy effect.
Throughout this process, maintain a consistent light source (top-left in this case) to ensure cohesive shading and highlighting. The goal is to achieve a look that’s both desaturated and detailed, with a focus on creating texture and depth through careful layering and shading.
Remember, the key to this desaturated, pastel effect lies in thin layers, patience, and attention to detail.
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In this tutorial, we’re diving into the wonderfully grim world of Nurgle as we explore how to bring the Rotbringer Sorcerer from Age of Sigmar to life with vivid detail. Whether you’re a seasoned painter or just starting out, this step-by-step guide will equip you with techniques and tips to get going.
Video: How to Paint a Rotbringer Sorcerer – Part One:
All videos are recorded in HD 1080p or higher – use full screen for the full effect and let the video load completely. You can also click the little “cog” and change the speed of the video, if I am going too fast (or slow!).
Video: How to Paint a Rotbringer Sorcerer – Part Two
Materials and Paints
Primer: Badger’s Ultimate Primer Black
Games Workshop Paints: Mephiston Red, Balor Brown, Yriel Yellow, Mournfang Brown, Corvus Black, Bugman’s Glow, Cadian Fleshtone, Morghast Bone, Screaming Skull, Trollslayer Orange, Rhinox Hide, Skeleton Horde Contrast
Vallejo Paints: Basalt Grey, Ice Yellow, Neutral Grey, Pale Grey Blue (optional)
P3 Paints: Morrow White
Step-by-Step Guide to the Rotbringer Sorceror:
Preparation and Priming: Fully assemble your Rotbringer Sorcerer and prime it with a black primer. For easier access to intricate areas, consider leaving the arm that holds the scythe detached during priming.
Base Coating: Apply base coats using Mournfang Brown for wooden elements and Basalt Grey for the cloak and scythe blade. Bugman’s Glow is ideal for flesh areas. Apply these base coats roughly, aiming for coverage rather than precision.
Skin Tones: Enhance skin areas with Bugman’s Glow, providing a rosy, dark flesh tone. Progress with Cadian Fleshtone for highlights, ensuring to thin your paints for a smooth finish.
Wood and Metal Detailing: Utilise Balor Brown for initial wood highlights, transitioning to Mournfang Brown for added depth. For metallic areas like the scythe blade, start with Rhinox Hide, building up to Neutral Grey mixed with white for higher highlights. Create rust effects using Trollslayer Orange.
Shading: Employ Corvus Black, adequately thinned, to add depth through shading across the model, focusing on recesses and shadowed areas.
Detail Enhancement: Use Screaming Skull for edge highlights and detail work on scrolls and similar features. Maintain thin paint layers for refinement.
Textures and Freehand Elements: Incorporate freehand elements like Nurgle symbols using Mephiston Red. Apply textures such as rust and wood grain using stippling techniques with Trollslayer Orange for rust and Morghast Bone for wood grain.
Verdigris Effect: On copper elements, create a verdigris effect with Sotek Green mixed with white. Apply this judiciously to areas that would naturally show oxidation, steering clear of bright highlights.
Candle Flames: Paint candle flames using Yriel Yellow, adding Trollslayer Orange to the tips. Blend these colours for a realistic flame appearance.
Model Basing: Prepare a base that complements the model, using a mix of sand, poly filler, and paint it with XV-88, Morghast Bone, and weathering powder. Introduce grass patches for added realism.
Final Adjustments: Revisit the Rotbringer Sorcerer for any last highlights or corrections. Use a precise brush for fine details, ensuring the paint consistency is suitable.
Model Sealing: Once satisfied with the painting, apply a matte varnish to protect your work.
Tips:
Thin your paints for smoother layers and better control.
Utilise an older brush for base coating and a newer, finer brush for detailed work.
Regularly assess your work from a distance for adjustments.
Experiment with light placement for dynamic highlighting and shadowing effects on your Rotbringer Sorceror.
Initial layers don’t need perfection as they will be layered over with more detail.
Show it off!
As you progress, feel free to adapt and tweak techniques to suit your style. Good luck! When you’ve finished, why not pop into our Discord and show it off to other website members? 🙂
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These videos will show you how to paint a Death Guard Space Marine, specifically from the Space Marine Heroes collection. These guides will focus on creating a textured, decayed look characteristic of the Death Guard, using various stippling techniques.
Video – How To Paint: Death Guard Space Marine : Part OneMaterials NeededStepsTipsVideo – How To Paint: Death Guard Space Marine : Part TwoAdditional Painting StepsAdditional TipsMore Death Guard Tutorials to Explore!Free Video Tutorials
Video – How To Paint: Death Guard Space Marine : Part One
Materials Needed
Paints:
Games Workshop: Balor Brown, Rhinox Hide, Morghast Bone, Screaming Skull, Khorne Red, Volupus Pink, Fire Dragon Bright, (alternatively Bugman’s Glow and Cadian Fleshtone for copper effect)
Vallejo: Ice Yellow, (alternatively Old Rose and Salmon Rose)
Brushes: A variety of sizes, including stippling brushes (Artist Opus dry brush or makeup brushes can be used)
Primer: Black primer (Ultimate Primer recommended)
Palette: For mixing colours
Water pot: For thinning paints and cleaning brushes
Steps
Priming and Base Texture:
Prime the model in black. Start stippling texture onto the armour using Balor Brown. Ensure the paint is diluted (about 50% water) to achieve translucency and avoid excessive build-up.
Layering the Texture:
Continue building texture with Morghast Bone, focusing on areas where light naturally hits. Aim for a top-left light perspective.
Dilute your paints as you stipple, gradually building up layers for a controlled, textured effect.
Detailing with Contrast Paint:
Apply Volupus Pink to recesses and bubbly areas on the armour for quick coverage. This helps in defining those decayed spots distinct to Death Guard armour.
Base Colour for Trims and Metals:
Paint all trims and metal areas with watered-down Rhinox Hide. This acts as a base for later metallic effects.
Non-Metallic Metal (NMM) Effect:
For a non-metallic metal look, mix Old Rose with Rhinox Hide and Salmon Rose with Ice Yellow. Layer these mixes to create a copper-like effect, adding Mournfang Brown for warmth.
Highlighting Armour and Details:
Use Screaming Skull to push highlights on the armour. Concentrate on areas like the chest, head, and shoulder pads to draw focus. Stippling Screaming Skull provides a more opaque highlight.
For the pus boils, start with Balor Brown and build up layers with Fist Red for veins. Add Morghast Bone and Screaming Skull for highlights, creating a shiny, reflective surface.
Painting Fungus and Red Details:
Base the fungus-like growths with Khorne Red. Create a gradient effect by mixing Khorne Red with Fire Dragon Bright, then highlight with Ice Yellow for a vibrant contrast against the armour.
Tips
Patience is Key: Death Guard models are detailed, so take your time to add depth and texture.
Light Source Consistency: Ensure the light source remains consistent across the model for a cohesive look.
Layering: Gradual layering helps create a more realistic texture, particularly for the decayed look of the Death Guard.
Brush Care: Clean brushes thoroughly between colours, especially when working with stippling techniques.
Video – How To Paint: Death Guard Space Marine : Part Two
Continuing from Part 1, let’s delve into completing the Death Guard Space Marine with a focus on the gun, additional weathering effects, and other details. We’ll be using a variety of techniques to add depth and character to the model.
Additional Painting Steps
Gun and Metallics:
Start with Bugman’s Glow and Cadian Fleshtone for a coppery effect. Apply these colours to the gun, focusing on light placement and creating non-metallic metal effects.
Use Mournfang Brown and Ice Yellow for richer copper tones. Ensure smooth transitions and consistent light reflection.
Weathering and Verdigris Effect:
For added realism, apply verdigris using Sotek Green. Mix with water (approx. 6-7 parts water to 1 part paint) and apply it to recessed areas and around details for an oxidized look.
Add layers of Sotek Green mixed with white for a more pronounced effect. Apply sparingly to avoid overpowering the metallic sheen.
Highlighting and Details:
Highlight the gun and metallic parts with Ice Yellow and a touch of white for glare effects. Be cautious with paint consistency to avoid unwanted textures.
Address the back of the model similarly, but you can opt for brighter highlights as this part is often in shadow during gameplay.
Painting the Backpack and Tentacles:
For the backpack’s tentacle-like extensions, use a mix of Pink Horror, Emperor’s Children, and Fulgrim Pink. Stipple on these colours to create a mottled, organic texture.
Use Averland Sunset or a similar yellow for raised pustules, adding depth and contrast to the tentacles.
Green Goo Effect:
Paint any dripping goo with Moot Green, applying in layers to create a luminous, toxic effect. Highlight edges with Ice Yellow for added vibrancy.
Finishing Touches:
Utilize Corvus Black for deepening shadows and refining details. Water down the paint and apply it as a glaze to enhance contrast and soften textures.
For the final highlights, focus on the model’s focal points, such as the head, chest, and weapon, ensuring they draw the viewer’s attention.
Additional Tips
Layering: Build up your colours gradually for a more natural and controlled effect.
Light Source: Keep the light source consistent across the model for a cohesive appearance.
Weathering Techniques: Experiment with weathering to add character. Verdigris and rust effects can significantly enhance the decayed look of the Death Guard.
Patience: Take your time with details, especially on focal points, to make them stand out.
Brush Care: Maintain your brushes, especially when working with techniques that can be hard on them, like stippling and dry brushing.
More Death Guard Tutorials to Explore!
Free Video Tutorials
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I created some shiny (and then grimy!) non metallic metal copper on my Maggotkin of Nurgle, which I then weathered with distinctive green verdigris. This is how I did it in a series of step by step guides and videos on NMM copper.
How to Paint NMM Copper – Part One
Paints and Materials
Brush Size and Type:
Don’t use a tiny detail brush for the entire process. Instead, a slightly larger, older brush is preferred. My older brush has a worn tip, which is thicker than a new brush and allows for better paint control and blending.
An old, well-used brush is good for this type of painting. The worn tip of an older brush can make blending easier.
Paints Used
Games Workshop: Doombull Brown, Golden Yellow (old colour; find a modern equivalent if needed)
Scale 75: Ice Yellow, Salmon Pink, Black Red
Black and White paint (any preferred brand)
Step-by-Step Guide
Understanding Copper NMM:
Remember, copper NMM aims to create a metallic effect without using metallic paints. Copper is essentially pink in hue, similar to skin tones, with brown for shadows and a hint of sand yellow.
Preparation of Palette:
On your wet palette, blend all the colours together into one smear. This is because copper has a lot of subtleties in colouring. Start with Doombull Brown and mix in Black Red from Scale 75. If you don’t have Black Red, mix black and red to achieve a dark, reddish brown.
Creating the Base Colour:
For the darker areas of copper, you want something a bit more red. Along your paint smear on the palette, integrate colours that become more yellow and orange. Use Golden Yellow and Ice Yellow for this purpose. Add Salmon Pink at the very end for highlights.
Applying the Base Layer:
Before starting the video, paint the whole model (or the part you’re working on) with Doombull Brown. This creates an easier starting point for the copper effect.
Mixing on the Model:
You’ll be mixing the paint directly on the model, working quickly. This method is different but effective for creating copper NMM. Apply the colours and quickly determine where the highlights will be. The idea is to get lighter colours down first as a base to work from.
Developing the Effect:
Start blending in reflections and refining the look. Add lighter colours and work on creating smooth transitions and contrast. Remember, smooth transitions and good contrast are key in NMM painting.
Refining the Details:
As you progress, you’ll refine the copper effect by using thinner paint and increasing contrast. Use Salmon Pink for the higher highlights and blend it in for a smooth transition.
Final Touches:
Towards the end, focus on refining the paint with continual glazes until it looks smooth and metallic. You might need to make slight adjustments to the highlights and shadows. Add black, turned into a glaze, at the bottom of the shoulder pad to increase contrast.
Final Overview:
The final piece should showcase a refined copper NMM effect with smooth transitions, proper contrasts, and a realistic metallic look.
How to Paint NMM Copper Greeny Verdigris Effect
Paints and Materials
Games Workshop Sybarite Green
P3 Morrow White (or your preferred white paint)
Step-by-Step Guide
Understanding Verdigris:
Verdigris is a patina that forms on copper, brass, or bronze when exposed to air or seawater over time. This guide aims to create a more realistic effect, where verdigris covers larger areas rather than just around rivets and crevices.
Creating Verdigris Tones:
You will mix Sybarite Green with Morrow White to create three stages of verdigris tones:
First Stage: Pure Sybarite Green.
Second Stage: A mix of half Sybarite Green and half Morrow White.
Third Stage: Mostly Morrow White with a tint of Sybarite Green.
Applying the First Layer:
Start with the pure Sybarite Green. Apply it by gently dabbing it onto the model. The goal is to create a patchy texture rather than smooth streaks.
This layer should cover most of the area, but try to maintain the shades and shine of the underlying metallic paint.
Mid-tone Application:
Next, apply the second stage mix (half Sybarite Green, half Morrow White). This should be used more sparingly than the first layer.
Focus on applying this mix to darker areas and recesses. You want to maintain visibility of the copper NMM base, so apply it carefully and artistically.
Adding Highlights:
For the final layer, use the lightest mix (mostly Morrow White with a hint of Sybarite Green). This is like a reverse highlight, working best in shadows to create contrast.
Apply this very selectively, as it can quickly cover the base layers. It should go into the deepest recesses and lower curved areas where verdigris would naturally accumulate.
Final Touches:
Remember, verdigris should have an uneven, patchy appearance. It should not be smooth or uniformly applied like rust.
Check your work against reference images to ensure a natural look.
Finishing Up:
After applying all three stages, your model should exhibit a realistic verdigris effect over the copper. The underlying NMM copper should still be visible, contributing to the overall realism.
Gallery – Click to view larger
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A series of tutorials on how I painted my set of Golden Demon winning Deathguard Deathshroud Bodyguard! This includes nurgly armour, weathering, rust, metals, tentacles, freehand and more!
Quick note here – these are some of my earliest tutorial videos, so are not of the same quality as my current tutorials visually and sound-wise. My apologies for this.Richard
Scroll down to explore the tutorials in order, or quick-jump to a segment by clicking on one of the items below:
Video: Deathguard Deathshroud Bodyguard Green ArmourMaterials and Paints UsedStep by Step GuideVideo: Deathguard Deathshroud Bodyguard Armour DetailMaterials and Paints UsedStep by Step GuideVideo: Deathguard Deathshroud Bodyguard Pink TentaclesMaterials and Paints UsedStep by Step GuideVideo: Deathguard Deathshroud Bodyguard Copper CanisterMaterials and Paints UsedStep by Step GuideVideo: Deathguard Deathshroud Bodyguard Red CloakMaterials and Paints UsedStep by Step GuideVideo: Deathguard Deathshroud Bodyguard Cloak FreehandMaterials and Paints UsedStep by Step GuideVideo: Deathguard Deathshroud Bodyguard Cloak Freehand RefinementMaterials and Paints UsedStep by Step GuideMore Deathshroud TutorialsLots More Deathguard Video Tutorials!
Video: Deathguard Deathshroud Bodyguard Green Armour
All videos are recorded in HD 1080p or higher – use full screen for the full effect and let the video load completely.
Materials and Paints Used
Games Workshop: Elysian Green, Nurgling Green, Rhinox Hide
Additional paints for mixing and shading: Pine Oxide, Loden Gree
Step by Step Guide
Paint Preparation: Gather your paints – Legion Green, Pine Oxide, Loden Green, and Rhinox Hide. Mix these to create five different shades ranging from light to dark for various transitions.
Base Coat: Start with a base coat of pure Legion Green. This will be your foundation colour.
Shading: Begin shading the lower belly area and other parts where shadows naturally fall. Use a mixture of Legion Green and Rhinox Hide for this. Remember, at this stage, the transitions don’t need to be perfect.
Wet Blending: Apply the shading using a wet blending technique. This involves placing one colour and, before it dries, adding another colour to blend on the model. It’s a rough, quick blending to position the shadows and shapes.
Highlighting: For highlighting, mix Legion Green with Megan Green. Start applying highlights to areas where light naturally hits, like the upper sections of the model.
Refining Transitions: As you progress, refine your transitions and shadows for a more polished and detailed look.
Final Highlights: Use pure Nurgling Green for the final highlight stage. This adds a brighter touch to the highest points where light would be most intense.
Detailing: Add finer details, like light reflections and texture variations, as needed to enhance the realism of the armour.
Additional Techniques: If desired, use glazes or additional layers to further refine the shading and highlighting.
Video: Deathguard Deathshroud Bodyguard Armour Detail
Materials and Paints Used
Games Workshop: Elysian Green, Nurgling Green, Mournfang Brown, Rhinox Hide Forge World: Gal Vorbak Red (use Games Workshop Khorne Red with a tiny amount of blue for a similar colour)
Step by Step Guide
Initial Shading: Start by shading the lower leg using a mix of Elysian Green and Rhinox Hide. This forms the base for the subsequent layers.
Layering with Pine Oxide: Apply Pine Oxide in layers. This is a form of light layering, where the paint is applied thinly, almost like working with glazes but slightly thicker.
Blending Techniques: Employ wet blending by quickly layering the paint. This helps in merging the layers smoothly, ensuring a subtle transition of colours.
Stippling with Mournfang Brown: Use Mournfang Brown for stippling effects. This is done by applying small dots to create texture and depth.
Refining Highlights: Add highlights using a finer brush. Highlight the lower edges of the leg where light naturally catches but avoid highlighting the upper edges to maintain a natural look.
Fixing Imperfections: If any area becomes too dark, use the in-between transitions to correct it. This involves mixing paint directly on the model, which can help in hiding mistakes.
Applying Red Glazes: Use a heavily watered-down Evil Sunz Scarlet (or a similar red glaze) to add subtle tones and enhance contrast.
Streaking for Battle Damage: For bullet holes or battle-damaged areas, create streaking effects using Mournfang Brown and Rhinox Hide, depicting the gunk running down from the damage.
Final Touches: Add final details and weathering to complete the look of the armour. This includes additional stippling and refining the contrast between light and shadow areas.
Video: Deathguard Deathshroud Bodyguard Pink Tentacles
Materials and Paints Used
Games Workshop: Emperor’s Children, Rhinox Hide, Evil Sunz Scarlet
Vallejo: Model Colour Black (Alternatively, Games Workshop black can be used)
P3: Morrow White (Alternatively, Games Workshop white can be used)
Step by Step Guide
Base Colour: Start with a base of Emperor’s Children pink.
Shading: Apply Rhinox Hide for shading. Paint the tip of the tentacle black for contrast.
Blending: Blend Rhinox Hide mixed with Emperor’s Children down from the black tip to create a smooth transition.
Detailing: Using straight Emperor’s Children, add line details to the tentacle, going beyond the sculpted segments for more intricacy.
Highlighting: Focus on the middle area of the tentacle with a mix of Emperor’s Children and Morrow White. This creates a focal point and simulates light catching the tentacle.
Final Touches: For light reflections, use a lighter pink or white. Add a glaze of Evil Sunz Scarlet for depth and contrast.
Video: Deathguard Deathshroud Bodyguard Copper Canister
This technique will give you a realistic copper effect using a simplified palette.
Materials and Paints Used
Games Workshop: Doombull Brown, Cadian Fleshtone Vallejo: Ice Yellow
Step by Step Guide
Base Coat: Start with a base coat of Doombull Brown.
Mixing Colours: Create a palette with five shades by mixing Doombull Brown, Cadian Fleshtone, and Ice Yellow in different proportions.
Highlighting: Apply the mix of Doombull Brown and Cadian Fleshtone across the upper curve for initial highlights. Adjust the position of the highlight by observing the model under light.
Refining: Blend the colours for smooth transitions. Use finer brushes for detailed areas and to keep dark lines sharp.
Final Highlights: Use a mixture of Cadian Fleshtone and Ice Yellow for brighter highlights. Add small touches of pure Ice Yellow for the brightest points.
Artificial Reflections: Paint reflections and detail lines that may not naturally occur but enhance the metallic effect. Look as photographs of copper items for references to help you with this.
Finishing Touches: Adjust and refine the highlights and shadows, ensuring a balance between realism and aesthetic appeal.
Video: Deathguard Deathshroud Bodyguard Red Cloak
This process results in a textured, worn cloak suitable for a Death Shroud Terminator, using a simple but effective painting technique.
Materials and Paints Used
Gal Vorbak Red (Forge World) Cadian Fleshtone (Games Workshop) Eldandil Violet (Scalecolour Fantasy)
Step by Step Guide
Base Coat: Start with Gal Vorbak Red as the primary colour.
Detailing and Texture: Use Cadian Fleshtone for adding highlights and texture, creating a worn and mouldy appearance.
Shading: Apply Eldandil Violet for shading in the recesses, enhancing depth and wear.
Glazing with Evil Sunz Scarlet: Use it as a glaze to add warmth to the cloak.
Refining Texture: Focus on cross-hatching movements to build texture, emphasizing the worn look.
Final Touches: Add further glazes and highlights to refine the texture and depth, tailoring the effect to your desired level of detail.
Video: Deathguard Deathshroud Bodyguard Cloak Freehand
Materials and Paints Used
The following paints were used:Games Workshop: Rhinox Hide Vallejo: Heavy Brown, Cork Brown, Ice Yellow, Black P3: Battlefield Brown *Note, Morrow White was not actually used in this video, but is used in part 2.
Step by Step Guide
Preparation: I used a test model to experiment with my design concept. This approach allows you to refine the freehand pattern before applying it to the main models.
Base Colours: Apply Vallejo Heavy Brown as a foundational colour. Enhance the base with Cork Brown for a richer texture. Use Rhinox Hide to outline the design, ensuring the lines are crisp and distinct.
Detailing: Carefully mark the eye sockets with black paint, paying attention to the cloak’s folds. These details will add depth and character to the freehand design.
Highlighting: Utilize Ice Yellow for highlights. This step involves blending the highlights with the base colors to achieve a natural, integrated look. The highlights should accentuate the topography of the cloak and enhance the freehand design.
Shading: Use Battlefield Brown to deepen the shadows and add complexity to the design. This shade will create a more dynamic and realistic appearance on the cloak.
Finishing Touches: Review the entire design, making final adjustments for consistency and balance. Focus on refining the freehand artwork, ensuring it harmonizes with the cloak’s texture and the overall theme of the model.
Video: Deathguard Deathshroud Bodyguard Cloak Freehand Refinement
Materials and Paints Used
The following paints were used: Games Workshop: Cadian Fleshtone, Pallid Wych Flesh, Bugman’s Glow, Rhinox Hide, Loren Forest, Nurgling Green, Vallejo: Ice Yellow, Cork Brown, Black, Neutral Grey, Pale Grey Blue, Heavy Brown P3: Battlefield Brown, Morrow White
Step by Step Guide
Base Preparation: Start by painting a rough base of fleshy shapes using Cadian Fleshtone. This initial layer doesn’t need to be perfect or smooth.
Detailing Ears and Face: Add ears to distinguish the image from a skull, creating a more zombie-like face. Use Kadeem Flesh Tone for this step.
Sketching Flesh and Bone: Sketch out areas where flesh appears torn or missing, revealing bone underneath. This technique enhances the undead appearance and integrates the existing skull highlights.
Adding White Highlights: Use Pallid Wych Flesh to accentuate bone areas, making them stand out from the flesh tone.
Painting the Eyes: Employ Neutral Grey, followed by Pale Grey Blue for the eyes. Add white dots in the center and top left corner of each eye for a lifelike effect.
Mouth and Teeth Details: Refine the mouth and teeth using Rhinox Hide and Ice Yellow for highlights. Focus on defining the teeth shapes and adding depth to the mouth.
Adding Texture to Flesh: Use Bugman’s Glow and other flesh tones to create textured, worn skin. Apply these tones in layers, allowing the underlying skull details to peek through.
Final Touches: Finish by adding fine details and additional highlights to enhance the depth and realism of the freehand design.
The key to this process is building up the layers gradually, refining the details as you go, and ensuring the highlights and shadows work together to create a realistic, three-dimensional appearance.
More Deathshroud Tutorials
How to Paint Deathshroud ArmourDeathshroud Scythe Handle WrappingDeathshroud Terminator Cloak FreehandHorn Painting Guide
Lots More Deathguard Video Tutorials!
If you don’t have an account, please sign up here! The website currently has over 350 video tutorials with steps and tips, plus a selection of PDFs. If you are not sure about joining, you can explore my free videos with a free membership, or take the plunge and become a full subscriber for full access.
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A video on how I painted up this friendly little Great Unclean One Nurgling! In this comprehensive guide, we’ll learn essential techniques such as layering, blending, washing, and highlighting, all aimed at bringing the detailed Nurgling model to vivid life.
Video: How to Paint a Great Unclean One Nurgling
Paints and Materials Used
Games Workshop Paints:
Cadian Fleshtone
Rhinox Hide
Kislev Flesh
Ceramite White
Yriel Yellow
Emperor’s Children
Celestra Grey
Skavenblight Dinge
Lothern Blue
Cybarite Green
Abaddon Black
Mournfang Brown
Ushabti Bone
Zamesi Desert
Agrax Earthshade (for wash)
Scale 75 Paints:
Kalahari Orange
Mars Orange
Vallejo Paints:
Model Colour Black
Ice Yellow
Brushes:
In the tutorial I mention using a new size 1 brush with a fine point, ideal for both general painting and fine details. A good point for precision work and the brush I was using was an Artis Opus brush!
An older, rough brush is used for applying the Scale 75 paints to create a rusty texture on the chain.
Step-by-Step Guide
Step 1: Base Colours for Skin
Begin with a base of Cadian Fleshtone on the skin. Create a palette with three colour mixtures: pure Cadian Fleshtone, a 50/50 mix of Cadian Fleshtone and Rhinox Hide, and a mixture mostly of Rhinox Hide with a small amount of Cadian Fleshtone.
Step 2: Painting Shadows
Start with the darkest mixture (mostly Rhinox Hide) to paint creases, dark areas, and shadows. The approach here doesn’t need to be very neat; it’s more about laying down the dark tones.
Step 3: Mid-tone Shading
Use the mid-tone mixture for most of the shading. Avoid painting over areas that will be highlighted later, like the chest and middle of the belly.
Step 4: Blending and Refining
As you proceed, switch between mixtures for blending, often without washing the brush. This method helps create quick transitions. Focus on darkening areas around the edges where the Nurgling touches Rotigus for shadow effects.
Step 5: Teeth and Boils
For the teeth, apply a quick wash of Agrax Earthshade to outline and define them. Then, start refining the shading and blending, particularly with the mid-tone shade.
Step 6: Final Skin Highlights
The final skin highlights won’t be Cadian Fleshtone but a brighter colour. However, use Cadian Fleshtone initially to get all shadows in place, creating transitions where the darkest shadows show through beneath lighter layers.
Step 7: Eyes and Pupils
Paint the eye with Yriel Yellow for a strong, vibrant colour. Then, use Vallejo Model Colour Black to paint the pupil, ensuring it looks forward and round.
Step 8: Smoke Effect
Base the smoke with Lothern Blue, then use Cybarite Green mixed with a little Abaddon Black. Highlight the inner recesses of the smoke with a mixture of Lothern Blue and Ceramite White, getting lighter towards the start of the smoke.
Step 9: Rusty Chain
Use Scale 75 Kalahari Orange and Mars Orange for a rusty look. Apply with a rough brush for a patchy appearance. Highlight with Skavenblight Dinge, Celestra Grey, and a touch of Ushabti Bone on the raised edges to mimic worn metal.
Step 10: Copper Smoke Dispenser
Paint with Mournfang Brown, highlighting with Cadian Fleshtone mixed with Ice Yellow, focusing on raised edges facing upwards. Use Lothern Blue for the verdigris effect, concentrating on the recesses for a corroded look.
Step 11: Horns and Tentacles
Start horns with Mournfang Brown, blending into Abaddon Black towards the tip. Highlight with Skavenblight Dinge and Celestra Grey. For tentacles, use a base of Emperor’s Children mixed with a small amount of Ushabti Bone, adding horizontal lines along each tentacle. Highlight with a brighter mix of Emperor’s Children and Ceramite White, focusing on the central area.
Remember, the key to this process is layering and blending, creating smooth transitions between colours.
More Nurgle Tutorials!
If you don’t have an account, please sign up here! The website currently has over 350 video tutorials with steps and tips, plus a selection of PDFs. If you are not sure about joining, you can explore my free videos with a free membership, or take the plunge and become a full subscriber for full access.
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Learn how to paint a Great Unclean One in this selection of videos, with tips on his hood, skin, belly mouth, staff, horns and friendly little nurgling! My apologies for quality, this was one of my very first sets of video tutorials, way back in 2018!
Scroll down to explore these in order, or use the contents below to jump quickly to a section of the model or technique.
Video: Great Unclean One HoodMaterials NeededStep-by-Step Guide to the Great Unclean One HoodStep 1: PrimingStep 2: Base Colour ApplicationStep 3: Creating and Applying the Mid-ToneStep 4: Detailing and Texture EnhancementStep 5: Final HighlightsStep 6: Glazing for DepthStep 7: Touch-ups and Final AdjustmentsVideo: Great Unclean One Belly MouthMaterials Required:Step-by-Step Guide to the Belly MouthStep 1: Base ColouringStep 2: Painting the TeethStep 3: Shading and Texturing the GumsStep 4: Glazing for Colour DepthStep 5: Applying Blood for the Blood GodFinal TouchesVideo: Great Unclean One SkinPaints Needed:Step-by-Step Guide to the SkinBase Colouring and Initial Blending:Refinement and Detailing:Adding Texture with Dots:Finishing Touches:Video: Great Unclean One HornsMaterials:Step-by-Step Guide to the HornsBase Coating and Initial Blending:Refining the Gradient:Adding the Green Tint:Final Touches:Video: Great Unclean One (Rotigus) StaffMaterials Needed:Step-by-Step Guide to the StaffBase CoatingInitial Colour ApplicationTransition and BlendingDetailingFinishing TouchesConclusion and ProtectionVideo: Great Unclean One NurglingPaints and Materials UsedStep-by-Step Guide on the NurglingMore Nurgle Tutorials
Video: Great Unclean One Hood
The process of painting the black hood of a Great Unclean One, focusing on achieving a textured, worn look that stands out on a larger model.
Materials Needed
A fine detail paintbrush, preferably a standard size over a miniature brush for better control.
Black primer (P3 or Games Workshop Black recommended).
Paints: Skavenblight Dinge, Celestra Grey (Games Workshop); Ice Yellow (Vallejo); Black Leather (Scale 75); Mournfang Brown (Games Workshop).
Water for thinning paints and creating glazes.
A palette for mixing paints.
Step-by-Step Guide to the Great Unclean One Hood
Step 1: Priming
Ensure your model is primed in black. This serves as the base colour and will help in creating deep shadows under the subsequent layers.
Step 2: Base Colour Application
Apply Black Leather from Scale 75 over the hood, leaving some of the black primer visible in the deepest recesses. This step is done roughly to start building the texture we desire. The black primer peeking through will add natural shadows to the texture.
Step 3: Creating and Applying the Mid-Tone
Mix Skavenblight Dinge and Ice Yellow (Vallejo) to create a warm, mid-grey tone. Without cleaning your brush from the Black Leather application, apply this mix over the hood. The residual Black Leather on the brush will mix with your mid-tone directly on the model, enhancing the textured effect. This mix should be applied more liberally on the areas that would naturally catch more light, such as the top and folds of the hood.
Step 4: Detailing and Texture Enhancement
Using the mid-tone mix, start adding more defined textures and highlights. Focus on the edges and any raised details to make them stand out. This includes the edges of tears and holes in the hood. Apply your paint with deliberate, rough strokes to mimic the look of worn leather. The paint should be thicker to avoid smoothing out the texture.
Step 5: Final Highlights
Use Celestra Grey to apply the final highlights. Focus on the very edges and peaks where light would hit the strongest. Remember, this paint has a matte finish, which contrasts nicely with the previously applied colours, adding to the worn fabric effect.
Step 6: Glazing for Depth
Create a glaze with Mournfang Brown and a touch of black (either P3 or Games Workshop). Thin these paints down significantly with water on a separate palette. Apply this glaze sparingly to the shadows and recesses to add depth and enhance the dirty, worn look. The glaze will subtly tint the underlying colours, marrying them together while adding a slight sheen in places to mimic the varied textures of aged fabric.
Step 7: Touch-ups and Final Adjustments
After glazing, you may find some highlights have dulled. Reapply Celestra Grey sparingly to the most prominent edges and details to bring back the contrast. This step should make sure you maintain the balance between detailed texture and the overall worn look of the hood.
Video: Great Unclean One Belly Mouth
Materials Required:
Fine detail paintbrushes
Palette for mixing paints
Water for thinning paints
Base colour: Warboss Green (Games Workshop)
Additional Colours: Rhinox Hide, Mournfang Brown, Balor Brown (Games Workshop), Ice Yellow (Vallejo), Morrow White (P3 or any white paint from Games Workshop will suffice), Elysian Green, Evil Sunz Scarlet (Games Workshop)
Technical paint: Blood for the Blood God (Games Workshop)
Step-by-Step Guide to the Belly Mouth
Step 1: Base Colouring
Initial Base Coat: Start with a base coat of Warboss Green mixed with a touch of Rhinox Hide to slightly darken the green. This mix provides a solid foundation for the gum area and a natural shadow effect for the recesses between the teeth.
Step 2: Painting the Teeth
Initial Layer: Use Balor Brown for the teeth’s base layer, setting a warm undertone for later layers.
Highlighting: Apply Ice Yellow over Balor Brown, leaving a small margin near the gums to create a transition from the darker base to a lighter tip.
Final Highlights: Add Morrow White to the very tips of the teeth, enhancing their sharpness and giving them a polished appearance. Make sure this white layer is applied thinly and only at the tips.
Step 3: Shading and Texturing the Gums
Shading: Use Rhinox Hide to shade around the teeth and gum line, deepening the recesses and adding depth.
Adding Texture: Reapply Warboss Green to restore vibrancy to the gums, followed by Elysian Green for highlights. These steps add texture and variation.
Refining Details: With Ice Yellow, highlight the most prominent areas of the gums, aligning these highlights with the light source and the highlights on the teeth.
Step 4: Glazing for Colour Depth
Preparing Glazes: Create glazes from Mournfang Brown and Rhinox Hide by significantly thinning these paints. Apply these glazes over teeth and gums to unify the colours, soften transitions, and add natural depth.
Red Glazing: Thin Evil Sunz Scarlet to a glaze consistency and apply over the gum area, introducing a hint of irritation. This also sets the stage for applying Blood for the Blood God.
Step 5: Applying Blood for the Blood God
Applying Gore: Strategically apply Blood for the Blood God around the gum line and on select areas of the teeth to simulate fresh blood and gore, enhancing the grotesqueness with a glossy finish.
Manipulating the Blood: Use the brush to create realistic drips or pools, focusing on how blood might naturally accumulate in the creature’s mouth.
Final Touches
Adjustments: After the Blood for the Blood God has dried, revisit any areas that may require adjustments or additional highlights to ensure they stand out against the glossy blood effect.
Video: Great Unclean One Skin
We’ll use a mix of Games Workshop paints to layer, blend, and detail the skin to give it a lifelike, diseased appearance.
Paints Needed:
Paints (Games Workshop): Cadian Fleshtone, Kislev Flesh, Ushabti Bone, Rhinox Hide, Mournfang Brown, Skavenblight Dinge, Moot Green, Pallid Wych Flesh.
Step-by-Step Guide to the Skin
Base Colouring and Initial Blending:
Base Coat: Start with a base coat of Cadian Fleshtone applied over a grey primer. This doesn’t require precision; just ensure complete coverage.
Rhinox Hide: Apply a quick airbrush (or brush) layer of Rhinox Hide to introduce shadows. This is optional but provides a good base for further detailing.
Mixing on the Model: Begin blending Rhinox Hide directly on the model into the Cadian Fleshtone. This method is quick and doesn’t require perfect smoothness, as further texture work will cover imperfections. Use a thicker consistency for better blending.
Light and Shadow: Focus on creating light at the top and shadows at the bottom of curves and crevices. Blend by alternating between Cadian Fleshtone and Rhinox Hide, directly mixing on the model for a rough transition.
Refinement and Detailing:
Refining with Kislev Flesh: With the skin’s base layers blended, use Kislev Flesh to start highlighting. Focus on raised areas and parts that would catch the light. This stage involves more precise brushwork to enhance the model’s details.
Ushabti Bone for Highlights: For the highest points and most prominent details, apply Ushabti Bone. This step brings out the texture and gives the skin a more dimensional look.
Glazing for Depth: Create glazes with Skavenblight Dinge and Mournfang Brown. Apply these very thinly over the skin to unify the tones, add warmth, and enhance the transitions between colours.
Adding Texture with Dots:
Dotting Technique: Use a mix of the flesh tones (Cadian Fleshtone for darker areas, Kislev Flesh for mid-tones, and Ushabti Bone for light areas) to dot the skin, creating texture. Vary the size of the dots based on the area you’re working on, keeping them random to avoid patterns.
Applying Glazes Over Dots: Use Moot Green to glaze over the dotted areas, focusing on the recesses but avoiding the highest lights. This introduces a sickly green hue indicative of Nurgle’s influence.
Final Glazes: Reapply glazes of Mournfang Brown to reintroduce warmth and further blend the skin tones, ensuring a cohesive and natural look.
Finishing Touches:
Highlighting with Pallid Wych Flesh: Finally, use Pallid Wych Flesh to add fine highlights to the very tips and edges of the most raised details, enhancing the texture and depth of the skin.
Final Adjustments: Assess the model and make any necessary adjustments to ensure a smooth gradient and natural look across all skin areas.
Video: Great Unclean One Horns
Materials:
Vallejo Model Color Black
Vallejo Ivory
Mournfang Brown (Games Workshop)
Balor Brown (Games Workshop)
Iyanden Yellow (Alternative to P3’s Iosen Green for glazing)
Abaddon Black (Games Workshop, alternative to Coat d’Arms Black)
Fine detail brushes
A wet palette
Water for thinning paints
Step-by-Step Guide to the Horns
Base Coating and Initial Blending:
Base Coat: Start by applying Vallejo Model Color Black directly onto the horns over a grey primer base. Ensure full coverage for a solid foundation.
Creating a Transition: On your wet palette, mix Vallejo Model Color Black with Mournfang Brown to create a transition shade. Also, prepare a mix of Balor Brown and Vallejo Ivory for a lighter transition. You’ll use these mixes to create a gradient along the horns, starting from the darkest at the base to lighter towards the tips.
Applying the Transitions: Begin with the black, blending into the Mournfang Brown mix, and proceed towards the tip with Balor Brown and the Balor Brown-Ivory mix. Use a large brush for quick, broad strokes, blending directly on the model for efficient coverage. The goal is a smooth gradient from dark to light without distinct lines.
Refining the Gradient:
Mournfang Brown Detailing: Revisit with Mournfang Brown to accentuate the ridges and details of the horns, enhancing the transition effect. Apply it in a way that leaves some of the base gradient visible beneath, contributing to the depth of the horns’ texture.
Balor Brown Highlights: Next, apply Balor Brown to continue defining the ridges, focusing on the midsections of the horns to reinforce the gradient transition.
Ivory Highlights: Finish the base gradient by applying Vallejo Ivory at the tips and highest points of the horns. This step brings a sharp contrast to the horns, setting the stage for the unique green tint to be applied later.
Adding the Green Tint:
Iyanden Yellow Glaze Preparation: Mix Iyanden Yellow (as a substitute for Iosen Green) with water on your palette to a very thin, glaze-like consistency. This mix will be applied over the horns to give them a subtle green tint, enhancing the overall theme of the miniature.
Applying the Glaze: Use a flat, wide brush to apply the glaze along the entire length of the horns, starting from the base where it’s darkest, up to where the ivory begins. Allow each layer to dry before applying the next to build up the green tint gradually without obscuring the underlying gradient.
Deepening Shadows with Abaddon Black: Finally, mix a thin glaze of Abaddon Black and apply it selectively towards the base and lower sections of the horns. This step reintroduces depth and shadow lost during the glazing process, ensuring the horns maintain their dimensional appearance.
Final Touches:
Detailing and Corrections: Go back with your lighter colours (Balor Brown-Ivory mix and pure Ivory) to reinforce highlights or correct any overspill from the glazing process. This step ensures sharpness and clarity in the horns’ details.
Assessment and Adjustment: Evaluate the overall effect, making adjustments as necessary to ensure a smooth transition between all colours and a satisfactory green tint.
Protective Coating: Once completely dry and you’re satisfied with the results, consider applying a matte varnish to protect your work and reduce any unwanted glossiness from the glazing process.
Video: Great Unclean One (Rotigus) Staff
The goal is to achieve a vibrant, multi-hued effect that transitions from dark at the base to light and colourful at the top.
Materials Needed:
Vallejo Model Colour Black (or Games Workshop’s Abaddon Black as an alternative)
Games Workshop’s Rhinox Hide, Ceramite White, Cadian Fleshtone, Balor Brown, Moot Green, Ushabti Bone, Lothern Blue, Mournfang Brown
P3’s Iosen Green (or an equivalent green from GW for similar effect)
Fine detail brushes
A wet palette
Step-by-Step Guide to the Staff
Base Coating
Priming and Base Coat: Begin with a light grey primer across the entire model for uniformity, though a black primer may work better for darker elements like the staff. Apply Rhinox Hide as the base coat on the staff.
Initial Colour Application
Applying Base Colours: Start at the base of the staff with Vallejo Model Colour Black, blending upwards into Rhinox Hide, then to Mournfang Brown. This creates a dark to light gradient, preparing for brighter colours above.
Transition and Blending
Creating the Transition: Without cleaning your brush, dip into subsequent colours to facilitate wet blending directly on the model. Progress through the colours: Mournfang Brown to Fire Dragon Bright, then to Moot Green, followed by a custom blue mix, Ceramite White, and Lothern Blue.
Mixing for Intermediate Shades: Where necessary, mix adjacent colours on your palette to create intermediate shades for smoother transitions.
Application Technique: Apply each colour in segments, blending into the previous colour while wet to ensure a smooth gradient. The aim is for a seamless transition from dark at the base through greens, oranges, and blues, culminating in white at the tip.
Detailing
Highlighting: After the base gradient is complete, use lighter shades of each colour (mixes involving Ceramite White and Ushabti Bone) to highlight raised areas and textures. This step accentuates the staff’s intricate details and enhances the colour gradient’s impact.
Focus on Contrast: Ensure that the top sections, especially around the twisting branches, receive adequate highlights to create a vibrant contrast between the dark base and the colourful top.
Finishing Touches
Additional Details: Address any minor details, such as maggots and ropes on the staff, using base colours like Rhinox Hide and highlighting appropriately to integrate them into the overall colour scheme without disrupting the gradient flow.
Refinement and Adjustment: Revisit any areas requiring further blending or intensified colour saturation. Adjust highlights as necessary to maintain a consistent light source impression across the model.
Conclusion and Protection
Final Assessment: Review the entire piece for uniformity and depth of colour. Ensure that all transitions are smooth and that the highlights appropriately reflect the model’s contours and texture.
Protective Coating: Consider applying a matte varnish to protect the paintwork and reduce any unintended shininess, ensuring the staff’s finish matches Rotigus’ overall appearance.
Video: Great Unclean One Nurgling
Paints and Materials Used
Games Workshop Paints:
Cadian Fleshtone
Rhinox Hide
Kislev Flesh
Ceramite White
Yriel Yellow
Emperor’s Children
Celestra Grey
Skavenblight Dinge
Lothern Blue
Cybarite Green
Abaddon Black
Mournfang Brown
Ushabti Bone
Zamesi Desert
Agrax Earthshade (for wash)
Scale 75 Paints:
Kalahari Orange
Mars Orange
Vallejo Paints:
Model Colour Black
Ice Yellow
Brushes:
In the tutorial I mention using a new size 1 brush with a fine point, ideal for both general painting and fine details. A good point for precision work and the brush I was using was an Artist Opus brush!
An older, rough brush is used for applying the Scale 75 paints to create a rusty texture on the chain.
Step-by-Step Guide on the Nurgling
Step 1: Base Colours for Skin
Begin with a base of Cadian Fleshtone on the skin. Create a palette with three colour mixtures: pure Cadian Fleshtone, a 50/50 mix of Cadian Fleshtone and Rhinox Hide, and a mixture mostly of Rhinox Hide with a small amount of Cadian Fleshtone.
Step 2: Painting Shadows
Start with the darkest mixture (mostly Rhinox Hide) to paint creases, dark areas, and shadows. The approach here doesn’t need to be very neat; it’s more about laying down the dark tones.
Step 3: Mid-tone Shading
Use the mid-tone mixture for most of the shading. Avoid painting over areas that will be highlighted later, like the chest and middle of the belly.
Step 4: Blending and Refining
As you proceed, switch between mixtures for blending, often without washing the brush. This method helps create quick transitions. Focus on darkening areas around the edges where the Nurgling touches Rotigus for shadow effects.
Step 5: Teeth and Boils
For the teeth, apply a quick wash of Agrax Earthshade to outline and define them. Then, start refining the shading and blending, particularly with the mid-tone shade.
Step 6: Final Skin Highlights
The final skin highlights won’t be Cadian Fleshtone but a brighter colour. However, use Cadian Fleshtone initially to get all shadows in place, creating transitions where the darkest shadows show through beneath lighter layers.
Step 7: Eyes and Pupils
Paint the eye with Yriel Yellow for a strong, vibrant colour. Then, use Vallejo Model Colour Black to paint the pupil, ensuring it looks forward and round.
Step 8: Smoke Effect
Base the smoke with Lothern Blue, then use Cybarite Green mixed with a little Abaddon Black. Highlight the inner recesses of the smoke with a mixture of Lothern Blue and Ceramite White, getting lighter towards the start of the smoke.
Step 9: Rusty Chain
Use Scale 75 Kalahari Orange and Mars Orange for a rusty look. Apply with a rough brush for a patchy appearance. Highlight with Skavenblight Dinge, Celestra Grey, and a touch of Ushabti Bone on the raised edges to mimic worn metal.
Step 10: Copper Smoke Dispenser
Paint with Mournfang Brown, highlighting with Cadian Fleshtone mixed with Ice Yellow, focusing on raised edges facing upwards. Use Lothern Blue for the verdigris effect, concentrating on the recesses for a corroded look.
Step 11: Horns and Tentacles
Start horns with Mournfang Brown, blending into Abaddon Black towards the tip. Highlight with Skavenblight Dinge and Celestra Grey. For tentacles, use a base of Emperor’s Children mixed with a small amount of Ushabti Bone, adding horizontal lines along each tentacle. Highlight with a brighter mix of Emperor’s Children and Ceramite White, focusing on the central area.
Remember, the key to this process is layering and blending, creating smooth transitions between colours.
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A guide on creating a series of effects on the Plague God’s chosen servants, the Maggotkin of Nurgle, with rusty weapons, grimy copper armour and general Nurgle weathering techniques!
Keep scrolling to explore the tutorials in order, or click on one of the links below to quickly jump to an a specific effect!
Video – Maggotkin of Nurgle Diseased Skin Part OnePaints UsedStep by Step GuideVideo – Maggotkin of Nurgle Diseased Skin Part TwoPaints and Materials UsedStep by Step GuideVideo – Maggotkin of Nurgle Diseased Skin Part ThreePaints and Materials UsedStep by Step GuideVideo: How to Create a Nurgle Rusty SwordMaterials Needed:Step-by-Step Guide:How to Paint NMM CopperPaints and MaterialsStep-by-Step GuideHow to Paint NMM Copper Greeny Verdigris EffectPaints and MaterialsStep-by-Step GuideMore Nurgle Tutorials!
Video – Maggotkin of Nurgle Diseased Skin Part One
Paints Used
Games Workshop ‘Cadian Fleshtone’: For the base coat and blending.
Scale 75 ‘Black Leather’: Used for initial detailing and creating depth in the skin.
Games Workshop ‘Pallid Wych Flesh’: Mixed with Cadian Fleshtone for highlights.
Games Workshop ‘Rhinox Hide’: Diluted for defining skin defects and recesses.
Step by Step Guide
Base Coat: Begin by applying a base coat of Games Workshop’s ‘Cadian Fleshtone’ to your model. Make sure this coat is even and covers any black primer fully.
Adding Detail: Next, use Scale 75 ‘Black Leather’ for initial detailing. This paint has a softer finish, ideal for skin textures. Apply it more like a wash, targeting recessed areas to create depth. The goal here is to start developing a diseased skin look.
Blending Techniques: While the ‘Black Leather’ is still wet, blend in additional ‘Cadian Fleshtone’. This stage can be a bit messy; the aim is to create a base for further refinement, not perfection.
Highlight Focal Points: Consider where you want to draw the eye. Focus on areas like the centre of the chest and the top of the belly, which naturally lead the viewer’s gaze towards the head.
Wet Blending: Continue mixing ‘Cadian Fleshtone’ with ‘Black Leather’ directly on the model. This wet blending creates a smoother transition between light and dark areas.
Highlighting: Mix ‘Cadian Fleshtone’ with varying levels of ‘Pallid Wych Flesh’ on your palette. Use this mixture to introduce lighter colours for highlighting, enhancing the diseased skin effect.
Detailing Shadows and Highlights: Focus on skin creases and folds, adding highlights to create an illusion of shadow. At this stage, precise brushwork isn’t crucial.
Skin Defects: For holes in the skin, use a watered-down ‘Rhinox Hide’. It dries lighter than it appears when wet, perfect for defining recesses.
Overall Balance: Regularly step back to view the whole model, ensuring a balanced look. Work on the entire model rather than focusing on individual sections.
Refining Colours: Keep refining by alternating between shadows and highlights. Adjust as needed for the desired effect.
Final Highlights: For the final touches, use ‘Pallid Wych Flesh’ to highlight key areas and make them stand out.
Model Handling: Use a model holder to prevent oils from your skin affecting the paint job. I use Rathcore model holders.
Video – Maggotkin of Nurgle Diseased Skin Part Two
Paints and Materials Used
Games Workshop Paints:
‘Cadian Fleshtone’: Used for base coating and blending.
‘Rhinox Hide’: Applied for deeper shading and detailing.
‘Pallid Wych Flesh’: Utilised for highlighting.
‘Skavenblight Dinge’: Employed for glazing and desaturating the skin tone.
‘Balor Brown’: Added for warmth in certain areas, enhancing the diseased look.
‘Evil Sunz Scarlet’: Used after initial issues with red tones, particularly for open sores.
Scale 75 Paints:
‘Eldandil Violet’: Mentioned for specific details and effects.
Step by Step Guide
Setting the Scene: To begin with, I’ve already completed some preliminary work on the model. This includes filling in the teeth and tongue, which helps define the overall look. It’s important to get your contrasts right from the start.
Introducing Additional Colours: In this session, I’m introducing a few extra colours compared to the previous video. I’ve got a purple for bruising and decay around wounds. This adds depth and a sense of realism to the skin.
Consistency Check: A quick note on the consistency of the paints – it’s crucial for the glazes. You’ll notice I’m using Games Workshop paints like ‘Cadian Fleshtone’, ‘Rhinox Hide’, and ‘Pallid Wych Flesh’, as well as ‘Skavenblight Dinge’ and ‘Balor Brown’. I’ve also got Scale 75 ‘Eldandil Violet’ for some specific detailing.
The Painting Process: The techniques I’m employing here are very similar to what I’ve done in the past – lots of layers, plenty of back-and-forth with highlighting, adding and taking away paint to blend it all seamlessly. It’s a slow process, but it yields great results.
Focus on Glazing: A key aspect of this session is glazing. I’m using ‘Skavenblight Dinge’ quite a bit. It’s excellent on skin, helping to blend colours together and desaturate the skin tone, giving it a slightly dead look, fitting for a Nurgle warrior.
Applying Highlights: When painting the highlights, especially as they get brighter, it’s important to focus on the model’s focal points. For this model, the focal points are the top of the belly and the middle of the chest, directing the viewer’s eyes towards the head.
Addressing the Red Tones: I initially had some trouble with the red paint for the open sores, which turned out almost orange and then pink. After some trial and error, I switched to Games Workshop ‘Evil Sunz Scarlet’, which provided the consistency and colour I was looking for.
Creating Contrast with Gloss: To enhance the contrast between the skin and wounds, I’m going to apply a gloss varnish over the red areas. This not only enriches the colour but also differentiates the wounds from the matte finish of the skin.
Additional Skin Techniques: While focusing on the skin, it’s a good practice to work on other areas of the model too. This helps to show off the skin more effectively in context.
Next Steps: In the coming parts, I’ll be working on more specific areas like the custom shoulder pad and weapons. I’m planning to paint these in a rust effect for a cohesive look.
Video – Maggotkin of Nurgle Diseased Skin Part Three
Paints and Materials Used
Games Workshop Paints:
‘Cadian Fleshtone’: Used for base layers and blending.
‘Pallid Wych Flesh’: Applied for fine highlighting.
‘Rhinox Hide’: Utilised for deeper shadows and details.
‘Mournfang Brown’: Employed for additional detailing and shading.
‘Skavenblight Dinge’: Used for desaturating and blending.
‘Balor Brown’: Mixed for glazing and adding warmth.
Scale 75 Paint:
‘Eldandil Violet’: Used for specific detailing and effects.
Step by Step Guide
Palette Setup: We’re continuing with the same colours as before. The skin tones are a mix of Games Workshop’s ‘Cadian Fleshtone’ and ‘Pallid Wych Flesh’. The top colour is pure ‘Cadian Fleshtone’, and the bottom is pure ‘Pallid Wych Flesh’. The middle two are various mixtures to create smooth transitions.
Consistency and Control: For shadows and details, I’m using ‘Rhinox Hide’ and ‘Mournfang Brown’, slightly thicker than usual to make positive marks quickly. I also have Scale 75’s ‘Eldandil Violet’ for specific details.
Glazing Techniques: The glazes are made with ‘Cadian Fleshtone’ and ‘Balor Brown’. When turning ‘Cadian Fleshtone’ into a glaze, be aware the pigment separates, appearing yellow. This separation is essential to understand when glazing, as it affects how the colour appears on the model.
Desaturation with ‘Skavenblight Dinge’: To tone down the vibrancy of ‘Cadian Fleshtone’ in areas, I’m using ‘Skavenblight Dinge’. This creates a contrast between rotten and healthy-looking skin, allowing for more controlled desaturation.
Refinement through Minimal Paint: The focus here is on making tiny, precise marks. I’m using very little paint on the brush, ensuring smooth, controlled application. It’s a time-consuming process, but necessary for display-level quality.
Highlighting with ‘Pallid Wych Flesh’: Use this sparingly for the highest points of highlight. Too much can overwhelm the subtlety of the transitions. It’s almost like adding glimmers of light without using pure white.
Brush Selection: For the finer details on the belly, I’ve switched to a size 0 Broken Toad brush, allowing for even smaller, more precise marks.
Creating Shadows and Depth: I’m using ‘Rhinox Hide’ to accentuate shadows, especially in areas like the folds of flesh. This helps separate shapes and adds depth to the skin.
Balancing Colour and Contrast: I’m continually adjusting the balance between the healthy and necrotic flesh. This involves layering ‘Cadian Fleshtone’ over darker areas to create a striking contrast.
Vein Detailing: For the veins, I’m using a purple paint, thinned down for precision. This is applied over the flesh and then glazed over to create the illusion of veins beneath the skin.
Final Touches: I’m adding small details and refining the transitions. This includes highlighting around wounds and pustules to make them stand out and add to the overall diseased appearance.
Finishing the Skin: The final step involves going over the skin one last time, ensuring every detail is as sharp and refined as possible. This is crucial for achieving a high-quality finish suitable for display or competition.
Video: How to Create a Nurgle Rusty Sword
Materials Needed:
Baking Soda
Matte Varnish
Old brushes
Orange Paint (For this example, we’ll use Scale 75 Kalahari Orange, but any solid orange paint will do)
Step-by-Step Guide:
Mixing the Rust Effect:
Begin by creating your rust mixture. You’ll need to combine baking soda, matte varnish, and orange paint. The exact colour of the orange paint isn’t crucial, but a solid orange like Scale 75 Kalahari Orange is recommended for authenticity.
Mix these ingredients together. You don’t need any specialised tools for mixing; anything you have to hand will suffice.
Adjusting Consistency:
The mixture might appear a bit dry initially. If it’s too clumpy, thin it down with more varnish. Remember, the more varnish you add, the stronger and more hard-wearing the mixture becomes. This also helps to seal the baking soda against any acidic elements.
Aim for an intense, well-bound mixture. It should dry lighter in colour, so don’t be alarmed by the initial appearance.
Application on the Model:
Use an old brush for application; this mixture isn’t kind to brushes. An older, slightly worn brush is ideal.
Apply the mixture to the desired areas of your model. It’s a somewhat passive process; you don’t have to be overly precise. The mixture will be akin to a psyche in gel, so aim for an uneven surface. Too thin an application will just look like spread-out grains.
Focus on clumping the mixture slightly for a more realistic rust effect. If applied too thinly, it won’t have the desired impact.
Creating Texture:
After applying, use a stippling technique with your brush to spread out the grains at the edges. This helps to soften the transition from the rusted areas to the clean areas of the model.
Continue dabbing at the mixture to spread it and create a texture that resembles rust accumulating on the blade or other parts of the model.
Final Touches:
Once applied, the mixture might look a bit smooth, but don’t worry. As it dries, it will gain a more defined, grainy rust-like texture.
To enhance the effect, you can apply a very watered-down coat of a darker paint, like Rhinox Hide, after the rust mixture has dried.
Finishing Up:
Allow your model to dry completely. Once dry, you should see a realistic rust effect, adding depth and character to your piece.
How to Paint NMM Copper
Paints and Materials
Brush Size and Type:
Don’t use a tiny detail brush for the entire process. Instead, a slightly larger, older brush is preferred. My older brush has a worn tip, which is thicker than a new brush and allows for better paint control and blending.
An old, well-used brush is good for this type of painting. The worn tip of an older brush can make blending easier.
Paints Used
Games Workshop: Doombull Brown, Golden Yellow (old colour; find a modern equivalent if needed)
Scale 75: Ice Yellow, Salmon Pink, Black Red
Black and White paint (any preferred brand)
Step-by-Step Guide
Understanding Copper NMM:
Remember, copper NMM aims to create a metallic effect without using metallic paints. Copper is essentially pink in hue, similar to skin tones, with brown for shadows and a hint of sand yellow.
Preparation of Palette:
On your wet palette, blend all the colours together into one smear. This is because copper has a lot of subtleties in colouring. Start with Doombull Brown and mix in Black Red from Scale 75. If you don’t have Black Red, mix black and red to achieve a dark, reddish brown.
Creating the Base Colour:
For the darker areas of copper, you want something a bit more red. Along your paint smear on the palette, integrate colours that become more yellow and orange. Use Golden Yellow and Ice Yellow for this purpose. Add Salmon Pink at the very end for highlights.
Applying the Base Layer:
Before starting the video, paint the whole model (or the part you’re working on) with Doombull Brown. This creates an easier starting point for the copper effect.
Mixing on the Model:
You’ll be mixing the paint directly on the model, working quickly. This method is different but effective for creating copper NMM. Apply the colours and quickly determine where the highlights will be. The idea is to get lighter colours down first as a base to work from.
Developing the Effect:
Start blending in reflections and refining the look. Add lighter colours and work on creating smooth transitions and contrast. Remember, smooth transitions and good contrast are key in NMM painting.
Refining the Details:
As you progress, you’ll refine the copper effect by using thinner paint and increasing contrast. Use Salmon Pink for the higher highlights and blend it in for a smooth transition.
Final Touches:
Towards the end, focus on refining the paint with continual glazes until it looks smooth and metallic. You might need to make slight adjustments to the highlights and shadows. Add black, turned into a glaze, at the bottom of the shoulder pad to increase contrast.
Final Overview:
The final piece should showcase a refined copper NMM effect with smooth transitions, proper contrasts, and a realistic metallic look.
How to Paint NMM Copper Greeny Verdigris Effect
Paints and Materials
Games Workshop Sybarite Green
P3 Morrow White (or your preferred white paint)
Step-by-Step Guide
Understanding Verdigris:
Verdigris is a patina that forms on copper, brass, or bronze when exposed to air or seawater over time. This guide aims to create a more realistic effect, where verdigris covers larger areas rather than just around rivets and crevices.
Creating Verdigris Tones:
You will mix Sybarite Green with Morrow White to create three stages of verdigris tones:
First Stage: Pure Sybarite Green.
Second Stage: A mix of half Sybarite Green and half Morrow White.
Third Stage: Mostly Morrow White with a tint of Sybarite Green.
Applying the First Layer:
Start with the pure Sybarite Green. Apply it by gently dabbing it onto the model. The goal is to create a patchy texture rather than smooth streaks.
This layer should cover most of the area, but try to maintain the shades and shine of the underlying metallic paint.
Mid-tone Application:
Next, apply the second stage mix (half Sybarite Green, half Morrow White). This should be used more sparingly than the first layer.
Focus on applying this mix to darker areas and recesses. You want to maintain visibility of the copper NMM base, so apply it carefully and artistically.
Adding Highlights:
For the final layer, use the lightest mix (mostly Morrow White with a hint of Sybarite Green). This is like a reverse highlight, working best in shadows to create contrast.
Apply this very selectively, as it can quickly cover the base layers. It should go into the deepest recesses and lower curved areas where verdigris would naturally accumulate.
Final Touches:
Remember, verdigris should have an uneven, patchy appearance. It should not be smooth or uniformly applied like rust.
Check your work against reference images to ensure a natural look.
Finishing Up:
After applying all three stages, your model should exhibit a realistic verdigris effect over the copper. The underlying NMM copper should still be visible, contributing to the overall realism.
More Nurgle Tutorials!
If you don’t have an account, please sign up here! The website currently has over 350 video tutorials with steps and tips, plus a selection of PDFs. If you are not sure about joining, you can explore my free videos with a free membership, or take the plunge and become a full subscriber for full access.
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Here I show you how to create a Nurgle Rusty Sword in this simple but very effective way! You can use it to create a rusty effect on your Nurgle weapons, or on armour.
Video: How to Create a Nurgle Rusty Sword
Materials Needed:
Baking Soda
Matte Varnish
Old brushes
Orange Paint (For this example, we’ll use Scale 75 Kalahari Orange, but any solid orange paint will do)
Step-by-Step Guide:
Mixing the Rust Effect:
Begin by creating your rust mixture. You’ll need to combine baking soda, matte varnish, and orange paint. The exact colour of the orange paint isn’t crucial, but a solid orange like Scale 75 Kalahari Orange is recommended for authenticity.
Mix these ingredients together. You don’t need any specialised tools for mixing; anything you have to hand will suffice.
Adjusting Consistency:
The mixture might appear a bit dry initially. If it’s too clumpy, thin it down with more varnish. Remember, the more varnish you add, the stronger and more hard-wearing the mixture becomes. This also helps to seal the baking soda against any acidic elements.
Aim for an intense, well-bound mixture. It should dry lighter in colour, so don’t be alarmed by the initial appearance.
Application on the Model:
Use an old brush for application; this mixture isn’t kind to brushes. An older, slightly worn brush is ideal.
Apply the mixture to the desired areas of your model. It’s a somewhat passive process; you don’t have to be overly precise. The mixture will be akin to a psyche in gel, so aim for an uneven surface. Too thin an application will just look like spread-out grains.
Focus on clumping the mixture slightly for a more realistic rust effect. If applied too thinly, it won’t have the desired impact.
Creating Texture:
After applying, use a stippling technique with your brush to spread out the grains at the edges. This helps to soften the transition from the rusted areas to the clean areas of the model.
Continue dabbing at the mixture to spread it and create a texture that resembles rust accumulating on the blade or other parts of the model.
Final Touches:
Once applied, the mixture might look a bit smooth, but don’t worry. As it dries, it will gain a more defined, grainy rust-like texture.
To enhance the effect, you can apply a very watered-down coat of a darker paint, like Rhinox Hide, after the rust mixture has dried.
Finishing Up:
Allow your model to dry completely. Once dry, you should see a realistic rust effect, adding depth and character to your piece.
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There are lots of textures and fine details on the feet and face of Mortarion – here’s how to paint Mortarions Face, Feet and Hood!
Quick Jump to:
Video: Face and footStep-by-step: How to Paint Mortarions Face and footVideo: Hood Part 1Step-by-step: How to Paint Mortarions Hood – Part OneVideo: Head and Hood Part 2Step-by-step: How to Paint Mortarions Head and Hood – Part TwoVideos Not Showing?
Video: Face and foot
This video shows how to lighten the face of Mortarion and also how to paint the weathering on his armour.
The following paints were used:Games Workshop: Ceramite White, Flayed One Flesh, Pallid Wych Flesh, Ushabti Bone, Rhinox Hide.
Step-by-step: How to Paint Mortarions Face and foot
Glazing for Face Lightening: Prepare a glaze using Games Workshop’s Flayed One Flesh paint and water (about 5 parts water to 1 part paint).Load the brush with the glaze and remove excess paint on kitchen roll.Apply thin layers of glaze to the face, focusing on central areas like the forehead, bridge of the nose, and cheeks.Be careful not to let the glaze pool in the recesses. Keep adjusting to maintain control over the layering.Pallid Wych Flesh Detailing: Use Games Workshop’s Pallid Wych Flesh, a thicker paint, to highlight the top of creases on the face.Build up contrast between creases and highlights gradually to create a natural look.Ensure that the creases are lightened, but maintain a balance with the overall lighting on the face.Final Highlight with Games Workshop’s Ceramite White: Apply Games Workshop’s Ceramite White to the highest points of the face, focusing on central areas.Use a controlled technique to avoid overdoing the highlights.Maintain subtlety and control over the white highlights for a natural effect.Chip-Weathering on Armor: Choose Games Workshop’s Rhinox Hide for chipping on the armor.Apply the paint with a brush, creating small marks on the model.Leave some patches of white paint between the chipped areas for added interest.Consider the positioning of chips, focusing on areas that would naturally experience wear and tear.Use a colour-coded brush to keep track of the tool’s usage and maintain control.Refining the Chipping: Adjust the thickness of the chipping lines to control the visual impact.Ensure that the chipping looks natural and not too high in contrast.Pay attention to the bottom of the foot, adjusting the highlighting based on the foot’s position.Add more chips on areas that would naturally experience more damage, like the front side of the leg.
Video: Hood Part 1
The following paints were used: Games Workshop: Abaddon Black, Temple Guard Blue, Xereus Purple, Balor Brown Vallejo: Black (Abaddon Black), Heavy Blue Grey (Celestra Grey), German Grey (Abaddon Black with a touch of white) P3: Morrow White (Ceramite White)
Step-by-step: How to Paint Mortarions Hood – Part One
Prepare the Model: Ensure that the Mortarion model’s hood has been properly primed in black. Fill in any gaps resulting from assembling the model using polystyrene cement. Sand down the gaps to create a smoother surface.
Gather Paints and Tools:On your wet palette, prepare the following paints:
Abaddon Black (Games Workshop)Temple Guard Blue (Games Workshop)Xereus Purple (Games Workshop)Balor Brown (Games Workshop)German Grey (Vallejo) – Mix Abaddon Black with a touch of whiteHeavy Blue Grey (Vallejo) – Celestra Grey (Games Workshop)Morrow White (P3) – Ceramite White (Games Workshop)Tools:Older paintbrush (to avoid quick wear)Size zero artist brush (for finer details)Palette for mixing paintsAbaddon black for glazingBase Coat with Blue: Take the older paintbrush and apply Temple Guard Blue onto the model’s hood. Alternate between German Grey and Temple Guard Blue for a quick blended look. Focus on the edges and tendrils, applying more blue to create a weathered effect.
Refine with Finer Brush: Switch to the size zero artist brush and refine the texture. Pay attention to the spikes on top of Mortarion’s head, making them stand out against the dark color. Apply both German Grey and Temple Guard Blue in a more controlled manner.
Add Black for Shading: Introduce deeper shading by mixing Abaddon Black with a small amount of water. Use the finer brush to apply this mixture to specific areas, enhancing the three-dimensional effect.
Glaze with Red: Create a glaze using Abaddon Black and Xereus Purple (or any purple paint). Start near the highlights and work into the shadows, allowing the glaze to enhance the color variance. Repeat this process to build up the desired tone.
How to paint Mortarions Face: Once the hood is painted, focus on the face. Be cautious around the details, such as the eyes and eyelids. Use Balor Brown for shadows and then apply Morrow White to pick out fine details. Pay attention to the eyes, painting them with a brighter yellow for contrast.
Fine-Tune and Experiment: Continue fine-tuning the paintwork, experimenting with glazes and additional details. Remember to test the paint consistency on a spare surface before applying it to the model.
Glaze and Highlight: Keep glazing over the areas, especially the highlights, to add depth. Use minimal amounts of paint to pick out final highlights, enhancing the overall texture and making it look three-dimensional.
Video: Head and Hood Part 2
Vallejo: Neutral Grey : Skavenblight Dinge German Grey (Abaddon Black with a touch of white) English Uniform (XV-88) Japanese Uniform (Balor Brown) Ice Yellow (Ushabti Bone with a touch of yellow) Heavy Blue Grey (Celestra Grey) Black (Abaddon Black) Games Workshop: Emperor’s Children Rhinox Hide P3: P3: Morrow White (Ceramite White)
Step-by-step: How to Paint Mortarions Head and Hood – Part Two
How to paint Mortarions Face and Eyes: Start with a black paint (Vallejo: Black) to paint the pupils and cover the iris.Use Vallejo: Heavy Blue Grey (Celestra Grey) to paint the eyes themselves, avoiding pure white to create a more natural look.Consider painting cataracts initially but feel free to change to red and blue eyes for a magical effect.Highlighting the Eyes: Use Vallejo: White to highlight the lower edge of the eyes, creating a subtle, realistic contrast.Paint the iris around the black dots to add depth and detail to the eyes.Painting the Metal Halo: Apply a base coat of Vallejo: English Uniform (XV-88) on the metal halo, ensuring it’s less saturated than other gold areas on the model.Use Vallejo: Neutral Grey to blend into crevices and scratches, creating a reverse shading effect.Add Vallejo: Morrow White (Ceramite White) to blend in some warmth and detail.Rebreather Cylinders: Highlight the cylinders with a mix of Vallejo: Ice Yellow (Ushabti Bone with a touch of yellow) and Vallejo: Black.Blend in some of the previous colours to add more detail and scratches.Use Games Workshop: Emperor’s Children for the tubing, and highlight with Vallejo: English Uniform (XV-88).Cabling and Tubes: Highlight cabling with a mix of Vallejo: White and Vallejo: English Uniform (XV-88).Pay attention to angles and details, painting from one angle along the length to maintain consistency.Add final highlights sparingly using Vallejo: Ice Yellow (Ushabti Bone with a touch of yellow).Fleshy Details: Paint the stringy flesh between canisters with Vallejo: Rhinox Hide for an organic look.Use Vallejo: Evil Sunz Scarlet as a glaze to transition light hitting the piping while maintaining details.Final Touches: Paint black ribbing on the inside of the lower tube with Vallejo: Neutral Grey and highlight with Vallejo: Heavy Blue Grey (Celestra Grey).Ensure all details are well-defined and consistent.
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I had to make the Nurgling companions of Mortarion have wings to match their master! Here is How to Paint Freehand Tiny Nurgle Wings, with two videos, paints and a step-by-step guide.
How to Paint Freehand Tiny Nurgle Wings : Part One
The following paints were used: Games Workshop: Ushabti Bone, Kislev Flesh, Cadian Fleshtone, Bugmans Glow, Rhinox Hide Vallejo: Model Colour Black (Abaddon Black)
Step by Step: How to Paint Freehand Tiny Nurgle Wings
Preparation Before you begin painting the cherub wings on your Mortarion model, ensure you have the necessary paints and tools. The paints used in this tutorial are Rhinox Hide, Bugmans Glow, Ushabti Bone, Kislev Flesh, Cadian Fleshtone, and Vallejo Model Colour Black (equivalent to Abaddon Black). Additionally, you’ll need a wet palette, a size double zero artist opus brush, and a scalpel.
Wing Preparation Prepare the cherub wings by carefully removing any sculpted veins with a scalpel. Sand down the wings, apply glue to smooth the details, and then give them a black prime. Use an airbrush to apply a quick layer of Ushabti Bone to create a base.
Base Layer Start with a 50/50 mix of Rhinox Hide and Bugmans Glow. Using the tip of your size double zero brush, apply this mixture to the wings, building up layers to achieve a translucent effect. This darker base will allow for easier highlighting later.
Painting Details Using the tip of your brush, paint the lines and details on the wings with Rhinox Hide. Be mindful of the small scale, adapting the details as needed. Focus on creating flowing lines that follow the contours of the wings.
Adding Depth Mix Kislev Flesh and Cadian Fleshtone on the wet palette. Apply this mixture to highlight the lines painted with Rhinox Hide. This glazing technique adds depth without excessive layering, providing a smooth transition.
Eyes and Black Details Using Vallejo Model Colour Black, paint the eyes on the wings. Don’t worry about the size; you’ll refine them later. This step helps balance tones on the model. Use the tip of the brush to paint black details, such as spikes or dots, around the wings.
Veins and Highlights Switch to Kislev Flesh and paint in the veins on the wings. Ensure they are clear and defined. Gradually build up highlights using Cadian Fleshtone and Ushabti Bone, focusing on edges and details. Soften transitions for a more natural look.
Refining and Tweaking Continuously refine and tweak the details as you go along. Adjust the size and position of the eyes, ensuring they complement the overall composition. Use the wet palette for any necessary paint mixing.
Final Touches Highlight imperfections in the wings, emphasizing dimensional details. Pay attention to areas underneath the eyes, adapting details to fit the small scale. Continue refining until you achieve the desired depth and clarity.
All videos are recorded in HD 1080p or higher – use full screen for the full effect and let the video load completely.
How to Paint Freehand Tiny Nurgle Wings: Part Two
The following paints were used: Games Workshop: Kislev Flesh, Cadian Fleshtone, Rhinox Hide, Bugman’s Glow, Ushabti Bone, Ceramite White, Moot Green, Warpstone Glow, Sotek Green, Mephiston Red, Fire Dragon Bright, Waaagh! FleshVallejo: Black, Pale Blue Grey
Step by Step: How to Paint Freehand Tiny Nurgle Wings
Softening Previous Details Commence by gently blending and softening the details on the wings painted in the previous video. Utilize a glaze mixture of approximately five parts water to one part paint, specifically using Rhinox Hide, to seamlessly merge and soften the fleshing marks on the wings.
Painting the Whites of the Eyes Proceed to paint the whites of the eyes with Kislev Flesh. Ensure to leave a small gap at the top of the eye to introduce a subtle shadow effect. Apply clean and flesh tones, directing your strokes towards you for a polished finish.
Building Up Highlights on the Eyes Employ a slightly thicker paint to build up highlights on the whites of the eyes. Introduce a pale blue-gray colour later for a desaturated effect. Apply highlights by initiating strokes on the left-hand side, moving towards the centre, and then returning to the right-hand side, drawing towards the centre again for more pronounced highlights at the bottom.
Adding Organic Details Apply Ryza Oxide to paint small dots around the eyes, creating an organic and three-dimensional appearance. Exercise caution to avoid disrupting existing lines, maintaining the realism of veins.
Green Dots and Highlights Use Waaagh! Flesh and Moot Green to paint green dots around the tear duct area. Enhance the green dots by applying a line along the bottom right edge and a dot on the top left for a glossy bubble effect.
Painting the Iris and Pupil For the blue eye, use Sotek Green and Mint Green to paint a ring around the lower section of the eye to represent the iris. The actual grey doesn’t matter; choose a light grey for painting reflections, ensuring a realistic and shiny appearance. Start with Vallejo Pale Blue Grey to paint a ring around the lower section of the eye to represent the iris. The actual grey doesn’t matter; choose a light grey for painting reflections, ensuring a realistic and shiny appearance. Highlight the iris with Ceramite White, adding a few strokes to enhance the glossy effect.
Complete the red eye by applying Mephiston Red to the entire iris and pupil area. Use Fire Dragon Bright to add small lines separating the circles on the iris. Apply a highlight using Vallejo Pale Blue Grey, ensuring to maintain the same technique as with the blue eye.
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A set of video tutorials on How to Paint Mortarions Wings, with paints and step-by-step guides on freehand.
Demon Wing Details
First steps and basics For a pdf on how I cleaned the wing ready for painting, visit : https://richardgraycreations.com/mortarion-wing-prep-pdf/ )
All videos are recorded in HD 1080p or higher – use full screen for the full effect and let the video load completely.
Demon Wing Details: Part One
The following paints were used:Games Workshop: Rhinox Hide, Yriel Yellow, Kislev Flesh, Cadian Fleshtone, Moot Green, Xereus Purple, Evil Sunz Scarlet*note, in the video I show Emperor’s Children and Death Guard Green. These were not used in this video. Vallejo: Ivory
Demon Wing Details: Part Two
The following paints were used:Games Workshop: Mournfang Brown, Cadian Fleshtone, Kislev Flesh, Xereus Purple, Valejo: Ivory
Demon Wing Details: Part Three
The following paints were used:Games Workshop: Cadian Fleshtone, Kislev Flesh, Rhinox Hde, Xereus Purple, Vallejo Model Colour: Ivory
Step by Step Tips: How to Paint Mortarions Wings – Demon Wing Details
Part One:
Prepare the Model: Confirm that the model has been properly primed, and any base colors, such as carmine, have been applied. Take a moment to inspect the model and identify any pre-painted outlines or details.
Outline with Rhinox Hide: Utilise Rhinox Hide to start painting the outlines on the wings. This step involves creating the base pattern and initial details. Opt for Rhinox Hide over black to match the desired fleshy tone of the wings.
Paint Veins with Xereus Purple: Select Xereus Purple to paint the vein-like details on the wings. Use a larger brush for broader coverage and to establish the initial structure. The combination of Xereus Purple and Rhinox Hide will give a dark, diseased appearance to the veins.
Add Variation to Veins: Pay attention to the thickness and variation of the veins. Make deliberate wiggles and different shapes to create depth and interest. Ensure that the veins go over some of the previously painted thick lines for a more realistic effect.
Consider Viscosity of Paint: Observe the viscosity of the paint; it should be thick enough to allow for fine lines. This is crucial for painting detailed and thin veins. You can load the brush more freely when using a thicker paint.
Add Vein Details: Paint thin lines of purple coming out from certain areas, resembling veins spreading out. Use the thickness of the brush to your advantage, allowing for both longer lines and finer details.
Introduce Spot Colours: Incorporate spot colours using Moot Green from Games Workshop. These spots will contrast with the purple, adding visual interest to specific areas, like craters on the wings.
Highlight Veins: Highlight the veins by using Kislev Flesh, creating a raised vein effect. This will add depth and dimension to the wing.
Soften Edges and Add Shadows: Use glue to soften edges and make the veins appear less pustule-like. Introduce shadow areas around the veins to enhance the three-dimensional look.
Plan Lighting Directions: Consider the lighting directions on the model. Reflective lights and multiple light sources can contribute to a realistic 3D effect. Think about how the light interacts with the various elements on the wings.
Part Two:
Set Up Your Palette: Arrange your paints on the wet palette, as shown in the top right corner of the video. Let them mix a bit for added variation in your application.
Begin with Cadian Fleshtone: Using Cadian Fleshtone, highlight the small segments between the veins. Focus on the upper areas to mimic light hitting from above.
Use Reasonable Dilution: Ensure the paint is reasonably diluted, allowing for smoother application. As you’re highlighting, create the impression of shadows by avoiding direct application on dark vein edges.
Utilise Mournfang Brown and Xereus Purple: Outline details with Mournfang Brown, and use Xereus Purple to add depth. These details may evolve organically as you progress.
Fine-tune with a Sharp Brush: For fine details, use a sharp-tipped brush. Paint slightly thicker than usual, taking advantage of the wet palette to maintain consistency.
Create Organic Look: Emphasise the fleshy and organic feel by avoiding a precise pattern. Moths and butterflies inspire the style, but the focus is on a fleshy appearance.
Observe Light Source: Keep the light source in mind while highlighting. Work on veins to create shadows, ensuring a dynamic and realistic look.
Add Transition Colours: Utilise mixed-up areas on the palette for transition colours. This adds depth and enhances the shadow effect, especially on larger, rounder areas.
Experiment with Xereus Purple Outlining: Experiment with Xereus Purple outlining to enhance details. Remember, fine details may evolve as you progress, creating a unique and organic look.
Balance the Details: Constantly tweak and balance details as you go. Ensure the veins, fleshy areas, and fine details complement each other for a cohesive appearance.
Keep Consistency: Maintain consistency in the colour palette but vary the ratio of colours. This provides variation while adhering to a cohesive theme.
Avoid Exaggeration: While enhancing details, avoid exaggeration. The goal is to create an organic, fleshy look without turning it into a three-dimensional eyeball.
Part Three:
Understand the Existing Freehand Progress: Examine the progress of the freehand on the model, especially the veins and patterns. Note that Rhinox Hide comes in two versions, with the thinner one used for glazes and quick transitions.
Begin Painting the Veins: Start with Rhinox Hide to paint veins, emphasizing the connections and flow between them. Be mindful of curves and avoid making the veins look too straight or jarring.
Create Veins as Eyelashes: Connect the veins to the eye, using them as eyelashes. This adds a unique and natural touch to the model, representing an organic connection between the eye and wing.
Add Variation to Veins Around Holes: Paint veins around holes using Xereus Purple, varying the pattern to avoid repetition. Darken the area around the hole for contrast and tonal variation.
Adjusting Freehand for a Cohesive Look: As the freehand progresses, ensure that the details flow well with each other, avoiding a disconnected appearance. Veins should follow the natural contours of the wing.
Layering for Depth: Layer veins to create depth, using Kislev Flesh and Ivory for highlights. This technique makes the veins appear more 3D and layered.
Darken and Outline: Darken certain areas using Rhinox Hide to create shadows and depth. Outline veins and details to make them stand out clearly.
Highlighting and Refining: Use Vallejo Ivory to highlight specific sections, creating contrast and emphasizing the shapes. Continuously refine and tweak details, keeping an eye on the overall picture.
Glazing for Smooth Transitions and Shapes: Use glazing to create smooth transitions between different paint layers. This is particularly useful for blending colours seamlessly. Apply glazes to emphasise the shapes of painted sections, ensuring a smooth and coherent look.
Final Touches: Continue refining details, emphasising shapes, and making any final adjustments. Take your time to ensure a high-quality finish.
How To Paint Mortarions Wings: Blue Eye
The following paints were used:Games Workshop: Cybarite White, Flayed One Flesh, Doombull Brown, Balor Brown, Evil Sunz Scarlet, Lothern Blue, Ahriman Blue (optional) Rhinox Hide Vallejo: Ultramarine Blue, Night Blue (optional) Black, Pale Grey Blue P3: Ryn Flesh
Step by Step Tips: How to Paint Mortarions Wings – Blue Eye
Start with the Blue Detail on the Eyes: Commence the process by using Ultramarine Blue to paint a circle in the center of the existing black circle on the wing. Precision isn’t crucial at this point; you can refine it later.
Refine the Blue Circle: Utilize black paint to clean up and refine the edges of the blue circle, serving as a guideline for the forthcoming details.
Add Fine Details with Ultramarine Blue: Apply Ultramarine Blue to create fine lines and intricate details within the circle, representing the complex features of the eye. Allow the lines to follow the organic nature of the wing.
Highlight the Blue Details: Use Flayed One Flesh to highlight selected blue details, creating a smooth transition between colours and enhancing the eye’s three-dimensional appearance.
Introduce Pale Brown for Depth: Apply Pale Brown to add depth to the eye, concentrating on the lower section of the white. Be cautious not to use excessive paint to preserve the details from earlier steps.
Create Highlights with Flayed One Flesh: Revisit Flayed One Flesh to introduce highlights on the blue details, enhancing the overall aesthetic of the eye.
Glaze with Pale Grey Blue: Create a glaze using Pale Grey Blue and apply it to specific areas of the eye. This will help blend colours and add a layered effect to the strands and details.
Add Red Veins and Details: Carefully reintroduce red veins, resembling eyelashes from the bottom of the eye. Utilize a dragging motion with the brush for precise lines.
Correct Mistakes and Refine Detail: If any mistakes occur, use black paint to rectify errors and refine the intricate details, maintaining attention to the shape and flow of the lines.
Final Touches on Reflections: Add reflections to the eye using semi-white to highlight the central part of the reflection. Consider the light source and aim for a realistic and captivating result.
How To Paint Mortarions Wings: Demon Eye
The following paints were used:Games Workshop: Mephiston Red, Wild Rider Red, Rhinox Hide Doombull Brown, Zamesi Desert, Yriel Yellow, Moot Green Temple Guard Blue, Sotek Green, Abaddon Black, Cadian Fleshtone, Kislev Flesh, Ceramite WhiteVallejo Model Colour: Ivory, BlackP3: Iosen Green (GW Warpstone Glow alternative) Ryn Flesh
Step by Step Tips: How to Paint Mortarions Wings – Demon Eye
Outline the Pupil: Begin by outlining the pupil of the eye. Focus on the inner shape rather than the outer, as you can fix any wonkiness later.
Paint the Iris: Using a spread-out pattern, carefully paint the lines of the iris, starting from the center and moving outwards. Use a lighter colour to highlight some imperfections and indentations on the wing.
Refine the Lines: Separate the lines, especially around the Nurgle symbol. Use Abaddon Black as a rubber to create a rough outline and add depth to the design.
Introduce Different Colours: Experiment with different colours such as Temple Guard Blue and Wild Rider Red to add layers and details. Don’t be afraid to mix colours on the brush for a varied effect.
Paint the Sclera: Apply Temple Guard Blue to the sclera, ensuring a smooth transition from the red, and be cautious not to paint over the detailed lines.
Enhance Highlights: Use Ceramite White to brighten the eyes, creating a strong contrast. Paint carefully, following the shape of the eye for a rounded and natural look.
Add Veins: Use Mephiston Red to paint veins onto the white of the eye, creating a realistic effect. Keep the lines subtle and centered for a natural appearance.
Apply Glazes: Use glazes to soften transitions and tie the piece together. Deploy glazes by loading the brush from the wet palette.
Final Highlights: Highlight with Ivory to emphasize details on the veins and enhance the overall look.
Add Reflections: Apply White to the reflections on the eye to give it a lifelike and 3D effect.
Create Wetness Effect: Using a small amount of Kislev Flesh or a similar colour, add small irregular dots to represent the wetness of the eye.
Need more Mortarion? Check out the other tutorial videos, below:
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If you don’t have an account, please sign up here! The website currently has over 350 video tutorials, plus step by step guides and PDFs. You can explore more free videos with a free “friend” membership, or take the plunge and become a full subscriber for full access.
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A video tutorial with paints and a step-by-step guide on How to Paint Mortarions Blue Eye on his wings.
How to Paint Mortarions Blue Eye
The following paints were used:Games Workshop: Cybarite White, Flayed One Flesh, Doombull Brown, Balor Brown, Evil Sunz Scarlet, Lothern Blue, Ahriman Blue (optional) Rhinox Hide Vallejo: Ultramarine Blue, Night Blue (optional) Black, Pale Grey Blue P3: Ryn Flesh
Step by Step Tips: How to Paint Mortarions Blue Eye
Start with the Blue Detail on the Eyes: Commence the process by using Ultramarine Blue to paint a circle in the center of the existing black circle on the wing. Precision isn’t crucial at this point; you can refine it later.
Refine the Blue Circle: Use black paint to clean up and refine the edges of the blue circle, serving as a guideline for the forthcoming details.
Add Fine Details with Ultramarine Blue: Apply Ultramarine Blue to create fine lines and intricate details within the circle, representing the complex features of the eye. Allow the lines to follow the organic nature of the wing.
Highlight the Blue Details: Use Flayed One Flesh to highlight selected blue details, creating a smooth transition between colours and enhancing the eye’s three-dimensional appearance.
Introduce Pale Brown for Depth: Apply Pale Brown to add depth to the eye, concentrating on the lower section of the white. Be cautious not to use excessive paint to preserve the details from earlier steps.
Create Highlights with Flayed One Flesh: Revisit Flayed One Flesh to introduce highlights on the blue details, enhancing the overall aesthetic of the eye.
Glaze with Pale Grey Blue: Create a glaze using Pale Grey Blue and apply it to specific areas of the eye. This will help blend colours and add a layered effect to the strands and details.
Add Red Veins and Details: Carefully reintroduce red veins, resembling eyelashes from the bottom of the eye. Utilize a dragging motion with the brush for precise lines.
Correct Mistakes and Refine Detail: If any mistakes occur, use black paint to rectify errors and refine the intricate details, maintaining attention to the shape and flow of the lines.
Final Touches on Reflections: Add reflections to the eye using semi-white to highlight the central part.
All videos are recorded in HD 1080p or higher – use full screen for the full effect and let the video load completely.
Need more Mortarion? Check out the other tutorial videos, below:
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If you don’t have an account, please sign up here! The website currently has over 350 video tutorials, plus step by step guides and PDFs. You can explore more free videos with a free “friend” membership, or take the plunge and become a full subscriber for full access.
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How to paint a Deathshroud Terminator Cloak using freehand. This model won me a Golden Demon in 2017! These models represent the grotesque and decay-themed warriors of Nurgle, a faction known for their resilience and corrupted, plague-ridden aesthetics. So, in these tutorials we are aiming to enhance the models’ appearance with detailed faces and textures on their cloaks!
Quick note here – these are some of my earliest tutorial videos, so are not of the same quality as my current tutorials visually and sound-wise. My apologies for this.Richard
Video: Deathshroud Terminator Red Cloak
This process results in a textured, worn cloak suitable for a Death Shroud Terminator, using a simple but effective painting technique.
Materials and Paints Used
Gal Vorbak Red (Forge World) Cadian Fleshtone (Games Workshop) Eldandil Violet (Scalecolour Fantasy)
Step by Step Guide
Base Coat: Start with Gal Vorbak Red as the primary colour.
Detailing and Texture: Use Cadian Fleshtone for adding highlights and texture, creating a worn and mouldy appearance.
Shading: Apply Eldandil Violet for shading in the recesses, enhancing depth and wear.
Glazing with Evil Sunz Scarlet: Use it as a glaze to add warmth to the cloak.
Refining Texture: Focus on cross-hatching movements to build texture, emphasizing the worn look.
Final Touches: Add further glazes and highlights to refine the texture and depth, tailoring the effect to your desired level of detail.
Video: Deathshroud Terminator Cloak Freehand
Materials and Paints Used
The following paints were used:Games Workshop: Rhinox Hide Vallejo: Heavy Brown, Cork Brown, Ice Yellow, Black P3: Battlefield Brown *Note, Morrow White was not actually used in this video, but is used in part 2.
Step by Step Guide
Preparation: I used a test model to experiment with my design concept. This approach allows you to refine the freehand pattern before applying it to the main models.
Base Colours: Apply Vallejo Heavy Brown as a foundational colour. Enhance the base with Cork Brown for a richer texture. Use Rhinox Hide to outline the design, ensuring the lines are crisp and distinct.
Detailing: Carefully mark the eye sockets with black paint, paying attention to the cloak’s folds. These details will add depth and character to the freehand design.
Highlighting: Utilize Ice Yellow for highlights. This step involves blending the highlights with the base colors to achieve a natural, integrated look. The highlights should accentuate the topography of the cloak and enhance the freehand design.
Shading: Use Battlefield Brown to deepen the shadows and add complexity to the design. This shade will create a more dynamic and realistic appearance on the cloak.
Finishing Touches: Review the entire design, making final adjustments for consistency and balance. Focus on refining the freehand artwork, ensuring it harmonizes with the cloak’s texture and the overall theme of the model.
Video: Deathshroud Terminator Cloak Freehand Refinement
Materials and Paints Used
The following paints were used: Games Workshop: Cadian Fleshtone, Pallid Wych Flesh, Bugman’s Glow, Rhinox Hide, Loren Forest, Nurgling Green, Vallejo: Ice Yellow, Cork Brown, Black, Neutral Grey, Pale Grey Blue, Heavy Brown P3: Battlefield Brown, Morrow White
Step by Step Guide
Base Preparation: Start by painting a rough base of fleshy shapes using Cadian Fleshtone. This initial layer doesn’t need to be perfect or smooth.
Detailing Ears and Face: Add ears to distinguish the image from a skull, creating a more zombie-like face. Use Kadeem Flesh Tone for this step.
Sketching Flesh and Bone: Sketch out areas where flesh appears torn or missing, revealing bone underneath. This technique enhances the undead appearance and integrates the existing skull highlights.
Adding White Highlights: Use Pallid Wych Flesh to accentuate bone areas, making them stand out from the flesh tone.
Painting the Eyes: Employ Neutral Grey, followed by Pale Grey Blue for the eyes. Add white dots in the center and top left corner of each eye for a lifelike effect.
Mouth and Teeth Details: Refine the mouth and teeth using Rhinox Hide and Ice Yellow for highlights. Focus on defining the teeth shapes and adding depth to the mouth.
Adding Texture to Flesh: Use Bugman’s Glow and other flesh tones to create textured, worn skin. Apply these tones in layers, allowing the underlying skull details to peek through.
Final Touches: Finish by adding fine details and additional highlights to enhance the depth and realism of the freehand design.
The key to this process is building up the layers gradually, refining the details as you go, a
More Deathshroud Tutorials
How to Paint Deathshroud ArmourDeathshroud Scythe Handle WrappingDeathshroud Terminator Cloak FreehandHorn Painting Guide
All Deathshroud Bodyguard Video Tutorials
Death Guard Deathshroud Bodyguard
A series of video tutorials on how I painted my set of Golden Demon winning Death Guard Deathshroud Bodyguard! This includes nurgly armour, weathering, rust, metals, tentacles, freehand and more!
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A series of videos on how to paint Mortarions green armour! Follow along with a paint guide, video and step-by-step instructions. My Mortarion won Gold in Golden Demon 2019.
Quick note on the white paint I use – with Ceramite White not an option, apparently Corax White is the replacement, but really I don’t think it matters too much which white you use, eg Valleho white, Two Thin Coats, White Star etc!
How to Paint Mortarions Green Armour: Basic colours and knee armour
All videos are recorded in HD 1080p or higher – use full screen for the full effect and let the video load completely.
The following paints were used: Games Workshop: Death Guard Green, Ushabti Bone, Ceramite White, Incubis Darkness.
Step-by-step: How to Paint Mortarions Green Armour: Basic colours and knee armour
Prepare Your Model: Ensure that the base colour (Death Guard green) has been sprayed onto the model. It can be applied using an airbrush or by hand painting.Shadow Bone Base Layer: Use a small brush to apply Ushabti Bone directly on top of the Death Guard green. Apply it roughly to create a textured and rough appearance.Use the side of the brush to avoid filling in details, especially in areas with corrosion or small holes.Directional Lighting: Maintain a consistent light source direction for the entire model. In this case, the lighting is from the top left.Use the side of the brush to catch the edges of details and create shadows where needed.Building Layers: Apply multiple layers of Ushabti Bone, allowing each layer to dry. This builds up texture and depth on the armour. The paint should be fairly watered-down to allow for a gradual transition and darker appearance upon drying.Ceramite White Highlights: Apply Ceramite White on top of Ushabti Bone, following the same process as before but in a reduced area. Highlight the sculpted details and the simple dark areas left by the previous layer.Fine Detailing: Use a small brush to add finer details, such as dimples and small marks, using both Ushabti Bone and Ceramite White. Take care with areas that will be hidden, as they can still be visible from certain angles.Shading with Incubis Darkness: Introduce Incubis Darkness for shading, especially in areas like the holes in the armour. Darken these areas to add contrast. Use the same directional lighting approach for shading.Gold Trim Consideration: Be mindful of the upcoming gold trim painting, as it will affect the surrounding painted areas.Final Details and Blending: Fine-tune details, especially in areas like the knee, ensuring that the lighting direction is consistent.Blend colours using a wet palette for a smoother transition between shades.Yellow Details: Consider using a yellow paint, such as Averland Sunset, for adding small details like dots in the centre of holes
NMM (non metallic metal) armour trim
The following paints were used: Games Workshop: Yriel Yellow, Rhinox Hide, Firedragon Bright, Troll Slayer Orange, Mournfang Brown Vallejo: Ice Yellow
Step-by-step: How to Paint NMM (non metallic metal) armour trim
Prepare Your Workspace: Set up your painting area with good lighting and ventilation.Gather your paints: Yriel Yellow, Rhinox Hide, Firedragon Bright, Troll Slayer Orange, Mournfang Brown, and Ice Yellow from Vallejo.Ensure you have a wet palette for smoother paint application.Have a variety of brushes ready, including a small fine-tip brush for detailed work.Base Coat with Firedragon Bright: Apply Firedragon Bright as the base coat for the non-metallic metal (NMM) effect. Use a wet palette to maintain the paint’s consistency.Focus on covering the areas designated for the metallic trim.Add Troll Slayer Orange for Vibrancy: Introduce Troll Slayer Orange to create a vibrant orange hue.Blend it with Firedragon Bright for a smooth transition.Adjust the intensity by adding more or less Troll Slayer Orange as needed.Create Initial Highlights with Ice Yellow: Utilise Ice Yellow to mark out initial highlight areas.Apply it generously, as it will be blended and softened later.Adjust based on the model’s position and where light would naturally hit.Blend and Soften Highlights: Blend the colours together using small marks and strokes.Use a wet palette to keep the paint workable.Pay attention to transitions and reflections, adjusting as necessary.Introduce Yriel Yellow for Brightness: Add Yriel Yellow for intense brightness.Be cautious not to overdo it; you can always layer and adjust later.Focus on the most prominent areas that catch the light.Tone Down with Mournfang Brown: Use Mournfang Brown to tone down the intensity of the yellow hues.Glaze over areas to create a subtle transition.Consider the reflective properties of metal for realistic effects.Adjust Highlights with White Scar: Apply White Scar to create sharp highlights.Concentrate on areas where light hits sharply.Use a fine-tip brush for precision.Evaluate and Make Adjustments: Assemble the model partially to evaluate how light interacts with the metallic trim.Identify areas that need adjustments, considering the model’s overall composition.Add Final Touches and Reflections: Fine-tune reflections and add small dots to simulate reflective points.Experiment with different angles to ensure the model looks realistic from various perspectives.Pay attention to contrast, emphasising dark areas next to light for a shiny effect.
How to Paint Mortarions Green Armour: Details on the knee armour
The following paints were used: Games Workshop: Death Guard Green Ushabti Bone Incubi Darkness Yriel Yellow Mournfang Brown P3: Morrow White (Ceramite White)
Step-by-step: Paint Mortarions Green Armour: Details on the knee armour
Prepare the Model: Ensure the model is clean and free of any dust or debris.Use an airbrush to apply Death Guard Green as the base colour evenly over the foot.Initial Highlights with Ushabti Bone: Use a sharp brush to apply Ushabti Bone roughly over the Death Guard Green. Apply the highlight at an angle to catch light on the curve of the foot.Brush Technique: Utilize a worn-out size 1 brush for a softer, larger mark.Take advantage of the worn tip to create fatter marks for a textured effect.Layering Highlights: Apply multiple layers of highlights, ensuring they align from toe to the top of the foot.Use Death Guard Green on the palette to create soft blends and transitions.Adding Depth with Incubi Darkness: Glaze or paint Incubi Darkness over the highlights for a dark, contrasting effect.Test visibility behind the cloak to determine areas worth spending time on.Refining Highlights with Morrow White (Ceramite White): Move on to a smaller area with white, refining the highlight points. Underline sculpted details to enhance their 3D appearance.Glazing and Opaque Effects: Apply a sloppy glaze of Incubi Darkness to create a wash-like effect.Be mindful of catching raised details; the goal is to maintain texture.Adjusting Glazes: Fine-tune glazes by adjusting the opacity and color on the palette.Experiment with different mixtures to achieve desired transitions.Fine Details: Use Morrow White (Ceramite White) or a preferred white paint for underlining details.Add an orange base color for a unique glow effect.Shadows and Depth: Introduce shadows with Incubi Darkness on the upper edges of textures.Add shadows to make 3D imperfections in the armor more pronounced.Rivets and Details: Paint the rivets white for contrast and visibility.Address any streaking or imperfections, correcting as needed.Yellow Dots: Water down Yriel Yellow and paint the center of holes with multiple layers.Consider using the paint directly from the pot for a harder yellow dot.Streaking Effect: Use Mournfang Brown to create streaks coming from the holes.Adjust paint thickness to control the streaking effect.Final Touches: Ensure streaking direction aligns with the model’s positioning.
Face and foot
This video shows how to lighten the face of Mortarion and also how to paint the weathering on his armour.
The following paints were used: Games Workshop: Ceramite White, Flayed One Flesh, Pallid Wych Flesh, Ushabti Bone, Rhinox Hide.
Step-by-step: How to Paint Face and foot
Glazing for Face Lightening: Prepare a glaze using Games Workshop’s Flayed One Flesh paint and water (about 5 parts water to 1 part paint).Load the brush with the glaze and remove excess paint on kitchen roll.Apply thin layers of glaze to the face, focusing on central areas like the forehead, bridge of the nose, and cheeks.Be careful not to let the glaze pool in the recesses. Keep adjusting to maintain control over the layering.Pallid Wych Flesh Detailing: Use Games Workshop’s Pallid Wych Flesh, a thicker paint, to highlight the top of creases on the face.Build up contrast between creases and highlights gradually to create a natural look.Ensure that the creases are lightened, but maintain a balance with the overall lighting on the face.Final Highlight with Games Workshop’s Ceramite White: Apply Games Workshop’s Ceramite White to the highest points of the face, focusing on central areas.Use a controlled technique to avoid overdoing the highlights.Maintain subtlety and control over the white highlights for a natural effect.Chip-Weathering on Armor: Choose Games Workshop’s Rhinox Hide for chipping on the armor.Apply the paint with a brush, creating small marks on the model.Leave some patches of white paint between the chipped areas for added interest.Consider the positioning of chips, focusing on areas that would naturally experience wear and tear.Use a colour-coded brush to keep track of the tool’s usage and maintain control.Refining the Chipping: Adjust the thickness of the chipping lines to control the visual impact.Ensure that the chipping looks natural and not too high in contrast.Pay attention to the bottom of the foot, adjusting the highlighting based on the foot’s position.Add more chips on areas that would naturally experience more damage, like the front side of the leg.
Cloth
The following paints were used: Games Workshop: Ceramite White, Sotek Green, Abaddon Black, Evil Sunz Scarlet Vallejo: German Grey (Abaddon Black with a touch of white), Neutral Grey (Skavenblight Dinge), Pale Grey Blue (Celestra Grey).
Step-by-step: How to Paint Cloth
Primer Coat: Begin with a black primed base coat using Games Workshop: Abaddon Black or any black primer of your choice.Base Coat with German Gray: Apply Vallejo German Grey (a mix of Abaddon Black with a touch of white) using a stipple-like, rough fashion with a large, stiff brush. Rotate the brush to avoid obvious patterns.Dry Brush with Neutral Grey: Dry brush the cloth with Vallejo Neutral Grey (Skavenblight Dinge) using a large, stiff brush. Maintain a textured effect without removing the paint too severely.Fine Detailing with Sotek Green: Switch to a smaller brush (size 0 or similar) and use Sotek Green. Apply combinations of scratches and dots, focusing on smaller marks. Keep the paint fairly thick for strong marks.Gradual Highlighting: Mix Sotek Green with a small amount of Celestra Grey (Pale Grey Blue) in around a 2:1 ratio. Gradually build up layers, focusing on creases and details. Highlight raised areas more than recessed ones.Further Highlighting with Pale Blue-Gray: Mix Sotek Green with a small amount of Celestra Grey. Apply this highlight colour delicately, focusing on smaller areas. Enhance texture and pay attention to the shape of folds.Final Highlight with Pale Blue: Use Celestra Grey (Pale Blue) as the final highlight. Be extremely delicate with application, focusing on small details. Less is more at this stage, as the heavy paint can make strong marksGlazing with Abaddon Black: Use Abaddon Black for glazing. Apply it in the recesses to soften the texture marks and create a more blended look. Load the brush heavily for a more pronounced effect.Additional Glazing with Evil Sunz Scarlet: Use Evil Sunz Scarlet for additional glazing, mainly in the recesses. This adds contrast and depth to the demonic clothing. Experiment with colours to make the cloth more interesting.Final Touches and Details: Pay attention to focal points, such as areas where the cloth is attached to chains. Ensure that details are enhanced without losing the depth of the piece.
More Mortarion Tutorials:
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Horn Painting Guide. PDF Tutorial
How to paint a Nurgle horn with texture on a Deathshroud Terminator. – Richard
Download the Horn Painting Guide
Please wait for the PDF below to load to view, or download it here.
About the Guide
In this detailed guide I meticulously explain the process of painting a horn on a Death Shroud terminator model, emphasising brush control and the right consistency of paint. The tutorial progresses through six stages, including colour banding, blending, and highlighting, with tips on brush selection and technique. It’s good resource for model painters keen on improving their skills in adding realistic textures and details to their Nurgle model and is filled with practical advice, making complex techniques accessible to painters at various skill levels.
More Deathshroud Tutorials
How to Paint Deathshroud ArmourDeathshroud Scythe Handle WrappingDeathshroud Terminator Cloak FreehandHorn Painting Guide
Video Tutorials
Death Guard Deathshroud Bodyguard
A series of video tutorials on how I painted my set of Golden Demon winning Death Guard Deathshroud Bodyguard! This includes nurgly armour, weathering, rust, metals, tentacles, freehand and more!
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Nurgle Lord Non-Metallic Metal Armour Guide
By Richard Gray
Master the art of non-metallic metal (NMM) painting with this comprehensive Nurgle Lord Non-Metallic Metal Armour Guide to achieving a stunning armour effect for your Nurgle Lord model. Follow along with detailed steps and techniques to create a realistic, textured metal look without using metallic paints.
What’s Inside the Nurgle Lord Non-Metallic Metal Armour Guide:
Materials and Paints Needed:
Vallejo: German Grey, Dark Sea Grey, Pale Blue Grey, Leather Brown, Black
Games Workshop: Skavenblight Dinge
P3: Morrow White
Coat d’Arms: Black
Model Preparation: Learn how to properly prepare your model by washing the plastic, using Tamiya Extra Thin Cement for assembly, and filling gaps with Greenstuff. Prime the model grey and let it cure for 24 hours.
Base Colour Application: Start with a black base colour to set the foundation for the NMM effect, providing the necessary contrast for a realistic shine.
Initial Lighting with German Grey: Apply German Grey to the areas of the armour that will catch the most light. This stage sets the groundwork for the lighting effect and doesn’t require neatness, allowing for texture development.
Stippling Technique for Texture: Introduce Dark Sea Grey with a stippling technique, creating small dots to add texture and refine the lighting. Use thicker paint for definite dots and don’t worry about imperfections.
Highlighting with Pale Blue Grey: Continue stippling with Pale Blue Grey, focusing on higher light points. Add tiny lines under darker dots to simulate three-dimensional dints.
Final White Stippling: Add small white dots to enhance the texture further. Though it may look messy at this stage, the following steps will smooth out the details.
Smoothing with Glazes: Use heavily watered-down Battlefield Brown to create a glaze, applying it in thin layers to subtly blend and smooth the texture. Follow with a Coat d’Arms black glaze for shadows, enhancing the contrast with its satin finish.
Final Touches and Adjustments: Revisit any areas that need more texture or brightness, especially the leg plates. Use the same colours and techniques to bring out the details, making adjustments as necessary to achieve a balanced look.
Additional Refinement: Apply gentle glazes of Skavenblight Dinge to unify the textures and maintain the grey metal appearance. Balance the brown glazes to avoid overwhelming the armour, adjusting for the desired effect.
Tips and Techniques:
Stippling for Texture: Achieve a worn and battered look by stippling, a technique that involves creating small dots with a brush.
Glazing for Smooth Transitions: Use very thin layers of paint to blend textures and create smooth transitions between colours.
Balancing Highlights and Shadows: Ensure the highlighted areas are bright enough without overpowering the overall effect. Use glazes to deepen shadows and enhance contrast.
This guide is perfect for hobbyists looking to achieve a realistic NMM armour effect on their models. With patience and attention to detail, you can create stunning, textured armour that stands out. Stay tuned for future guides on painting the rusted axe and the skin of the Plague Lord.
Download the full guide below and transform your Nurgle Lord’s armour with non-metallic metal techniques!
NurgleLordArmour-for-Patreon-final-1
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Leather and Cloth
This video shows how to paint a cracked leather scabbard, in this case a sword, with lots of detail for a very realistic and worn effect. I also go through a full list of materials and paints that you need in the copy below.
Video Tutorial: How to Paint a Cracked Leather Scabbard
All videos are recorded in HD 1080p or higher – use full screen for the full effect and let the video load completely. Click the cog icon to choose speed, if I’m too fast or slow!
Materials and Paints
Paints:
Rhinox Hide (Games Workshop) – A dark brown paint used as the base color for the leather.
Bugman’s Glow (Games Workshop) – A flesh-toned paint used for creating mid-tones and highlights on the leather.
White (P3 Morrow White) – Used for mixing with Bugman’s Glow to create lighter shades for finer highlights.
Brushes:
Fine Detail Brush – A high-quality, fine-tipped brush, such as a size 0 or 00, is essential for painting the very fine lines that simulate the cracks in the leather. The brush used in the video is my favourite, the size 00 Artis Opus brush.
Additional Materials:
Water – For thinning the paints. The consistency of the paint should be around 50% water to 50% paint, with a slight adjustment for environmental factors like heat.
Wet Palette – To keep the paints hydrated and workable for longer periods. It’s particularly useful for mixing and maintaining the consistency of thinned paints.
Kitchen Roll or Paper Towel – Used for dabbing the brush to remove excess paint or water. It’s important to change the paper regularly to avoid degradation and particles sticking to the brush.
Painting Handle or Holder (optional) – To comfortably hold and manipulate the model while painting. I use Rathcore painting handles.
Step by Step Guide to Paint a Cracked Leather Scabbard
1. Preparation:
Ensure the scabbard on the model (in this case, Cado Ezechiar) is clean and ready for painting.
2. Base Coat:
Start by covering the entire scabbard area with Rhinox Hide (Games Workshop). Apply a couple of coats for even coverage but don’t worry about perfect opacity.
3. Mixing Paints:
Prepare your palette with a progression of mixes:
Rhinox Hide mixed with a small amount of Bugman’s Glow (GW).
Pure Bugman’s Glow, thinned slightly with water.
Bugman’s Glow mixed with a small amount of white (P3 Morrow White), and then a mix with more white added.
4. Detailing with a Fine Brush:
Use a thin brush, like a size 0 or 00, ensuring it has a very sharp tip for fine detailing.
Begin with the Rhinox Hide and Bugman’s Glow mix. Paint very fine, wiggly lines across the scabbard, simulating cracks in the leather. The lines should be more concentrated on the left side where the light hits, but include some on the right side too.
Turn the model as needed for comfort and accuracy but check the marks in the correct orientation to ensure they look natural.
Remember, the paint consistency should be about 50:50 water to paint, perhaps slightly more water for better flow.
5. Building Highlights:
Progress to using straight Bugman’s Glow. Go over some of the previous lines and add new ones. Ensure that some of the initial finer lines remain visible beneath.
Focus on making the edges and areas with supposed more wear brighter.
You can create deeper scratches by painting over the previous lines, adding detail and depth.
6. Correcting and Enhancing:
If any lines are too thick or dense, use Rhinox Hide to adjust them. You can also enhance them by extending the lines and creating additional features.
Remember, each line or mark should be distinct and avoid uniform patterns.
7. Final Highlights:
Use the mix of Bugman’s Glow and white for the brightest highlights. Apply these sparingly and focus on making them as small and fine as possible.
Adjust the intensity of your highlights by removing excess paint from the brush before application.
8. Glazing for Depth:
To bring the whole effect together and add depth, apply a glaze of Mournfang Brown (GW) over the entire area. This step also helps soften the texture and make it more refined.
You can go back with Rhinox Hide into darker recesses if needed, to adjust the contrast and depth.
9. Final Touches:
Add more detail and glaze as needed to achieve the desired depth and realism in the leather texture. Be mindful of over-glazing, which can dilute the detail work.
10. Review and Adjust:
Continuously review your work and adjust as necessary to ensure a realistic and varied leather texture. Each step can be refined or corrected to achieve the desired effect.
Technique Tips:
Consistency in paint mixture is crucial for achieving the fine lines necessary for the cracked leather effect.
Regularly maintaining the brush’s fine tip is essential for detailed work.
Turning the model upside down can facilitate easier brush strokes, but always check the work in its correct orientation.
Glazing with thinned paint helps unify the painted area and add depth to the texture.
Remember, the key to this technique is patience and precision. The fine details make the difference, so take your time with each step to achieve a convincing cracked leather effect.
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This is just a quick video showing how to paint dirt on the bottom of a red robe. This technique is useful for cloaks and other types of cloth that might be on your models that you want to look like they’ve been dragged across the ground behind them, too!
Video: How to Paint Dirt on a Robe
Paints Required
Games Workshop: Rhinox Hide, Mournfang Brown, Balor Brown
Preparing to Paint
Begin with Rhinox Hide: Apply at the very bottom of the robe. This colour blends well with the red robe, creating a subtle effect. As you move upwards, make the application more visible with small dots and splotches. This creates an impression of staining.
Adding Depth with Mournfang Brown
Switch to Mournfang Brown: This shade gives depth to the weathering effect. Initially, it might seem light but it darkens as it dries. If you find it too strong, you can tone it down with Rhinox Hide to soften the effect. The key here is to balance the intensity, ensuring it doesn’t overpower the base colour of the robe.
Finishing Touches with Balor Brown
Finalise with Balor Brown: This is a strong colour, so apply it cautiously. It’s significantly different from the previous colours and can make a bold impact. Focus on the very bottom of the robe, gradually building up a denser application of paint. Be mindful of areas near the highlights, such as near the foot of the robe at the front. Here, you might need to add more Balor Brown to counteract the brighter red tones.
General Tips for an Authentic Effect
Strive for unevenness: Avoid symmetrical or uniform patterns. Some areas should appear dirtier than others for a realistic effect.
Control the paint consistency: Aim for a 50/50 mix of paint to water for optimal flow and control. This consistency allows you to work for an extended period without creating a heavy texture.
Use a smaller brush: A smaller brush gives you more control, especially for creating uneven, chaotic patterns. Avoid pressing too hard to prevent large, unintended marks.
Adjust for mistakes: If you apply too much paint, quickly rub it off with your finger. For smears, stipple over them with a bit of Rhinox Hide to create interesting marks.
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This video shows you how to paint the Bandages, Clothing, NMM Skull and Skin on a Blood Bowl Mummy.
Video Tutorial – How to Paint the Bandages, Clothing, NMM Skull and Skin
All videos are recorded in HD 1080p or higher – use full screen for the full effect and let the video load completely. You can also click the little “cog” and change the speed of the video, if I am going too fast (or slow!).
Paints and Materials Needed
Paints (Games Workshop):
Mournfang Brown
Rhinox Hide
XV-88
Balor Brown
Morghast Bone
Ushabti Bone
Death Korps Drab
Hobgrot Hide (not recommended)
Trollslayer Orange
Paints (Vallejo):
Ice Yellow
Pure White
Neutral Grey
Brushes:
Size 00 Artist Opus Brush (for detailed work)
Size 2 Artist Opus Brush (for broader strokes and glazing)
Other Materials:
MiniNatur Moss Pads (for the base grass effect)
Step-by-Step Guide
1. How to Paint the Bandages:
Base Layer: Start with Mournfang Brown (Games Workshop) as a base layer for the bandages.
Main Colour: Apply Balor Brown (Games Workshop) over the bandages. It’s recommended to use this instead of Hobgrot Hide for better coverage and a more desired effect.
Highlighting: Use Morghast Bone and Ushabti Bone (both from Games Workshop) for highlighting. Focus on creating lines parallel to the bandages’ direction, paying special attention to the upper edges around the face for more detail.
Shadows and Grubby Effect: Apply a thinned down Rhinox Hide (Games Workshop) in shadowed areas and to add a grubby effect to the bandages.
2. How to Paint the Skull (Non-Metallic Metal Gold):
Base Layer: Use Rhinox Hide (Games Workshop) as the base.
Layering: Progressively layer with Mournfang Brown, XV-88, Balor Brown, Ice Yellow (Vallejo), and Pure White (Vallejo). Each layer should be smaller than the previous, creating a bright highlight effect.
Refinement: Feather the edges of each layer for a smooth transition between shades.
3. How to Paint the Clothing (Trousers/Pants):
Base Colour: Mix Rhinox Hide (Games Workshop) with Neutral Grey (Vallejo) and apply as the base colour.
Texture and Highlight: Create a scratchy, rough texture using a mix of Rhinox Hide, Grey, and Ice Yellow (Vallejo). Add white to the mix for final highlights.
4. How to Paint the Belt:
Base Layer: Apply Rhinox Hide (Games Workshop) as the base colour.
Detailing: Use Trollslayer Orange (Games Workshop) for the detailing, ensuring the paint is not too thick.
5. How to Paint the Skin:
Base Layer: Use Death Korps Drab (Games Workshop) as the base layer for exposed skin areas.
Highlighting: Gradually add white to Death Korps Drab for highlighting, focusing on the knuckles, fingertips, and muscle definition.
6. How to Paint the Base and Finishing Touches:
Grass Application: The base is painted with Mournfang Brown (Games Workshop) and decorated with MiniNatur Moss Pads for grass.
Final Adjustments: Ensure the consistency of the lighting and colour theme across the model.
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These videos show how to paint Cado Ezechiar, one of the vampire models from Games Workshop. He was painted as a part of my Golden Demon entry for 2024!
There are a lot of fun techniques I used on Cado, from his pitted, slightly worn armour, to his cloth undershirt, cape and some weathered leather. Read on to explore the tutorials in order, or click below to explore each part.
Video Part One – Armour and Red ClothPaints UsedPreparationBlocking in ColoursPainting the ArmourEnhancing Texture and ColourVideo Part Two – Leather Belt and Pouch, the NMM Gold Dragon on his chest and his Black Cape with WeatheringPaints UsedStep-by-Step GuideLeather DetailsNMM Gold DragonBlack CapeVideo Part Three – How to Paint a Vampire HeadMaterials ListHow to Paint a Vampire Head Painting GuidePreparationBase CoatingLayering and DetailingAdditional TipsVideo Part Four – How to Paint his Cracked Leather ScabbardMaterials and PaintsStep by Step Guide to Paint a Cracked Leather ScabbardLeather Technique TipsVideos Not Showing?
Video Part One – Armour and Red Cloth
All videos are recorded in HD 1080p or higher – use full screen for the full effect and let the video load completely. You can also click the little “cog” and change the speed of the video, if I am going too fast (or slow!).
Paints Used
Games Workshop: Mournfang Brown, Corvus Black Vallejo: Ice Yellow, Neutral Grey, German GreyP3: Morrow White
Preparation
Priming: The model should already be primed black. Imperfections in the primer’s coverage are not a concern, as all surfaces will be covered with paint.
Blocking in Colours
Base Coating: Start by blocking in base colours for efficiency and to prevent having to meticulously paint near completed areas later. Use Rhinox Hide for leather parts and German Grey (or a dark grey made by mixing black and white) for armour sections. This step is about laying down foundational colours and reacquainting yourself with the painting process.
Painting the Armour
Initial Armour Layer: Apply a base layer of German Grey across all armour parts. This step establishes a dark base for building up the texture and highlights that will follow.
Adding Texture and Base Highlights: Switch to Neutral Grey to begin adding texture and lighting effects to the armour. This involves creating scratch-like marks to simulate corrosion and wear, enhancing the model’s detailed sculpting. A size 00 brush is recommended for fine control and detail work.
Building Highlights: Gradually lighten the armour by adding more Neutral Grey, and then lighten further by mixing in Ice Yellow with Neutral Grey. The goal is to create a gradient of highlights leading to the brightest points of the armour. The addition of Ice Yellow introduces warmth to the grey, adding visual interest.
Final Highlights: Use P3 Morrow White for the final highlights. Apply this sparingly to the most raised areas and points where light would naturally be the strongest. The white should be watered down significantly to ensure a smooth application.
Enhancing Texture and Colour
Glazing for Depth: Mix a glaze using Mournfang Brown and apply it to shadow areas and recesses to add depth and warmth to the armour. Follow up with Corvus Black for deepening the shadows further. These glazes help unify the texture and add complexity to the finish.
Adjustments and Finishing Touches: Continuously assess the model as you paint, especially when transitioning between different sections or colours. Ensure that the lighting and colours are cohesive across the model to maintain the unit’s unified appearance.
Video Part Two – Leather Belt and Pouch, the NMM Gold Dragon on his chest and his Black Cape with Weathering
Paints Used
Games Workshop: Rhinox Hide, Mournfang Brown, Fire Dragon Bright, XV-88, Balor Brown Vallejo: Dark Grey, Ice Yellow
Step-by-Step Guide
Leather Details
Base Coat: Start with Rhinox Hide as the base for all leather parts, which was applied in the previous painting session.
Initial Highlights: Using Mournfang Brown, begin blocking in the details on the belt and pouch using a size 00 brush. Focus on applying the paint with the tip of the brush, even when filling larger areas, to maintain precision and control.
Adding Texture: With the same brush, enhance the leather texture by applying additional highlights with a mixture of Mournfang Brown and Fire Dragon Bright. The Fire Dragon Bright will lighten the colour but may also increase the paint’s translucency, requiring multiple layers for full opacity.
Further Highlights: Introduce Ice Yellow into the mix for the next set of highlights, focusing on the most illuminated areas like the top of the pouch and the sides of the belt that are exposed to light. Use a delicate touch to add fine details and texture, simulating the natural wear and tear on the leather.
NMM Gold Dragon
Base Layer: Use XV-88 as your base colour for the dragon emblem. Carefully outline the shape, leaving black lines between the details to create depth and contrast.
Building Up Colour: Gradually add Balor Brown to the XV-88, focusing on areas where light would naturally hit the emblem. Consider the curvature and form of the dragon to place your highlights thoughtfully, enhancing the 3D effect.
Final Highlights: Mix in Ice Yellow with your base colours to brighten the highest points of the emblem. Apply these highlights sparingly to areas like the brow, nose tip, and the edges of the dragon heads to achieve a metallic shine. Optionally, add a dot of pure white at the very brightest points for maximum impact.
Black Cape
Initial Layering: Prime the cape black and then apply Vallejo Dark Grey, thinned with water (approximately 60% water to 40% paint), to start building up the layers. Aim for smooth, gradual transitions, focusing on the creases and raised areas of the cape.
Highlighting: Incrementally mix Ice Yellow into the Dark Grey for the highlights. Apply these to the edges and folds of the cape where the light naturally hits, ensuring that the highlights are concentrated towards the top of the folds to emphasise the flow and texture of the fabric.
Weathering: Using Rhinox Hide, begin stippling the lower edges of the cape to simulate mud and grime build-up. Progressively add Mournfang Brown and then Balor Brown into your mix, focusing the lighter, more detailed stippling towards the very bottom to create a realistic weathered effect. Avoid making this look too uniform; natural wear and variety in the marks will enhance the realism.
Video Part Three – How to Paint a Vampire Head
All videos are recorded in HD 1080p or higher – use full screen for the full effect and let the video load completely. You can also click the little “cog” and change the speed of the video, if I am going too fast (or slow!).
Materials List
Paints:
Games Workshop: Cadian Fleshtone, Mephiston Red, Evil Sunz Scarlet
Vallejo: Neutral Grey, German Grey
P3: Morrow White (or any white paint)
Brushes:
Size 2 Round Brush (for broad applications)
Size 00 Round Brush (for detailed work)
Other Materials:
Wet Palette (to keep paints moist and workable)
Water Pot (for cleaning brushes)
Mixing Palette (for mixing custom paint shades)
Blue Tack (for temporarily attaching components)
Metal Rod (for holding the model while painting)
Super Glue (for assembly adjustments)
How to Paint a Vampire Head Painting Guide
Preparation
Modify and Assemble: Modify the hair of the model to prevent it from touching the face, allowing for easier access when painting. This involves careful cutting, reattaching, and positioning of the hair components.
Priming: Prime the model with a neutral primer to ensure paint adhesion and colour accuracy.
Base Coating
Apply Base Colours: Begin with a base coat of Cadian Fleshtone for the skin, applying it thinly (around a 1.5:1 ratio of water to paint) using a size 2 brush for a smooth layer. For the hair, use Neutral Grey as the base.
Layering and Detailing
Layering: Employ both a size 2 brush for general work and a 00 brush for fine details. Gradually build up the skin tones, focusing on creating dramatic lighting by highlighting facial features and leaving recesses darker. Mix Cadian Fleshtone with white for various highlight shades.
Eyes and Teeth Detailing: For the eyes, utilise Mephiston Red and Evil Sunz Scarlet for a glowing effect. For the teeth, mix Cadian Fleshtone with white to achieve a natural bone colour, steering clear of pure white to maintain realism.
Hair: Paint the hair in layers, starting with Neutral Grey, then adding white for highlights. Adjust shading and highlighting to reflect texture and colour accurately.
Shadows and Highlights: Use German Grey for deep shadows to add depth, especially around the eyes and under facial features. Use mixtures of Cadian Fleshtone with white and grey to refine the face’s appearance, enhancing the transition from light to shadow.
Final Touches: Add fine highlights with a mix of the lightest skin tone and a bit of white, focusing on areas where light naturally hits. Use a fine brush for precision, ensuring smooth transitions between light and dark areas.
Additional Tips
Brush Care: Always wet your brush before starting to paint, even if it appears clean, to ensure smooth paint flow.
Lighting Effects: When painting, consider how light interacts with the model’s features. This helps in achieving a more natural and realistic appearance, even with dramatic lighting.
Colour Mixing: Don’t be limited by paint names. Understand that all paints are just colours, and creative mixing can achieve the desired effect, such as using skin tone mixes for teeth to avoid too stark a contrast.
Video Part Four – How to Paint his Cracked Leather Scabbard
All videos are recorded in HD 1080p or higher – use full screen for the full effect and let the video load completely. Click the cog icon to choose speed, if I’m too fast or slow!
Materials and Paints
Paints:
Rhinox Hide (Games Workshop) – A dark brown paint used as the base color for the leather.
Bugman’s Glow (Games Workshop) – A flesh-toned paint used for creating mid-tones and highlights on the leather.
White (P3 Morrow White) – Used for mixing with Bugman’s Glow to create lighter shades for finer highlights.
Brushes:
Fine Detail Brush – A high-quality, fine-tipped brush, such as a size 0 or 00, is essential for painting the very fine lines that simulate the cracks in the leather. The brush used in the video is my favourite, the size 00 Artis Opus brush.
Additional Materials:
Water – For thinning the paints. The consistency of the paint should be around 50% water to 50% paint, with a slight adjustment for environmental factors like heat.
Wet Palette – To keep the paints hydrated and workable for longer periods. It’s particularly useful for mixing and maintaining the consistency of thinned paints.
Kitchen Roll or Paper Towel – Used for dabbing the brush to remove excess paint or water. It’s important to change the paper regularly to avoid degradation and particles sticking to the brush.
Painting Handle or Holder (optional) – To comfortably hold and manipulate the model while painting. I use Rathcore painting handles.
Step by Step Guide to Paint a Cracked Leather Scabbard
1. Preparation:
Ensure the scabbard on the model (in this case, Cado Ezechiar) is clean and ready for painting.
2. Base Coat:
Start by covering the entire scabbard area with Rhinox Hide (Games Workshop). Apply a couple of coats for even coverage but don’t worry about perfect opacity.
3. Mixing Paints:
Prepare your palette with a progression of mixes:
Rhinox Hide mixed with a small amount of Bugman’s Glow (GW).
Pure Bugman’s Glow, thinned slightly with water.
Bugman’s Glow mixed with a small amount of white (P3 Morrow White), and then a mix with more white added.
4. Detailing with a Fine Brush:
Use a thin brush, like a size 0 or 00, ensuring it has a very sharp tip for fine detailing.
Begin with the Rhinox Hide and Bugman’s Glow mix. Paint very fine, wiggly lines across the scabbard, simulating cracks in the leather. The lines should be more concentrated on the left side where the light hits, but include some on the right side too.
Turn the model as needed for comfort and accuracy but check the marks in the correct orientation to ensure they look natural.
Remember, the paint consistency should be about 50:50 water to paint, perhaps slightly more water for better flow.
5. Building Highlights:
Progress to using straight Bugman’s Glow. Go over some of the previous lines and add new ones. Ensure that some of the initial finer lines remain visible beneath.
Focus on making the edges and areas with supposed more wear brighter.
You can create deeper scratches by painting over the previous lines, adding detail and depth.
6. Correcting and Enhancing:
If any lines are too thick or dense, use Rhinox Hide to adjust them. You can also enhance them by extending the lines and creating additional features.
Remember, each line or mark should be distinct and avoid uniform patterns.
7. Final Highlights:
Use the mix of Bugman’s Glow and white for the brightest highlights. Apply these sparingly and focus on making them as small and fine as possible.
Adjust the intensity of your highlights by removing excess paint from the brush before application.
8. Glazing for Depth:
To bring the whole effect together and add depth, apply a glaze of Mournfang Brown (GW) over the entire area. This step also helps soften the texture and make it more refined.
You can go back with Rhinox Hide into darker recesses if needed, to adjust the contrast and depth.
9. Final Touches:
Add more detail and glaze as needed to achieve the desired depth and realism in the leather texture. Be mindful of over-glazing, which can dilute the detail work.
10. Review and Adjust:
Continuously review your work and adjust as necessary to ensure a realistic and varied leather texture. Each step can be refined or corrected to achieve the desired effect.
Leather Technique Tips
Consistency in paint mixture is crucial for achieving the fine lines necessary for the cracked leather effect.
Regularly maintaining the brush’s fine tip is essential for detailed work.
Turning the model upside down can facilitate easier brush strokes, but always check the work in its correct orientation.
Glazing with thinned paint helps unify the painted area and add depth to the texture.
Remember, the key to this technique is patience and precision. The fine details make the difference, so take your time with each step to achieve a convincing cracked leather effect.
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This video shows how to paint the loincloth of Be’lakor The Dark master. It looks at leather, skulls, chains and hooks.
Video Tutorial: How to Paint Be’lakor Loincloth
All videos are recorded in HD 1080p or higher – use full screen for the full effect and let the video load completely. You can also click the little “cog” and change the speed of the video, if I am going too fast (or slow!).
Paints and Materials
Games Workshop: Rhinox Hide, Bugman’s Glow, Mournfang Brown, Firedragon Bright, Corvus Black, Balor Brown, Morghast Bone, Vallejo: Neutral Grey, Pale Grey Blue, Basalt Grey, Dark Sea Grey, Black P3: Morrow White
Step-by-Step Guide
Base Coat:
Prime the model in black.
Use Games Workshop’s Rhinox Hide to paint the leather-based Be’lakor Loincloth, skulls, and optionally the chains for a rusted look.
Ensure to fill in the holes in the chains where the leather shows through.
Chain Detailing:
For the chains, use Vallejo’s Basil Grey. Apply it gently, almost like dry brushing, to pick up the surface details without clogging the chain links. Aim for a patchy look to represent rust and wear.
Leather Texture:
Focus on the leather flap under the belly button using Bugman’s Glow from Games Workshop.
Apply paint with scuffy, squiggly lines using the brush tip to create a textured look that combines both texture and highlights. The goal is to maintain texture visibility even on highlighted areas.
Gradually build up the opacity where needed, using a mix of approximately 50% water to 50% paint.
Weathering the Leather:
Add weathering using Vallejo’s Basalt Grey, focusing on the edges to depict wear.
Enhance the leather’s worn appearance with more faded grey towards the bottom.
Adding Colours to Leather on the Be’lakor Loincloth:
Introduce Games Workshop’s Mournfang Brown for added richness. Apply it sparingly for a translucent effect.
Go back with Bugman’s Glow if needed for further blending or highlighting.
Skull Painting:
Paint skulls using a base of Balor Brown, focusing on creating texture with stippling and maintaining the balance of light and dark areas.
Progressively highlight with Morghast Bone and finally with P3’s Morrow White, focusing on teeth and prominent skull areas.
Use Corvus Black for glazing in shadow areas to blend and desaturate colors.
Metal Hook Detailing:
Paint the hooks using a combination of Neutral Grey, Pale Grey Blue, and White from Vallejo.
Focus on creating a worn, dented look with lines and stippling. Ensure to paint the back edges of the hooks to separate them from the chains.
Apply final highlights with Morrow White to create a shiny appearance.
Rust Effects on Chains and Hooks:
Use Mournfang Brown to create rust effects, especially around areas where the skulls and hooks meet the chains.
Introduce Fire Dragon Bright for brighter, more saturated rust spots. Apply it with stippling for a subtle effect.
Highlight chains using Pale Grey Blue followed by small dots of White for metallic shine.
Final Touches:
Review the entire area, making adjustments as needed. Utilize all the colours on your palette to tweak and correct any areas.
Ensure that highlights and shadows are consistent with the light source direction and the overall look of the model.
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This video and step by step guide shows how to paint a leather belt on the Emperor’s Champion model.The method that I use a detailed, textured leather effect that can be adapted to suit various models. The addition of a purple hue ties in with the thematic colour scheme of the Emperor’s Champion. Remember, the key is to build up the texture gradually and use the lighter shades sparingly to maintain a realistic leather appearance.
Video Tutorial : How to Paint a Leather Belt
Materials Needed
The following paints were used:Games Workshop: Rhinox Hide, Mournfang Brown, Bugman’s Glow, Cadian Fleshtone, Morghast Bone, Xereus Purple
Step-by-Step Guide
Base Coat:
Start by applying Rhinox Hide to the entire leather belt. This step doesn’t involve highlighting; just aim for an opaque, even coverage.
Applying Mournfang Brown:
Next, use Mournfang Brown to begin adding a textured effect. At this stage, the texture won’t be very visible due to the closeness in shade to Rhinox Hide. Focus on getting the colour down in highlight areas.
When holding the model under a lamp, observe where the light hits, especially on the creases of the belt. This will guide you on where to place your highlights.
Bugman’s Glow for Texture:
Move on to Bugman’s Glow, which will make the texture more prominent. This colour is significantly lighter, so apply it carefully to avoid a pinkish hue.
Use the very tip of your brush to apply Bugman’s Glow, focusing on the raised textures and avoiding recesses. The aim is to create a worn, cracked leather effect. Be sure to pick out the highlight in the crease of the belt as mentioned earlier.
Cadian Fleshtone Highlights:
Use Cadian Fleshtone to highlight further. Pay attention to areas like the edges of the belt and around any buckles or metal tags. Apply the paint in thin lines and small dots to accentuate the texture and curvature of the belt.
Morghast Bone for Final Highlights:
For the final highlights, apply Morghast Bone sparingly. Focus on the very brightest parts, such as sharp edges closest to the light source. Be careful not to overapply, as this colour can desaturate the brown and give a whitish appearance.
Adding Purple Hue:
If you’re following the purple theme of the model, glaze with Xereus Purple, diluted to about four parts water to one part paint.
Apply the glaze over the highlighted areas but be cautious not to turn the belt too purple. The aim is to subtly incorporate the purple tone, tying it in with the overall theme of the model.
Finishing Touches:
Once the glaze dries, you might want to reapply the final bright highlights to enhance contrast and make the texture stand out more.
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Two videos on how to paint Ork Squigosaur Leather Belt and Chrome Exhaust, with full paint list and step by step top tips!
How to Paint Ork Squigosaur Leather Belt
Use full screen for the full effect and let the video load completely. You can also click the little “cog” and change the speed of the video, if I am going too fast (or slow!).
The following paints were used: Games Workshop: Rhinox Hide, Troll Slayer Orange, Bugman’s Glow, Kislev Flesh, Screaming Skull, Mournfang Brown
Leather Belt Top Tips!
Base Coat: Begin with Rhinox Hide to establish the base colour for the leather belt. Ensure complete coverage, particularly around edges that meet the skin.
Texturing Technique: Utilise an old brush with approximately a third of it trimmed off to create a diminutive dry brush. Load it with Troll Slayer Orange (thick paint) and press it onto the model. This technique produces thick, heavily textured orange marks.
Scratchy Marks with Bugman’s Glow: Employ Bugman’s Glow to form scratchy, vertical marks on the leather belt. Flip the model upside down for better control when applying marks on the upper edges.
Building Texture: Gradually build up the texture with small, controlled marks. Avoid going too heavy, both in terms of the number of marks and the pressure applied with the brush.
Highlighting with Kislev Flesh: Apply Kislev Flesh for highlighting, focusing on worn edges and areas that need more weathering. This adds depth and contrast to the leather.
Refinement with Screaming Skull: The final highlight is done with Screaming Skull for subtle refinements. These highlights add a bit more contrast and make details stand out.
Glazing Technique: Conclude by glazing over the leather belt with thinned Mournfang Brown. This adds a strong colour while maintaining translucency. If you prefer a neater glaze, use a wet palette.
Remember, the key is to be purposefully chaotic with the marks to create unique and interesting textures. Don’t be afraid to experiment and vary your approach for a more dynamic result.
How to Paint Ork Squigosaur Chrome Exhaust
Games Workshop: Mournfang Brown, Calgar Blue Vallejo: Black, German Grey, Basalt Grey, Neutral Grey, Dark Sea Grey, Pale Grey Blue P3: Morrow White
Chrome Top Tips!
Colour Palette: Utilise a wet palette with shades such as neutral grey, basalt grey, dark sea grey, pale grey blue, blue-black, and German grey for achieving the chrome effect.Incorporate Mournfang Brown to emulate ground reflections.Primary Highlight: Initiate the process with a substantial primary highlight along the central axis of the exhaust to establish the main chrome effect.Blend neutral grey and German grey to facilitate a seamless transition between shades.Random Reflections: Introduce random secondary bounce highlights to imitate reflections on the chrome surface.Reflect the surroundings, rider, and ground on the chrome, while considering the cylindrical shape.Golden Angle: Ensure that the primary highlight is discernible from the golden angle of the model, particularly on the face of the shark squig.Surface Texture: Diversify the texture on distinct surfaces; employ scribbly marks for the engine compartment and controlled lines for the exhaust pipe.Edge Highlights: Illuminate the edges of the exhaust to impart a heightened reflective quality, as light tends to accentuate edges.Adding Colour: Infuse Mournfang Brown for ground reflections, creating a nuanced separation from the model’s skin.Apply Kalgar Blue as a glaze for a touch of colour, ensuring it doesn’t overpower the overall moody aesthetic.Final Highlights: Gradually layer on highlights using lighter shades such as dark sea grey, pale grey blue, and eventually white for the highest points.Neatening Up: Dedicate time to refining the chrome effect for a polished finish, especially concentrating on edges and highlight points.Pay meticulous attention to detail, rectifying any imperfections such as bumps or sprue marks.Optional Enhancements: Contemplate incorporating ice yellow for a sunlit effect, if desired.Experiment with alternative colours for reflections, keeping in mind the overall mood and theme of the model.
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In one of my previous videos I did a pattern on the dress for Lady Annika, The Thirsting Blade, but decided I wanted to change it to something a little bit creepier. Here is how to paint the Lady Annika Freehand Skull that replaced it! It includes tips on folds and how I did the weathering at the bottom of the cloth. Plus, I’ve also been working on her boots!
Scroll to watch these tutorials with complete paints and materials used, and step-by-step tip
Video: How to Paint the Lady Annika Freehand Skull
All videos are recorded in HD 1080p or higher – use full screen for the full effect and let the video load completely. You can also click the little “cog” and change the speed of the video, if I am going too fast (or slow!).
Materials Needed
Primer: Black (if you started with a black primer base).
Base Paints: Vallejo Black, German Grey, Neutral Grey, Dark Sea Grey.
Highlight Paints: 50/50 mix of Neutral Grey and Dark Sea Grey.
Weathering Paints: Vallejo Heavy Grey (appears green), Games Workshop Rhinox Hide, Cadian Fleshtone, Monfang Brown.
Fine Detail Brushes
Wet Palette
Reference Image: A realistic skull from a science book (or the Internet!) for accuracy.
Design Sketching: Sketch the skull design lightly on the skirt. Consider the folds and curves of the fabric; your design must follow these contours to look natural. The skull should be positioned considering the fabric’s folds, especially around tricky areas like deep creases or hard lines.
Base Painting: Using Vallejo Black as your darkest shade, begin blocking in the skull and its surroundings. Gradually build up the mid-tones using German Grey and Neutral Grey. For highlights, use a 50/50 mix of Neutral Grey and Dark Sea Grey. Keep the contrast lower than other elements (like the boots) to ensure the skirt’s design doesn’t overpower the miniature’s other focal points.
Adding Details: Focus on defining the skull’s features, adjusting for the fabric’s folds. Use your mixed greys to paint in the finer details, such as the teeth and eye sockets, considering the underlying fabric’s shape and the skull’s anatomy. For the headdress, spikes, and cobweb details, apply the same grey tones, ensuring they blend seamlessly into the skull.
Final Highlights and Shadows: Revisit the highlights and shadows, emphasizing the skull’s curvature and the fabric’s texture. Use the lighter greys to enhance the design’s three-dimensionality, paying special attention to areas that catch the light or recede into shadow.
Weathering: Start with Rhinox Hide, diluted significantly with water. Apply it to the lower third of the skirt, building up layers until you achieve a subtle, brown tint. Follow with Monfang Brown for a richer tone, focusing more intensely at the very bottom. This creates a gradient effect, simulating dirt accumulation.
Final Touches: Use a mix of the weathering colours to add texture and depth to the weathered area, mimicking the appearance of mud or dust caught in the fabric’s texture. This step enhances the realism of your miniature, grounding it in its environment.
Review and Adjust : Examine your work closely, making any necessary adjustments to the weathering to ensure a natural transition from the painted design to the simulated dirt. If needed, glaze over parts of the skull or weathering with thinned paint to adjust the contrast or saturation.
Video: How to Paint Lady Annikas Boots
Painting shiny leather boots requires patience and attention to detail. By carefully building up highlights, adjusting them as needed, and using techniques like stippling and glazing, you can achieve a realistic leather effect that stands out. The key to success is experimenting with light and shadow to create depth and texture that mimics real leather.
Materials Needed to Paint Lady Annikas Boots:
Vallejo Paints: Black, Neutral Grey
P3 Paint: Morrow White (or any white paint)
Wet palette
Fine detail brushes (sizes 0 and 00 recommended)
Kitchen roll or paper towel
Lamp for highlighting guidance
Preparation and Painting Process:
Prepare Your Palette: On your wet palette, mix a variety of greys using Black from Vallejo, Neutral Grey from Vallejo, and P3 Morrow White. The goal is to create a spectrum of grey shades. You can adjust the quantities to get lighter or darker shades as needed.
Base Coating: Start with a base coat of Neutral Grey on the boots. You can adjust the shade by mixing in either more black or white to darken or lighten the grey, respectively. This base coat serves as the foundation for building up highlights and shadows.
Highlight Mapping: Using a slightly lighter grey, begin mapping out where the highlights on the boots will be. Don’t worry about being too precise; the goal is to identify where light naturally hits the boots. Use a lamp to observe how light interacts with the surface and mimic this on the model. Remember, we aim for a shiny leather look, so some highlights will be exaggerated.
Adjusting Highlights: If you over-highlight, it’s fine. You’ll refine these highlights later in the process. The key is to create contrast and depth, making the boots appear shiny. Lady Annika’s slender design means space is limited, so choose your highlight areas wisely, focusing on making them visible from the primary viewing angle.
Glazing and Fine Tuning: Once you’re satisfied with the highlight placement, it’s time to blend and smooth out the transitions. This is where the stippling technique comes into play. Dilute your paint with water (around a 50:50 ratio, but adjust as necessary for a finer stipple) and gently apply to the edges of highlights to create a gradual transition.
Glaze over the boots with a thin layer of black to enrich the colour and add depth. This will also help to knock back any over-highlighted areas, ensuring they blend seamlessly into the overall finish.
Reflective Highlights: For added realism, incorporate some reflective highlights. These should be small and placed strategically to mimic how light reflects off a shiny surface. Use the brightest grey or even white for these highlights but apply them sparingly.
Final Adjustments: Review the model under different angles and lighting conditions. You might need to go back and adjust some highlights or shadows to ensure the boots look good from all perspectives. The goal is for the boots to have a high contrast, shiny appearance, indicative of leather.
Finishing Touches: As a final step, use glazing to unify all the elements. A thin glaze of black can help to tie together the highlights and shadows, making the transition between them smoother and more natural. This step also adds a satin finish to the boots, enhancing the leather effect.
For all the videos on how I painted Lady Annika, the Thirsting Blade, in one place, follow this link!:
Lady Annika, The Thirsting Blade
Golden Demon Entry – Lady Annika’s thirst for blood is legendary, even amongst the Soulblight vampires! I really enjoyed painting her and made a few tweaks to the model.
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This video and step-by-step guide will teach you how to paint filigree (fancy details) on the lower robes of Mephiston.
Video: How to Paint Filigree
All videos are recorded in HD 1080p or higher – use full screen for the full effect and let the video load completely.
Materials and Paints Used
The following paints were used:Games Workshop: XV-88, Mephiston Red, Abaddon Black Vallejo: Ice Yellow
Step-by-Step Guide on How to paint Filigree on Mephiston
Preparation and Design:
Begin by sketching out a filigree pattern on paper to familiarize yourself with the shapes and design.
Consider simplifying the design as needed for the scale of the miniature.
Initial Painting:
Using Games Workshop’s XV-88, start painting the base of the filigree design.
Focus on getting the shape right, especially the backward facing ‘S’ shapes, as this forms the main part of your design.
Ensure your brush has a clean, sharp tip for precise painting.
Adapting the Design:
Adjust the design as you paint, especially if certain elements don’t translate well on the miniature.
Remember that minor inconsistencies are less noticeable once the entire row is painted.
Paint Consistency and Application:
Use Mephiston Red from Games Workshop, diluted with water in a 2:1 ratio, for correcting mistakes.
Apply the paint by pulling the brush towards you, not pushing, to avoid splaying the bristles and creating uneven lines.
Refining the Design:
Introduce curves and dots to the design for a more dynamic and finished look.
Use the red paint to cut into the filigree and refine its edges, achieving cleaner lines.
Painting Details and Highlights:
For highlighting, use a mix of Baelor Brown and Vallejo’s Ice Yellow, starting with broader highlights and gradually reducing their size.
Highlight all parts of the filigree, regardless of their position in the light, as this enhances the design rather than simulating realistic lighting.
Adjusting the Paint Palette:
Refresh your paint regularly on the wet palette, especially when working over multiple sessions.
Add new paint on top of the slightly dried paint to maintain the desired consistency.
Final Touches and Adjustments:
Revisit earlier sections of the filigree and make adjustments to ensure consistency across the design.
Remember to maintain the filigree design across the folds of the skirt, adapting as necessary to fit the miniature’s contours.
Closing Tips:
Take your time with the first section to establish the pattern and technique.
Continually refine your approach as you progress, making adjustments for better results.
All Mephiston Tutorials in One place!
Mephiston, Lord of Death
Here are all of my tutorials so far on how to paint Mephiston, from basic assembly and removing mould lines and filling gaps, to detailed instruction on his painting itself with freehand, NMM and more.
Watch Now
Or explore Mephiston tutorials by technique, below. (Click on the thumbnails to load the page)
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A tutorial on how I painted the cloak for Sigvald the Magnificent, with full paints and some top tips to follow.
Video – How to Paint: Sigvald Cloak
The following paints were used: Games Workshop: Pink Horror, Night Lords Blue P3: Morrow White
Top Tips: Cloak
Base Coat: Start with a primed black undercoat.Apply a quick base coat of Pink Horror using an airbrush for a smooth and quick application.Spray at a slight angle to create a subtle shadow effect, indicating light direction.Mixing Colours: Mix colours on a wet palette.Gradually add successive amounts of white to Pink Horror for highlighting.Blocking In Highlights: Use a larger brush (size 4) for blocking in large highlight areas.If no airbrush, start with Pink Horror to block in colours before proceeding to highlights.Tools for Masking: Consider using therapy putty, available on Amazon, for masking.Other options include masking fluid or cling film, but be cautious as cling film may damage paint.Hand-Painting vs. Airbrushing: While airbrushing provides a smooth finish, hand-painting offers individuality and varied textures. Choose based on personal preference and desired effects.Brush Selection: Use a larger brush for initial blocking (size 4).Transition to a smaller brush (size 1) for finer details and creases on the cloak.Transitions and Blending: Ensure smooth transitions between highlights and shadows for a natural look.Soften edges using a smaller brush for a more realistic appearance.Glazing Technique: Create a glaze by adding water to paint on the palette (4-5 parts water to 1 part paint).Apply glaze towards the highlight, allowing extra paint to accumulate for a brighter effect.Drying Techniques: Use a hair dryer or heat gun for quicker drying, but be cautious with heat guns to avoid damage.Final Touches: Glaze towards the highlight for a smooth finish.Be mindful of applying too much thin paint to avoid “coffee stain” effects.
Continue painting Sigvald the Magnificent with my full tutorials…
How to Paint Sigvald the Magnificent with NMM
All of the tutorials for Sigvald the Magnificent, including how to paint NMM (gold) armour, face and horns, freehand shield, NMM silver sword and hilt and more!
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If you don’t have an account and cant see the videos, please sign up here! The website currently has over 350 video tutorials, plus step by step guides and PDFs. You can explore free videos with a free membership, or take the plunge and become a full subscriber for full access.
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A set of video tutorials on how to paint a black Primaris Marine, including his reflective black armour, the freehand on his shoulder pads, NMM golds on his chest eagle, weapons, purity seal, leather and more! With step by step guide and all materials and paints needed.
Scroll down to explore all the tutorials in order, or you can use the contents below to quickly jump to a technique or part of the marine to paint!
Video: How to Paint a Black Primaris Marine Part One – Reflective Black ArmourMaterials NeededStep by Step Guide on How to Paint a Black Primaris Marine Reflective ArmourVideo: How to Paint a Black Primaris Marine Part Two – Shoulder Pad Freehand (bird skull and wings)Materials NeededStep by Step Guide to The Raven Skull FreehandVideo: How to Paint a Black Primaris Marine Part Three – Arrow Shoulder PadMaterials NeededPreparationStep-by-Step Guide to the Arrow ShoulderpadVideo: How to Paint a Black Primaris Marine Part Four – NMM Gold Chest EagleMaterials NeededPreparationStep by Step Guide to the Gold Chest Eagle in NMMVideo: How to Paint a Black Primaris Marine Part Five – Gold AwardsMaterials NeededStep by Step Guide to the Gold AwardsVideo: How to Paint a Black Primaris Marine Part Six – Purity SealMaterials NeededStep by Step Guide to Painting the Purity SealVideo: How to Paint a Black Primaris Marine Part Seven – Bolt GunMaterials and PaintsStep by Step on How to Paint a Black Primaris Marine Bolt GunVideo: How to Paint a Black Primaris Marine Part Eight – Leather Bolt Pistol HolderMaterials NeededStep-by-Step Guide to the Leather Bolt Pistol Holder
Video: How to Paint a Black Primaris Marine Part One – Reflective Black Armour
The goal here is to create armour that, while predominantly black, subtly reflects light and suggests wear through precise highlights and glazes.
Materials Needed
Primer: Vallejo Surface Primer Black
Base Paints: Vallejo German Grey, Neutral Grey, Heavy Bluegray; Games Workshop Abaddon Black
Highlight Paints: Games Workshop Ceramite White; Vallejo Neutral Grey, German Grey, Heavy Bluegray
Glaze Paints: Games Workshop Xereus Purple, Rhinox Hide
Brushes: A fine detail brush (e.g., size 0 or 00 for detailed work) and a larger brush for glazing and smoother finishes.
Other Supplies: Wet palette, water for thinning paints, kitchen towel for wiping excess paint.
Step by Step Guide on How to Paint a Black Primaris Marine Reflective Armour
1. Priming and Base Coating:
Start with a black primer over the entire model to create a smooth, dark foundation.
Apply Vallejo German Grey as a base to sketch the initial highlights. This step involves identifying where light naturally hits the model and marking those areas with this dark grey to prepare for further layering.
2. Building Up Highlights:
Gradually build highlights using a tonal range from Vallejo German Grey to Ceramite White. Begin with darker greys, moving to lighter greys and finally white for the brightest points.
Focus highlights on areas where light would naturally catch the most, such as the helmet, shoulders, and upper parts of the armour, to create focal points.
3. Refining Highlights:
Use the lighter greys and white to refine the highlights, making them more precise and pronounced where necessary. Apply these colours sparingly to maintain the armour’s predominantly black appearance.
Incorporate small amounts of Heavy Bluegray for a subtle cool tone in the highlights, suggesting a metallic sheen.
4. Applying Glazes:
Mix thin glazes of Xereus Purple and Rhinox Hide separately. These colours add depth and richness to the black without overwhelming the base colour.
Apply glazes carefully, focusing on shadowed areas and over the transitions between highlights to smooth out any stark contrasts. The key is to enhance the reflective quality without diminishing the armour’s blackness.
5. Adding Battle Damage:
With a fine detail brush, introduce small scratches and nicks using Neutral Grey and German Grey. These should be concentrated on edges and areas that would logically sustain wear.
Keep the battle damage subtle and avoid overdoing it. The aim is to suggest use without detracting from the overall sleekness.
6. Final Adjustments:
Revisit any areas that need more defined highlights or deeper shadows, applying additional glazes or fine-tuning the highlights.
Ensure that the armour reads as reflective and not just grey or white by balancing the contrast and maintaining a predominantly black base.
7. Sealing the Model:
Once satisfied with the painting, seal the model with a matte varnish to protect your work and reduce any unwanted shine that could detract from the painted reflective effect.
All videos are recorded in HD 1080p or higher – use full screen for the full effect and let the video load completely.
Video: How to Paint a Black Primaris Marine Part Two – Shoulder Pad Freehand (bird skull and wings)
Materials Needed
Games Workshop paints: Balor Brown, Ushabti Bone
Vallejo paints: German Grey, Neutral Grey, Heavy Bluegrey
Fine detail brushes for the intricate work (I use the Artist Opus range).
A wet palette to keep your paints thinned and workable
A Space Marine model with a shoulder pad primed and base coated
Step by Step Guide to The Raven Skull Freehand
Step 1: Base Sketch – Start with a rough sketch of the raven skull in the centre of the shoulder pad using Balor Brown. Aim for an upside-down teardrop shape for the skull, keeping the paint light and not worrying about solid color or precise shape at this stage.
Step 2: Highlighting Background – Before detailing the freehand, ensure the shoulder pad is highlighted properly. This includes spot highlights and broader highlights to emulate light reflection. These will later integrate with the highlights on the freehand design.
Step 3: Painting the Wings – Using Neutral Grey by Vallejo, paint the rough shape of the wings flaring from the sides of the skull. The wings should be asymmetrical but balanced, with feathers ruffling outward. Utilize German Grey to add depth and shading, creating a transition between the colours and the black of the armour.
Step 4: Detailing the Skull – Refine the raven skull, paying special attention to its beak and eye sockets. Use German Grey to outline and add depth, ensuring the skull retains its distinct shape against the black armour. For the tip of the beak, maintain a dark but slightly contrasted tone to distinguish it from the background.
Step 5: Feather Texture – Gradually build up the feather texture on the wings using a combination of Neutral Grey and German Grey. Paint the feathers with a fine brush, starting from the base of the wing and working outwards, increasing in size. This creates a natural feathered effect.
Step 6: Final Highlights and Details – Use Ushabti Bone to add highlights to the skull, focusing on the top edges and the eye sockets to enhance its dimensional appearance. Apply Heavy Bluegrey for the final highlights on the wings, blending them into the armour’s highlights for a cohesive look.
Step 7: Finishing Touches – Review the entire piece, adding final adjustments to the skull and wings as necessary. You may need to retouch some areas to ensure a smooth gradient and correct any overspill. The aim is to have a clear, recognisable raven symbol that integrates well with the armour’s existing highlights and shadows.
Step 8: Sealing the Work – Once you’re satisfied with the painting, allow it to dry thoroughly. Consider sealing the model with a matte varnish to protect the freehand work and the model’s overall finish.
Video: How to Paint a Black Primaris Marine Part Three – Arrow Shoulder Pad
Materials Needed
Vallejo Heavy Greyblue (Celestra Grey equivalent)
Vallejo German Grey (akin to a mixture of Skavenblight Dinge and black)
P3 Morrow White (similar to Ceramite White from Games Workshop)
Fine detail brushes
A wet palette to keep your paints workable
Preparation
Ensure the shoulder pad is base coated and highlighted beforehand. This foundational work is crucial as it sets the stage for the tactical arrow, allowing the highlights to seamlessly integrate with the overall design.
Step-by-Step Guide to the Arrow Shoulderpad
Sketching the Arrow – Begin by painting a central line down the middle of the shoulder pad with Vallejo Heavy Greyblue. This line acts as a guide, ensuring symmetry in your design.Expand outwards from this line to sketch the arrow’s shape. Focus on achieving neat, straight edges, but don’t worry about opacity at this stage.
Refining the Shape – Adjust the width and angles of the arrow to fill the shoulder pad appropriately. Work from the centre outwards to maintain symmetry.
If mistakes occur, remember you can incorporate chips and scratches into the arrow later to mask any imperfections.
Painting Over Obstacles – Take care when painting near the rope or other raised details on the shoulder pad. It may be necessary to rotate the model for better brush access and to prevent paint from touching these areas inadvertently.
Achieving a Smooth Base – Apply additional layers of Heavy Greyblue to solidify the base of the arrow. Aim for a smooth, opaque finish, paying extra attention to the edges for sharpness.
Adding Highlights – Use P3 Morrow White to highlight the top of the arrow, creating a gradient effect towards the base. This step requires patience and a steady hand to maintain clean lines and prevent the white from overwhelming the greyblue base.
Blending Techniques – Mix the Heavy Greyblue and Morrow White on your palette (or directly on the model) to create intermediate shades for blending. Use these mixed shades to smooth the transition from the white highlights to the greyblue base.
Glazing for Smoothness – With Morrow White, apply thin glazes towards the highlight areas to enhance the smooth gradient effect. This technique helps to soften any harsh lines between the white and greyblue.
Adding Battle Damage – Use Vallejo German Grey to add chips and scratches to the arrow, giving it a battle-worn look. Apply these marks sparingly and with precision to avoid detracting from the overall design.
Final Adjustments – Revisit the entire marking, making any necessary corrections or refinements. This may include tightening up the edges, enhancing the gradient, or adding more battle damage for realism.
Video: How to Paint a Black Primaris Marine Part Four – NMM Gold Chest Eagle
Materials Needed
Games Workshop paints: Rhinox Hide, Ceramite White, Mournfang Brown
Vallejo paints: English Uniform, Japanese Uniform, Ice Yellow
Fine detail brushes, including a 00 size for the finest details
A wet palette to keep your paints thinned and workable
Preparation
Ensure the Space Marine is assembled except for the arms and weapon, which should be removed to provide full access to the chest eagle. The base coat should be black to start with – follow this tutorial for his black base coat.
Step by Step Guide to the Gold Chest Eagle in NMM
Base Coat – Start with Vallejo English Uniform as the base colour for the entire chest eagle. This doesn’t need to be perfectly neat but aim to leave the black recesses between feathers for natural shading.
First Highlights – Move on to Vallejo Japanese Uniform to start highlighting. Focus on areas that will catch the most light, considering the light source as coming from the model’s upper front. This creates a warm, mustardy base for the gold effect.
Building Up Highlights – Introduce Vallejo Ice Yellow to begin creating the gold’s reflective properties. Mix Ice Yellow with Japanese Uniform directly on the brush for smooth transitions, and apply these to the higher points and edges that would naturally catch more light.
Refining Edges and Details – Use Ice Yellow to pick out hard edges on the lower sides of the wings and other raised details. This step requires precision, as too much paint can obscure fine details.
Adding Contrast and Depth – Incorporate Games Workshop Rhinox Hide to add depth to the darker areas and enhance the contrast. This helps deepen the colour and adds to the NMM effect by providing a richer base against which the highlights can stand out.
Final Highlights – Ceramite White from Games Workshop is used sparingly for the highest points of light on the eagle. Place tiny dots or thin lines on the most prominent edges where the light would be strongest.
Blending and Smoothing – Continue to blend between the three primary colours (English Uniform, Japanese Uniform, Ice Yellow) to smooth out any harsh transitions and refine the illusion of metal.
Adjustments and Corrections – Go back with your base colours to neaten up any areas where highlights may have extended too far. This is crucial for maintaining sharp, clean details on such a small scale.
Final Touches – Add small imperfections or ‘chips’ in the metal using Rhinox Hide to simulate wear and create a more realistic metallic effect. These should be very small and placed strategically to enhance the realism without detracting from the overall effect.
Once completed, the chest eagle should have a realistic metallic sheen, achieved entirely through the use of non-metallic paints. This technique requires patience and practice, especially when working on such detailed and small areas. The key to successful NMM is understanding how light interacts with metal surfaces and replicating that interaction with paint – I usually keep a few reference photos of ‘real life’ metal open to refer to whenever I am painting metal and recommend you do, too!
Video: How to Paint a Black Primaris Marine Part Five – Gold Awards
The process of painting the golden awards or trinkets on a Raven Guard space marine’s shoulder. This will include a non-metallic metal (NMM) technique to achieve a realistic gold effect on both a bolt shell (awarded for marksmanship) and a Crux Terminatus (denoting veteran status).
Materials Needed
Base Paints:
Vallejo English Uniform
Vallejo Japanese Uniform
Vallejo Ice Yellow
Games Workshop Mournfang Brown
Highlight Paints:
P3 Morrow White
Brushes:
Fine detail brush
Other Supplies:
Wet palette
Water for thinning paints
Step by Step Guide to the Gold Awards
Step 1: Base Coating – Start with Vallejo English Uniform as your base colour. This shade will serve as the foundation for our NMM gold effect. Apply it evenly across the awards, ensuring a smooth base layer.
Step 2: First Highlights – Apply Vallejo Japanese Uniform over the English Uniform, but cover slightly smaller areas to begin building up the highlight effect. Focus on the areas where light would naturally hit the object, such as the top left of the Crux Terminatus and along the left-hand side of the bolt shell.
Step 3: Secondary Highlights – Introduce Vallejo Ice Yellow to enhance the highlights further. Apply it over the previous highlight areas, concentrating on the very edges and points where the light would be strongest. Remember, this stage is crucial for defining the metallic sheen.
Step 4: Fine Tuning Highlights – P3 Morrow White comes in for the final highlighting. Use it sparingly to dot the highest points where the light would be most intense. This step is key to selling the NMM effect, creating the illusion of a reflective metallic surface.
Step 5: Adding Depth and Warmth Games Workshop – Mournfang Brown is used to add depth and warmth. Apply it very carefully to areas adjacent to the highlights, blending it into the base colours. This not only adds a touch of realism but also helps in creating a smoother transition between the light and dark areas.
Step 6: Final Adjustments – Revisit any areas that require adjustments. The secondary highlight with Ice Yellow might seem too bright initially, but as you progress, you might find it appropriate. It’s essential to keep these marks small and precise to reflect light accurately.
Step 7: Reflections and Refinements – Focus on refining reflections and ensuring the highlights on various sections of the awards are consistent with the light source. This includes adding subtle reflections on areas like the elbow, using a mix of English Uniform and Japanese Uniform for a softer highlight.
Video: How to Paint a Black Primaris Marine Part Six – Purity Seal
Creating a detailed and worn purity seal on a Raven Guard Space Marine involves several stages, employing the following techniques and colours to achieve a realistic, battered appearance. Lets get started!
Materials Needed
Paints: Vallejo English Uniform, Vallejo Black, Games Workshop Ushabti Bone, Games Workshop Rhinox Hide, P3 Morrow White.
Brushes: A size 0 or 1 is recommended for most steps, but ensure a fine point for precision.
Step by Step Guide to Painting the Purity Seal
Base Layer
Preparation: Begin with Vallejo English Uniform as your base colour. This step sets the foundation for the scroll’s worn appearance.
Application: Use downward brush strokes to apply the base layer. This technique allows the brush to naturally skip over recesses, creating an initial layer of shadows and texture. The coverage need not be perfect; a slightly patchy appearance adds to the worn look.
Initial Highlights
Colour Selection: Although Vallejo Black is listed, it is not used directly in the scrollwork. Instead, focus on building up from the base colour.
Technique: Lightly apply Ushabti Bone to start defining the scroll’s details and folds. This stage is not about achieving final highlights but rather setting up layers and depth.
Enhancing Texture
Layering: Continue to build up highlights with Ushabti Bone, focusing on the raised folds and edges. This is a gradual process, using very thin layers to slowly increase brightness and contrast.
Detailing: Apply Rhinox Hide sparingly to add shadows and enhance the texture. This helps create a more dynamic, worn look, contrasting with the brighter highlights.
Defining Edges
Edge Highlighting: Use a fine brush to lightly edge-highlight the folds and details. This step requires precision to maintain the worn and battered appearance without making it look too clean or new.
Balance: Keep the highlights subtle to preserve the overall gritty aesthetic of the purity seal.
Text Detailing
Text Application: With a very fine brush, apply tiny dots and dashes with Ushabti Bone to simulate text on the scroll. The goal is to suggest text rather than detail it fully, reflecting the scale of the model.
Consistency: Ensure the paint is not too thin or too thick to avoid pooling or overly bold marks. This step might require practice to perfect the delicate balance needed.
Final Highlights and Adjustments
Refinement: Use P3 Morrow White to apply very selective, final highlights to the most prominent edges and details. This step should be used sparingly to avoid overpowering the previously established texture and depth.
Glazing: Dilute Rhinox Hide to create a glaze. Apply this over the scroll to unify the colours and add depth to the shadows, enhancing the worn effect.
Finishing Touches
Adjustments: Revisit any areas that may need further definition or correction, using the previous colours to tweak the details and ensure a cohesive look.
Evaluation: Examine the purity seal from multiple angles to ensure the text appears realistic and the overall appearance is suitably worn and textured.
Video: How to Paint a Black Primaris Marine Part Seven – Bolt Gun
This guide shows how, using both Vallejo and Games Workshop paints, you can achieve a distinct, worn, and metallic look without actual metallic paints on the bolt gun. This approach is often referred to as non-metallic metal (NMM) painting.
Materials and Paints
Vallejo Paints: Black, German Grey, Neutral Grey, Heavy Bluegrey, English Uniform, Japanese Uniform, Ice Yellow
Games Workshop Paints: Naggroth Night, Mournfang Brown, Rhinox Hide
P3 Paints: Morrow White
Brushes: Fine detail brushes for precise application and edge highlighting
Palette: Wet palette to keep paints moist and workable
Water: For thinning paints and cleaning brushes
Step by Step on How to Paint a Black Primaris Marine Bolt Gun
Base Coating
Preparation: Start with a primer of Vallejo Black to ensure subsequent colours adhere well and show their true tones.
Base Colour: Apply Vallejo Neutral Grey as the base colour for the boltgun. Work from the top down, allowing for a natural gradient from black to a light grey at the bottom, avoiding past Neutral Grey.
Gradients and Highlights
Mixing Colours: Without cleaning your brush, dip into different greys on your palette (German Grey to Heavy Bluegrey) to mix directly on the model for smooth transitions.
Texture: Aim for a rough transition to mimic wear and texture. The boltgun should transition from darker at the top to lighter at the bottom.
Detailing
Edge Highlights: Use Neutral Grey and Heavy Bluegrey for edge highlights. Keep these subtle to avoid overpowering the mid-tones.
Barrel and Ammo Clip: For brighter metal areas like the barrel, use a stronger line of Heavy Bluegrey, blending up to white for the highest highlights. This contrast creates the illusion of reflective metal.
Scratches and Wear
Scratches: Use Neutral Grey to add fine scratches across the gun. This adds to the worn, used look of the weapon.
Glazing: Apply a glaze of Naggroth Night to add depth and further separate the gun from its metallic parts. Mix one part paint to six or seven parts water for a translucent effect. Avoid glazing over the brightest highlights.
Final Touches
Rivets and Details: Highlight rivets with Heavy Bluegrey and white to simulate shiny metal.
Ammo Clip and Barrel: Ensure these are highlighted to match the metallic look of the scope and barrel. Curved surfaces should appear brighter due to their reflective nature.
Skull and Wings
Base Colour: Start with English Uniform for the skull and wings, part of the boltgun decoration.
Highlights: Progress through Japanese Uniform to Ice Yellow, adding highlights to mimic the light source’s direction.
Shadows: Use Mournfang Brown and Rhinox Hide for deep shadows, enhancing the contrast.
Detailing: Apply fine details and edge highlights to create a metallic look without using metallic paints.
Cleanup and Review
Tidying: Use black to clean up any overpainting or to sharpen details.
Contrast Check: Ensure there is a balance between the bright highlights and deep shadows to maintain the illusion of metal.
Tips
Consistency is Key: Keep your paint consistency uniform; too thick can obscure details, too thin can be translucent.
Layering: Build up colours gradually, allowing each layer to dry before applying the next.
Brush Care: Maintain a fine point on your brushes for precise work, especially on small details like text and rivets.
Video: How to Paint a Black Primaris Marine Part Eight – Leather Bolt Pistol Holder
Creating a realistic leather texture on a miniature model, such as a bolt pistol holster for a Raven Guard Space Marine, requires a nuanced approach with layers and subtle detailing. This guide will walk you through painting a leather holster using a select palette of colours and techniques.
Materials Needed
Paints: Games Workshop’s Rhinox Hide, Ushabti Bone, Xereus Purple; Vallejo’s English Uniform, Japanese Uniform; AK Interactive Ultra Matte Varnish.
Brushes: Fine detail brushes for precise application and texture creation.
Palette: A wet palette to keep your paints moist and workable.
Water or Medium: For thinning paints as needed.
Step-by-Step Guide to the Leather Bolt Pistol Holder
Base Coating
Prepare the Surface: Ensure the holster is primed, ideally in black, to enhance the depth of the leather texture.
Apply Rhinox Hide: Using Rhinox Hide, block in the leather holster. Focus on a rough application; it’s beneficial for some of the black primer to peek through. This step lays the groundwork for the textured appearance.
Building Texture
Layer with English Uniform: Target the edges of the holster with English Uniform, as these areas would naturally show more wear. The paint can mix on the brush with Rhinox Hide for a blended transition. This process begins to introduce the worn leather effect.
Detail with Japanese Uniform: Apply Japanese Uniform sparingly to highlight the very edges and areas of most wear, such as corners and folds. This colour adds a yellowish hue to the leather, simulating sunlight bleaching and aging.
Adding Scratches and Wear
Scratch Technique: With a fine brush, add scratches using the lighter brown tones (English Uniform and Japanese Uniform). These should be fine and random, to mimic real leather wear. Ensure your brush is almost dry; too much paint will result in an unnatural appearance.
Texture Variation: Incorporate varied directions and lengths of scratches, focusing on areas that would logically receive more wear. This step enhances the realism of the leather.
Deepening the Texture
Reinforce Shadows: Return to Rhinox Hide to glaze over the holster. This step unifies the previous layers and softens the contrast, embedding the scratches into the leather more authentically.
Glaze with Xereus Purple: Apply a very diluted Xereus Purple glaze. This subtle hue adjustment adds depth and visual interest, subtly shifting the leather’s tone.
Finishing Touches
Apply Matte Varnish: To consolidate the texture and mute any unwanted shine, apply a coat of AK Interactive Ultra Matte Varnish. This enhances the leather’s realistic matte finish.
Final Adjustments: Review the holster for any necessary touch-ups. Additional glazes of Rhinox Hide can be used to adjust the depth and uniformity of the colour.
Tips for Success
Layering: Build up the texture in layers; patience is key to achieving a realistic leather look.
Variation: Ensure the scratches and wear marks vary in direction and length for a natural appearance.
Glazing: Use thin glazes to subtly adjust tones and blend layers without obscuring the detail beneath.
Matte Finish: The final matte varnish is crucial for achieving the authentic look of leather.
If you don’t have an account, please sign up here! The website currently has over 350 video tutorials with steps and tips, plus a selection of PDFs. If you are not sure about joining, you can explore my free videos with a free membership, or take the plunge and become a full subscriber for full access.
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Tor Garadon is the Imperial Fists’ longest serving Battle Company Captain, an unstoppable warrior in whom the lessons of the Primarch have been distilled to their most punishing form.
For all of the tutorials on how I painted Tor Garadon, please follow the link below! Or, scroll down for just the leather and details video and step-by-step guide with paints:
Tor Garadon
A series of videos on how I painted him, including details on the head and leather parts.
Watch Now
Video: How to Paint Tor Garadon Leather, Chest Eagle NMM, Red Shoulder Trim
This video covers the techniques for painting the leather details, non-metallic metal (NMM) effects on the chest eagle and other adornments, the red shoulder trim, and the blue lenses.
Materials Needed
Base Paints: Rhinox Hide, Macragge Blue, Mephiston Red.
Highlight Paints: Cadian Fleshtone, Mournfang Brown, Hoeth Blue, Baharroth Blue, Wild Rider Red, Evil Sunz Scarlet.
Specialty Paints: Vallejo Japanese Uniform, English Uniform, Ice Yellow, Ivory; P3 Morrow White.
Brushes: A selection ranging from fine detail to medium size.
Other: Wet palette, water for thinning paints, paper towel for blotting.
Tor Garadon Leather Details
Base Layer: Apply Rhinox Hide to the leather areas for a rich, dark brown base.
Weathering and Texture: Using Cadian Fleshtone, paint crack marks and weathering on the leather to simulate wear. Focus these marks more towards the edges and keep them parallel but slightly varied in angle for a natural look.
Shading and Depth: Mix a bit of Rhinox Hide into your Cadian Fleshtone on a wet palette and go back over your weathering marks to soften and blend them into the leather, enhancing depth.
Non-Metallic Metal (NMM) Chest Eagle
Base Colours: Start with Vallejo English Uniform as your base for the gold NMM areas.
Building Up Highlights: Layer Vallejo Japanese Uniform over the base, focusing on the upper left areas of the eagle to mimic a light source coming from that direction.
Bright Highlights: Add Vallejo Ice Yellow for the brighter highlights, concentrating on areas that would catch the most light.
Final Highlights: Use Vallejo Ivory and P3 Morrow White for the brightest points of light on the eagle, such as the tips of feathers or central areas closest to the perceived light source.
Red Shoulder Trim
Base Coat: Paint the shoulder trim with Mephiston Red, ensuring a solid, even base layer.
First Highlights: Apply Evil Sunz Scarlet to the upper portions of the trim where light would naturally hit.
Final Highlights: Use Wild Rider Red for the brightest highlights, applying it sparingly to maintain the red’s saturation and avoid it looking pink or orange.
Blue Lenses
Base Layer: Start with Macragge Blue, painting a dome shape on the lens, leaving some of the base black visible for depth.
Adding Depth: Layer Hoeth Blue over the Macragge Blue, focusing on the top left side to start building the reflective look.
Brighter Highlights: Apply Baharroth Blue in a smaller area than the Hoeth Blue, enhancing the sense of reflection.
Final Touches: Add a tiny dot of P3 Morrow White in the top left corner of the lens to simulate a pinpoint reflection of light.
If you don’t have an account here on my website, please sign up here! I have over 350 video tutorials with steps and tips, plus a selection of PDFs. If you are not sure about joining, you can explore my free videos with a free membership.
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In my How to Paint Abaddon Cloak video series, we’ll be taking a deep dive into painting the cloak of Abaddon the Despoiler—one of the most iconic and menacing figures in the Warhammer 40K universe. From creating a rich, weathered leather effect to the intricate freehand designs symbolising the four Chaos Gods, this tutorial will guide you through every step. We’ll be using a mix of Games Workshop and Vallejo paints to bring out the dark, foreboding atmosphere of Abaddon’s cloak while ensuring it matches his brutal, battle-hardened aesthetic.
Video – How to Paint Abaddon Cloak (Leather Effect)Paints neededPainting the Inside of the Cloak Video – How to Paint Abaddon Cloak Freehand Part OnePaints and materials neededPreparing the CloakStarting the Freehand Video – How to Paint Abaddon Cloak Freehand Part TwoPaints needed:Refining the Slaanesh HeadDetailing and TexturingVideo – How to Paint Abaddon Cloak Freehand Part ThreePaints neededPainting the Khorne Head Video – How to Paint Abaddon Cloak Freehand Part FourPaints and materials neededPainting the Nurgle Head Video – How to Paint Abaddon Cloak Freehand Part FivePaints needed:Video – How to Paint Abaddon Cloak Freehand Final PartPaints neededWhy I Chose to Paint the Cloak This Way:All Abaddon TutorialsVideos Not Showing?
Video – How to Paint Abaddon Cloak (Leather Effect)
Paints needed
Paints:
Vallejo: Heavy Sienna, Dwarf Skin, Scab Red
Games Workshop: Rhinox Hide, Mournfang Brown
Painting the Inside of the Cloak
Base Coating:
Prime the cloak black. This will serve as the base for the following layers.
Apply a rough coat of Rhinox Hide. Use a scrubbing motion with your brush to create an uneven, patchy texture. This coat should be about 1.5 parts paint to 1 part water. The goal is to have a base colour that isn’t perfectly smooth, as this will add to the weathered effect.
First Layer of Texture:
Use Vallejo Heavy Sienna to add the first layer of texture. This paint is extra opaque, which makes it ideal for creating highlights and adding detail.
Apply the paint using the tip of your brush, creating very rough, random marks all over the cloak. Use a cross-hatching and squiggling technique to add a sense of worn leather. This coat should be around 50/50 paint to water for better flow.
Second Layer of Texture:
Once the first layer is dry, use Cadian Fleshtone to add more refined texture marks. These marks should be thinner and more considered than the previous layer. Focus on the highlight areas but make sure to add some detail in the shadowed areas as well.
Highlight Detailing:
With Dwarf Skin (or a similar light flesh tone), add fine highlights to the cloak. These highlights should be placed carefully to enhance the texture and add depth. Use very thin paint (more than 50/50 water to paint) and minimal paint on the brush to achieve subtle, translucent marks.
Glazing:
Prepare three colors on your wet palette: Mournfang Brown, Rhinox Hide, and Scab Red.
Using heavily thinned Mournfang Brown (around 6 parts water to 1 part paint), glaze over the cloak, focusing on the mid-tones and recesses. This will add a warm tone and help unify the previous layers.
Apply Rhinox Hide glaze to the shadow areas to enhance depth. This glaze should also be very thin.
Use Scab Red to add some variation and interest, especially in the darker areas.
Fading the Edges:
To create a faded effect at the bottom of the cloak, use Scab Red mixed with Rhinox Hide. Thin the paint significantly and apply multiple layers, building up the color gradually.
Make sure the transitions are soft by using long strokes that follow the flow of the cloak.
Final Touches and Varnishing:
After completing the texturing and glazing, apply a coat of matte varnish to protect your work and reduce shine. This will also help to soften the overall effect and integrate all the layers.
Video – How to Paint Abaddon Cloak Freehand Part One
Paints and materials needed
Paints:
Games Workshop: Emperor’s Children, Fulgrim Pink, Rhinox Hide, Kantor Blue
Vallejo: Black, Heavy Grey, Sunset Red
Brushes:
Detail brush with a fine tip (size 00 or 0)
Standard brush
Palette: Wet palette recommended
Tools:
Clean cloth or paper towel
Magnifying visor (optional for fine details)
Ultramar Varnish (for a protective layer)
Preparing the Cloak
Visualizing the Design:
Before starting the freehand, visualize your design. You can use a photo editing tool to superimpose a rough sketch on a picture of the cloak to align your design. This helps in understanding the flow and positioning of the elements.
Base Preparation:
Ensure the texture work on the cloak is complete. This includes the heavy weathering and crack effects as detailed in the previous videos.
Applying a Protective Layer:
Apply a thin coat of Ultramar Varnish to the cloak. This provides a slight protective layer that can make it easier to correct mistakes without damaging the underlying paint.
Starting the Freehand
Marking Guidelines:
Use a thinned black paint to draw a cross on the cloak. This helps in aligning your design elements and ensuring symmetry.
Blocking in Colors:
Start by blocking in rough shapes for each of the Chaos Gods. Use the following colors for the base blocks:
Slaanesh: Fulgrim Pink
Nurgle: Rhinox Hide
Khorne: Sunset Red
Tzeentch: Kantor Blue
Detailed Blocking for Slaanesh:
Focus on the Slaanesh section first. Block in the basic face shape using Fulgrim Pink. Remember, this is just the base layer, so it doesn’t need to be perfect.
Refining the Shape:
Add basic facial features with a darker pink or purple mixed with Fulgrim Pink. This includes the rough position of the eyes, nose, and mouth.
Adjusting and Correcting:
Use Rhinox Hide to correct and refine the shapes. Rhinox Hide is great for this purpose due to its translucency, which allows you to darken areas without completely obscuring the details underneath.
Video – How to Paint Abaddon Cloak Freehand Part Two
Paints needed:
Paints:
Games Workshop: Emperor’s Children, Fulgrim Pink, Mephiston Red
Vallejo: Black, Sunset Red
P3: Morrow White
Refining the Slaanesh Head
Starting with the Horns (Optional):
Initially, I planned to add horns to the Slaanesh head, but later decided against it for compositional reasons. If you prefer to include horns, start by blocking them in with Fulgrim Pink or a similar color. Remember, details on such a small scale can become cluttered quickly.
Painting Over Mistakes:
If you decide against an element (like the horns), don’t worry. Paint over it with the base color of the cloak (Rhinox Hide) to blend it back in. Mistakes are part of the process and can be easily fixed.
Adding Black Hair:
Using Vallejo Black, paint in the hair for the Slaanesh head. Keep the hair wavy and flowing to add movement and dynamism. Focus on keeping the strokes soft and thin.
Refining Facial Features:
Continue refining the face. Use Emperor’s Children mixed with Morrow White for highlights, and Sunset Red mixed with Black for shadows. Work slowly and build up the layers gradually.
Pay special attention to the eye sockets, nose, and mouth. These areas define the expression and overall look of the face.
Balancing Highlights and Shadows:
It’s important to balance your highlights and shadows. Ensure the lighting is consistent across the face to maintain a three-dimensional look. Use Fulgrim Pink and Emperor’s Children for lighter areas and mix in more white for the brightest highlights.
Detailing and Texturing
Teeth and Tongue:
For the teeth, use Morrow White. Since the teeth are very small, it’s challenging to add transitions. Focus on making them look sharp and slightly pointy without over-emphasizing.
For the tongue, start with Sunset Red and add shading with a darker red. Add subtle highlights with Emperor’s Children mixed with Sunset Red.
Softening the Edges:
Around the eyes and mouth, use diluted Rhinox Hide to soften the edges and blend the features into the face. This helps avoid a cartoony look and makes the face appear more natural.
Adding Red Tones:
Use Mephiston Red diluted with water (2.5 parts water to 1 part paint) to add red tones to the face. Apply this glaze lightly to enhance the overall color without overpowering the existing details.
Video – How to Paint Abaddon Cloak Freehand Part Three
Paints needed
Paints:
Games Workshop: Mephiston Red, Evil Sunz Scarlet, Wild Rider Red, Balor Brown, Rhinox Hide, Morghast Bone, Blue Horror
Vallejo: Model Colour Black
Painting the Khorne Head
Base Colours:
Start with Mephiston Red to block in the base color of the Khorne head. Ensure even coverage.
Use Evil Sunz Scarlet to add highlights, focusing on areas that catch the most light.
Outlining with Black:
Use Vallejo Black to outline the features of the face. This helps define the shapes and make them stand out against the brown leather background.
Focus on outlining the eyes, nose, and mouth areas to start shaping the face.
Shading and Highlighting:
For shadows, use Rhinox Hide mixed with Mephiston Red. This helps deepen the shadows without losing the red tone.
Use Balor Brown for the first layer of highlights, especially on the raised areas like the cheekbones and forehead.
For more pronounced highlights, use Wild Rider Red mixed with Morghast Bone. Apply these sparingly to maintain the red color.
Detailing the Horns:
Paint the horns with Balor Brown as the base color.
Add highlights using Morghast Bone, focusing on creating a ribbed texture to give the horns a natural look.
Use Rhinox Hide to add shadows and define the ribs on the horns. The goal is to create a cylindrical appearance.
Adding Facial Features:
Paint the eyes black, then add a small dot of Balor Brown to represent the iris.
Add details to the teeth using Morghast Bone. The teeth should be sharp and prominent.
Use Blue Horror for final highlights on the face and horns. This helps tie all the heads together with a consistent light source.
Additional Details:
Add small horns or spikes on the Khorne head to fill in empty spaces and add more detail. Paint these with Balor Brown and highlight with Morghast Bone.
Use Mephiston Red to paint the gums around the teeth, adding Rhinox Hide for shading.
Video – How to Paint Abaddon Cloak Freehand Part Four
Paints and materials needed
Paints:
Games Workshop: Rhinox Hide, Deathworld Forest, Warboss Green (optional), Balor Brown, Morghast Bone, Screaming Skull, Mournfang Brown, Bugman’s Glow, Cadian Fleshtone
Vallejo: Black, Heavy Grey (optional), Golden Olive, Pale Grey Blue
Painting the Nurgle Head
Base Coloirs:
Start by sketching the rough shape of the Nurgle head with Deathworld Forest.
Use Rhinox Hide to outline and add shadows to define the initial shape of the head.
Building Up Details:
Use Warboss Green and Golden Olive to add highlights, focusing on areas that catch the most light. For a less vivid color, minimize the use of Warboss Green.
Apply Vallejo Black to outline the eyes, nose, and mouth, adding definition to the facial features.
Adding Wrinkles and Texture:
Paint wrinkles and lines using Golden Olive mixed with Deathworld Forest. Follow the natural flow of the face to make the lines look more realistic.
Use Rhinox Hide to deepen the shadows and add more depth to the wrinkles.
Painting the Mouth and Teeth:
Use Bugman’s Glow and Cadian Fleshtone for the gums. Start with Bugman’s Glow for the base and highlight with Cadian Fleshtone.
Paint the teeth with Morghast Bone, and add highlights with Screaming Skull. Outline the teeth with Vallejo Black for better definition.
Highlighting and Shading:
Use Balor Brown and Morghast Bone for additional highlights on the face and horn.
Blend the highlights using Rhinox Hide for smooth transitions. This helps in maintaining the three-dimensional look of the head.
Painting the Horn:
Base coat the horn with Balor Brown. Add highlights using Morghast Bone and Screaming Skull.
Create a ribbed texture on the horn using fine lines and blend with Rhinox Hide.
Detailing the Eyes:
Paint the eyes with Vallejo Black for the pupils and Balor Brown for the iris. Add a small white dot for the light reflection.
Adding the Tongue:
Paint the tongue with Bugman’s Glow and highlight with Cadian Fleshtone.
Add depth and shadows using Rhinox Hide and Pale Grey Blue.
Adjust the shape of the tongue as needed for better composition.
Video – How to Paint Abaddon Cloak Freehand Part Five
Paints needed:
Paints:
Games Workshop: Rhinox Hide, Balor Brown, Morghast Bone, Ushabti Bone, Mournfang Brown, Bugman’s Glow, Cadian Fleshtone, Blue Horror, Night Lords Blue, Temple Guard Blue
Vallejo: Black
Painting the Tzeentch Head
Base Colours:
Start by blocking in the rough shape of the Tzeentch head with Night Lords Blue. This dark background will help define the initial shape.
Use Temple Guard Blue to add initial highlights and define the contours of the head. This contrast will make the shape more visible despite the translucency of the paint.
Refining the Shape:
Use Vallejo Black to outline and add bold details. This will help define the facial features and add depth.
Apply Balor Brown to areas that will represent the beak and other prominent features of the head.
Detailing the Beak:
Use Balor Brown as the base for the beak. Add highlights with Morghast Bone and Ushabti Bone to create a gradient effect.
Paint the inside of the mouth with Vallejo Black to create depth.
Add details to the beak, such as small teeth, using Morghast Bone. Highlight with Ushabti Bone for a more pronounced effect.
Creating Texture:
Use Blue Horror and Temple Guard Blue to create a feathery texture on the head. These marks should be softer and more translucent to blend well with the darker base.
Add small tendrils or feathery protrusions using the same colors to differentiate the Tzeentch head from the other Chaos heads.
Painting the Eye:
Paint the eye with Balor Brown. Use multiple layers to build opacity, focusing on the lower part of the iris for a highlighted effect.
Add the pupil with Vallejo Black and a small white reflection dot with Morghast Bone.
Adding the Tongue:
Use Bugman’s Glow and Cadian Fleshtone to paint the tongue. Start with Bugman’s Glow for the base and highlight with Cadian Fleshtone.
Add depth and shadows using Rhinox Hide and Blue Horror. Adjust the shape of the tongue as needed to fit the overall design.
Final Touches:
Use Mournfang Brown to add subtle shading and transitions on the beak and other areas. This colour’s low opacity will help create smooth blends.
Add small details, such as saliva or other organic textures, with Blue Horror. Ensure the marks are thin and subtle for a more natural look.
Video – How to Paint Abaddon Cloak Freehand Final Part
This final part of the freehand painting series brings together the intricate design on Abaddon’s cloak, highlighting the iconic eight-pointed star of chaos and adding weathering effects for a unified, detailed finish.
Paints needed
Paints:
Games Workshop: XV-88, Balor Brown, Mournfang Brown, Rhinox Hide, Mephiston Red, Evil Sunz Scarlet, Wild Rider Red, Cadian Fleshtone, Temple Guard Blue, Kantor Blue (for additional eyes – iris)
Vallejo: Black, Pale Grey Blue, Neutral Grey, Ice Yellow
P3: Morrow White
Painting the Eight-Pointed Star of Chaos
Base Color:
Start by painting the base of the eight-pointed star with XV-88. This will serve as the foundation for a non-metallic gold effect.
Sketch the star and its arrows lightly, ensuring they fit around the four Chaos Gods’ heads without overpowering the design.
Refining the Star:
Add detail to the arrows, making them irregular in size and shape for a chaotic effect. Be mindful of the faces you have already painted.
Incorporate the star into the existing design by blending it into the heads and the background.
Painting the Eye of Chaos:
In the center of the star, paint an oval shape with Vallejo Black for the eye.
Add highlights around the eye using Neutral Grey and Pale Grey Blue, leaving a black outline for definition.
Paint the iris with Mephiston Red, then layer Evil Sunz Scarlet and Wild Rider Red towards the bottom for a glowing effect.
Add a highlight shine with Pale Grey Blue and a small dot of Morrow White for a realistic eye.
Adding Non-Metallic Gold Effects
Highlighting and Shading:
Add highlights to the star using Balor Brown, Mournfang Brown, and Rhinox Hide for depth. Use Ice Yellow for sharp highlights.
Focus on creating a three-dimensional look by highlighting edges and adding shadow in the appropriate areas.
Use small dots of Morrow White for the brightest points to simulate metallic reflections.
Integrating the Design:
Paint subtle connecting lines from the star to the heads using the same gold colors. This helps unify the design.
Blend some of the gold into the heads, especially around the edges, to show that they are part of a single piece.
Weathering Effects
Adding Wear and Tear:
Use Cadian Fleshtone to add fine scratches and wear marks over the entire design. These should be thin and subtle to avoid overpowering the details.
Focus on the edges and high points of the design where natural wear would occur.
Glazing:
Create glazes with Rhinox Hide and Mournfang Brown by diluting them with water (7:1 or 10:1 ratio).
Apply these glazes over the scratches and around the heads to tone down the highlights and add depth.
Use Mournfang Brown to add warmth back to the gold areas where needed.
Final Touches
Additional Eyes:
Paint small additional eyes throughout the design using the same technique as the main eye, but using Temple Guard Blue and Kantor Blue for the iris.
These eyes add a creepy, chaotic element to the design.
Final Review:
Step back and review the entire cloak to ensure the design is cohesive and balanced.
Make any final adjustments to highlights, shadows, and details to ensure the freehand looks integrated and realistic.
Why I Chose to Paint the Cloak This Way:
When painting Abaddon’s cloak, I wanted to reflect both his status and the weight of his millennia-spanning crusades. The inside of the cloak features a worn, leather texture, which I chose to represent the endless battles Abaddon has fought—this cloak has been through as much war as the Warmaster himself. The scrubbing and layering techniques help give it a rich, aged look, adding a sense of history and character to the model.
The freehand design on the back is a visual homage to the four Chaos Gods—Slaanesh, Nurgle, Khorne, and Tzeentch—who each play a critical role in Abaddon’s rise to power. Each head is painted with its own unique style and colour scheme to represent their distinct personalities, but I also aimed to blend them into the chaotic flow of the cloak, reflecting how intertwined their influences are in Abaddon’s life.
The eight-pointed star of Chaos ties it all together, symbolising Abaddon’s mastery over the forces of Chaos Undivided. It’s not just about painting the symbols, but about integrating the chaos of these gods into the fabric of his existence, making the cloak more than just a piece of his armour—it’s a canvas for his dark legacy.
All Abaddon Tutorials
There are lots more tutorials for painting Abaddon! Follow the link below to watch them all, or scroll town to explore them by model part.
Abaddon the Despoiler
A series of videos on how to paint Abbadon the Despoiler to competition standard – (new step-by-step guides included!)
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The final painting Morgok video, with kill trophies, highlights, cloth, leather and just those lovely finishing touches.
Video – Kill trophies, highlights, cloth, leather and more on Morgok!
Materials and Paints
The following paints were used: Games Workshop: Cadian Fleshtone, Balor Brown, Morghast Bone, Kantor Blue, XV-88 (Or Balor Brown mixed with black), Rhinox Hide Vallejo: Neutral Grey, Pale Grey Blue P3: Morrow White
Step-by-Step Guide
To finish painting Morgok from Morgok’s Krushas, focusing on the kill trophies and final touches to the armour, here’s a step-by-step guide:
Painting the Trophy Heads:
Basecoat: Start with Vallejo Neutral Grey to outline highlight areas. This grey base helps to convey the deceased look of the heads.
Highlighting: Apply Cadian Fleshtone, which appears pinkish on the palette but turns pale when applied. Mix it with two parts water to one part paint for translucency, allowing underlying grey to show. This creates a dehydrated, mummified look. Focus on prominent features like cheekbones, forehead, upper lip, and nose.
Adding Cool Tones: Use Kantor Blue, heavily diluted (about four parts water to one paint), to add a cold, lifeless tone to the flesh. Be cautious as it’s strong and can overpower other colours. Apply sparingly and touch up with Cadian Fleshtone where needed.
Painting the Hair:
Basecoat: Use Rhinox Hide for a dark base.
Detailing: Apply a mix of Balor Brown and black (or XV-88) for the texture. Water down slightly for a smoother finish. Follow with Morghast Bone for finer details and strands. Apply these colours in thin lines to represent the texture of the hair.
Painting the Skull:
Basecoat: Apply Balor Brown over black primer. Don’t aim for a smooth finish; a bit of messiness adds to the worn look.
Highlighting: Use Morghast Bone for highlights, focusing on raised areas like the brow. This creates the effect of a weathered, unpolished skull.
Final Touches to the Armour:
Secondary Bounce Highlights: Use Neutral Grey for less bright areas, ensuring the main highlights are brighter. Apply these highlights on areas like the underside of the armour, keeping in mind the light source and overall weathered look.
Refining Highlights: Use Pale Grey Blue and Morrow White for hard edges and minor details. Apply Morrow White sparingly to maintain focus on the model’s main areas.
Adding Rust and Grime:
Base Layer: Start with Mournfang Brown for rust and grime, focusing on areas like the belt.
Secondary Layer: Apply Troll Slayer Orange for a more saturated rust effect. This colour is strong; use it carefully to avoid overpowering other elements.
Glazing for Cohesion:
Mixing the Glaze: Create a glaze with Abaddon Black, diluting it heavily (approximately five parts water to one part paint).
Application: Apply the glaze carefully to mid-tones and shadows, avoiding the brightest highlights. This unifies the armour’s look, enhancing shadows and reducing the intensity of mid-tones for a cohesive finish.
Throughout the process, maintain a balance between detail and the overall look of the model. The aim is to create a realistic, battle-worn appearance with attention to the finer details, especially on the trophy heads and armour.
Morgok from Morgok’s Krushas – All Videos
Painting Morgok from Morgoks Crushas
Morgok and his mob of Ironjawz brutes once hunted down and fought the greatest prey they could find amongst Ghur’s trackless wastes. Whether they ran down spiny nephrodiles or fought the storm-warriors of Sigmar, Morgok’s Krushas sought the mightiest trophies in the name of their bellicose deity, Gorkamorka.
Here is the full series of videos on how I painted him!
Watch Now
If you don’t have an account, please sign up here! The website currently has over 350 video tutorials with steps and tips, plus a selection of PDFs. If you are not sure about joining, you can explore my free videos with a free membership, or take the plunge and become a full subscriber for full access.
If you’d prefer to support me on Patreon, please visit: https://www.patreon.com/RichardGray [...]
The latest video for Morgok, from Morgok’s Krushas. This video features how to paint the hair and leather.
Video – How to Paint Morgok: Hair and Leather
Materials and Paints
The following paints were used: Games Workshop: Abaddon Black, Mepthiston Red, Evil Suns Scarlet, XV-88, Balor Brown, Dryad Bark, Rhinox Hide, Troll Slayer Orange Vallejo: Pale Grey Blue, Black
Step-by-Step Guide
Painting the hair and leather on Morgok, the Orruk leader from Morgok’s Krushas, involves several steps to achieve a vivid and realistic look. Here’s a clear and concise guide:
Hair Basecoat: Mix Mephiston Red with a bit of Abaddon Black (approximately 2 parts Mephiston Red to 1 part Abaddon Black). Apply this mixture to the hair, noting that it appears redder when wet but dries to a browner shade.
Leather Basecoat: Use Dryad Bark for the leather parts. This serves as a base for further detailing and shading.
Hair Highlighting: Begin highlighting the hair with plain Mephiston Red. This creates a bright and vibrant effect when wet but darkens upon drying. Ensure even coverage, avoiding too much contrast in the crevices.
Building Hair Texture: Continue to build the hair’s texture by using Evil Sunz Scarlet. Focus on large strands and upward-facing hair sections. This stage is about setting the overall light volume.
Refining Hair Highlights: Mix Evil Sunz Scarlet with Pale Grey Blue (about 2 parts Evil Sunz Scarlet to 1 part Pale Grey Blue). Apply this mix for the final hair highlights, focusing on edges and keeping the highlights consistent and directional.
Adjusting Leather Colour: If you find the leather too desaturated, glaze it with Rhinox Hide and then Troll Slayer Orange to add depth and richness. This step is adjustable based on personal preference.
Detailing Leather: Start detailing the leather with XV-88, focusing on vertical scratchy marks and blending them into the base colour. This mimics a worn leather texture.
Enhancing Leather Texture: Use Balor Brown for further texture on the leather. Apply thin lines to mimic cracks and wear, focusing on the lighter areas for highlights.
Leather Shadowing: Mix Balor Brown with a bit of black (Vallejo Black or similar) and apply this to the shadowed areas of the leather. This step adds depth and contrast.
Leather Final Highlights: For the highest highlights on the leather, use pure Pale Grey Blue. Apply sparingly and focus on areas where light would naturally hit the most.
Glazing for Depth: Finally, apply a glaze of Rhinox Hide over the leather to unify the colours and tones. This also helps in blending the highlights into the base colour.
Remember to let each layer dry before applying the next, and adjust the intensity of your highlights and shadows to match the overall look you desire for Morgok. The aim is to create a vibrant, detailed, and realistic appearance for both the hair and leather parts of the miniature.
Morgok from Morgok’s Krushas – All Videos
Painting Morgok from Morgoks Crushas
Morgok and his mob of Ironjawz brutes once hunted down and fought the greatest prey they could find amongst Ghur’s trackless wastes. Whether they ran down spiny nephrodiles or fought the storm-warriors of Sigmar, Morgok’s Krushas sought the mightiest trophies in the name of their bellicose deity, Gorkamorka.
Here is the full series of videos on how I painted him!
Watch Now
If you don’t have an account, please sign up here! The website currently has over 350 video tutorials with steps and tips, plus a selection of PDFs. If you are not sure about joining, you can explore my free videos with a free membership, or take the plunge and become a full subscriber for full access.
If you’d prefer to support me on Patreon, please visit: https://www.patreon.com/RichardGray [...]
Two video tutorials on how to paint the Blissful One from The Unmade – fast and brutally effective fighters with the power to turn anyone who gets in their way into particularly grimdark coleslaw.
Video: Blissful One from The Unmade – Part One
This tutorial will guide you through the initial steps of painting the Blissful One from The Unmade Warband, focusing on establishing base colours, highlighting, and creating contrast. We’ll start with a model that has been assembled and primed in black.
Materials and Paints Needed:
Primer: Black
Base Paints: Games Workshop Mephiston Red, Cadian Fleshtone, Blue Horror, Morghast Bone, Skavenblight Dinge, Ogryn Camo; Vallejo Neutral Grey, Ice Yellow; P3 Morrow White
Step-by-Step Guide to The Blissful One – Part One:
Glue and Prime: Assemble your Blissful One from The Unmade and prime it in black. Bear in mind, this model is quite fragile, so handle it with care during both assembly and painting.
Hood Painting: Start with the hood using Blue Horror. Due to the black primer, multiple layers will be needed to achieve an opaque and neat finish. The hood features intricate folds, excellent for practising highlighting and creating depth.
Skin Mask and Model’s Skin: Apply Cadian Fleshtone to the flayed skin, including the face mask on the belt and the model’s own skin. Start with a patchy application; this allows you to gradually build up texture and depth.
Red Cloth: Use Mephiston Red for the cloth parts of the model. With the dark undercoat, the red will appear quite dark initially but can be brightened through subsequent layering.
Non-Metallic Metals (NMM): For weapons and metallic details, begin with Neutral Grey. Block in areas that catch the most light, using the weapons’ curves as a guide. NMM techniques rely on creating metal illusions through strategic light and dark colour placement, not metallic paints.
Skull and Bone Details: Utilise Morghast Bone for skulls and bones on the Blissful One. This base will be lightened up to white in areas catching the most light.
Highlighting and Adding Depth:
Highlight strongly lit areas with Ice Yellow and Morrow White, such as top edges and curves.
Apply Neutral Grey and Blue Horror to build the NMM effect on weapons and the halo-like accessory.
Skavenblight Dinge and Ogryn Camo can add contrast and deepen shadows when blended into base colours.
Rust Effects: To add realism and age, mix brown and orange shades for rust effects on metallic areas.
Finishing Touches: Continually assess the model for areas needing more depth or brightness. Use glazing techniques with thinned paint to smooth transitions and enhance the look.
Additional Tips:
Layering: Gradually build up colours, especially when working from a dark undercoat for smooth transitions and rich colours.
Directional Highlighting: Maintain light source consistency across the model to reinforce its three-dimensional aspect.
Texture and Contrast: Leverage the model’s texture for your brushwork and colour placement, using the creases in cloth and skin details as guides.
Video: Blissful One from The Unmade – Part Two
We delve further into detailing and finalizing our Blissful One miniature, focusing on leather, flesh, metallics, and final touches.
Materials and Paints Required:
Base Paints: Games Workshop Mephiston Red, Cadian Fleshtone, Blue Horror, Morghast Bone, Skavenblight Dinge, Ogryn Camo, Naggaroth Night, Fire Dragon Bright, Yriel Yellow; Vallejo Neutral Grey, Ice Yellow, Black, Pale Blue Grey; P3 Morrow White, Iosen Green
Fine Detail Brush
Wet Palette
Step-by-Step Guide to the Blissful One – Part Two:
Leather Straps:
Start with Cadian Fleshtone on the leather straps across the chest. Apply sparingly over the black to maintain the dark leather look. Focus on edges and use light touches to create texture and highlight simultaneously.
For the leg leather, begin with Rhinox Hide for a base, leaving some black to show through for shadows. Layer with Cadian Fleshtone for texture and detail, similar to the chest straps, but avoid Ice Yellow to keep it less bright than the chest.
Skin and Flesh:
Layer the living skin with Cadian Fleshtone, aiming for an opaque finish. Use Wraithbone to highlight and add definition to scarring, blending with Naggaroth Night for a subtle, wounded appearance.
For dead skin areas, enhance the rotted look with Ogryn Camo and desaturate with Pale Blue Grey and Skavenblight Dinge. Glaze recesses with Naggaroth Night to deepen the rot effect without overpowering the flesh tone.
Non-Metallic Metals:
Continue with Neutral Grey, Ice Yellow, and Vallejo Black for metallic areas. Apply with a focus on the light source direction, using Ice Yellow for highlights. Add texture and variation with small, detailed brushstrokes.
For rust effects on metallics, use Fire Dragon Bright in recesses and around details for a worn look. Blend with Rhinox Hide or Mournfang Brown to adjust the saturation and achieve a realistic rust appearance.
Freehand Details:
Add simple freehand designs, such as chaos stars, on the ribbons or other appropriate areas. Use a very fine brush and thin paint, keeping the designs neat and proportional to the model’s scale.
Paint glowing eyes on skulls or masks with Iosen Green, highlighting towards the centre with Yriel Yellow for a luminous effect. Avoid overdoing the glow to keep it subtle and realistic.
Final Touches:
Revisit any areas needing refinement or additional highlights. Use the fine detail brush to ensure precision, especially on freehand details and facial features.
Seal the model with a matte varnish to protect your work and reduce any unwanted shine from glossier paints.
Additional Tips:
Detailing Leather: When painting leather, remember that less is more. Use the base black colour to your advantage for shadows and texture.
Skin Tones: For living skin, ensure a healthy glow by avoiding desaturated colours in highlight areas. For dead or rotted skin, desaturation helps convey decay.
Metallics: Non-metallic metal painting requires patience and a good understanding of light. Don’t rush these areas and use reference images if necessary.
Final Checks: Before considering the miniature complete, review it under different light sources to catch any inconsistencies or missed spots.
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There are lots of textures and fine details on the feet and face of Mortarion – here’s how to paint Mortarions Face, Feet and Hood!
Quick Jump to:
Video: Face and footStep-by-step: How to Paint Mortarions Face and footVideo: Hood Part 1Step-by-step: How to Paint Mortarions Hood – Part OneVideo: Head and Hood Part 2Step-by-step: How to Paint Mortarions Head and Hood – Part TwoVideos Not Showing?
Video: Face and foot
This video shows how to lighten the face of Mortarion and also how to paint the weathering on his armour.
The following paints were used:Games Workshop: Ceramite White, Flayed One Flesh, Pallid Wych Flesh, Ushabti Bone, Rhinox Hide.
Step-by-step: How to Paint Mortarions Face and foot
Glazing for Face Lightening: Prepare a glaze using Games Workshop’s Flayed One Flesh paint and water (about 5 parts water to 1 part paint).Load the brush with the glaze and remove excess paint on kitchen roll.Apply thin layers of glaze to the face, focusing on central areas like the forehead, bridge of the nose, and cheeks.Be careful not to let the glaze pool in the recesses. Keep adjusting to maintain control over the layering.Pallid Wych Flesh Detailing: Use Games Workshop’s Pallid Wych Flesh, a thicker paint, to highlight the top of creases on the face.Build up contrast between creases and highlights gradually to create a natural look.Ensure that the creases are lightened, but maintain a balance with the overall lighting on the face.Final Highlight with Games Workshop’s Ceramite White: Apply Games Workshop’s Ceramite White to the highest points of the face, focusing on central areas.Use a controlled technique to avoid overdoing the highlights.Maintain subtlety and control over the white highlights for a natural effect.Chip-Weathering on Armor: Choose Games Workshop’s Rhinox Hide for chipping on the armor.Apply the paint with a brush, creating small marks on the model.Leave some patches of white paint between the chipped areas for added interest.Consider the positioning of chips, focusing on areas that would naturally experience wear and tear.Use a colour-coded brush to keep track of the tool’s usage and maintain control.Refining the Chipping: Adjust the thickness of the chipping lines to control the visual impact.Ensure that the chipping looks natural and not too high in contrast.Pay attention to the bottom of the foot, adjusting the highlighting based on the foot’s position.Add more chips on areas that would naturally experience more damage, like the front side of the leg.
Video: Hood Part 1
The following paints were used: Games Workshop: Abaddon Black, Temple Guard Blue, Xereus Purple, Balor Brown Vallejo: Black (Abaddon Black), Heavy Blue Grey (Celestra Grey), German Grey (Abaddon Black with a touch of white) P3: Morrow White (Ceramite White)
Step-by-step: How to Paint Mortarions Hood – Part One
Prepare the Model: Ensure that the Mortarion model’s hood has been properly primed in black. Fill in any gaps resulting from assembling the model using polystyrene cement. Sand down the gaps to create a smoother surface.
Gather Paints and Tools:On your wet palette, prepare the following paints:
Abaddon Black (Games Workshop)Temple Guard Blue (Games Workshop)Xereus Purple (Games Workshop)Balor Brown (Games Workshop)German Grey (Vallejo) – Mix Abaddon Black with a touch of whiteHeavy Blue Grey (Vallejo) – Celestra Grey (Games Workshop)Morrow White (P3) – Ceramite White (Games Workshop)Tools:Older paintbrush (to avoid quick wear)Size zero artist brush (for finer details)Palette for mixing paintsAbaddon black for glazingBase Coat with Blue: Take the older paintbrush and apply Temple Guard Blue onto the model’s hood. Alternate between German Grey and Temple Guard Blue for a quick blended look. Focus on the edges and tendrils, applying more blue to create a weathered effect.
Refine with Finer Brush: Switch to the size zero artist brush and refine the texture. Pay attention to the spikes on top of Mortarion’s head, making them stand out against the dark color. Apply both German Grey and Temple Guard Blue in a more controlled manner.
Add Black for Shading: Introduce deeper shading by mixing Abaddon Black with a small amount of water. Use the finer brush to apply this mixture to specific areas, enhancing the three-dimensional effect.
Glaze with Red: Create a glaze using Abaddon Black and Xereus Purple (or any purple paint). Start near the highlights and work into the shadows, allowing the glaze to enhance the color variance. Repeat this process to build up the desired tone.
How to paint Mortarions Face: Once the hood is painted, focus on the face. Be cautious around the details, such as the eyes and eyelids. Use Balor Brown for shadows and then apply Morrow White to pick out fine details. Pay attention to the eyes, painting them with a brighter yellow for contrast.
Fine-Tune and Experiment: Continue fine-tuning the paintwork, experimenting with glazes and additional details. Remember to test the paint consistency on a spare surface before applying it to the model.
Glaze and Highlight: Keep glazing over the areas, especially the highlights, to add depth. Use minimal amounts of paint to pick out final highlights, enhancing the overall texture and making it look three-dimensional.
Video: Head and Hood Part 2
Vallejo: Neutral Grey : Skavenblight Dinge German Grey (Abaddon Black with a touch of white) English Uniform (XV-88) Japanese Uniform (Balor Brown) Ice Yellow (Ushabti Bone with a touch of yellow) Heavy Blue Grey (Celestra Grey) Black (Abaddon Black) Games Workshop: Emperor’s Children Rhinox Hide P3: P3: Morrow White (Ceramite White)
Step-by-step: How to Paint Mortarions Head and Hood – Part Two
How to paint Mortarions Face and Eyes: Start with a black paint (Vallejo: Black) to paint the pupils and cover the iris.Use Vallejo: Heavy Blue Grey (Celestra Grey) to paint the eyes themselves, avoiding pure white to create a more natural look.Consider painting cataracts initially but feel free to change to red and blue eyes for a magical effect.Highlighting the Eyes: Use Vallejo: White to highlight the lower edge of the eyes, creating a subtle, realistic contrast.Paint the iris around the black dots to add depth and detail to the eyes.Painting the Metal Halo: Apply a base coat of Vallejo: English Uniform (XV-88) on the metal halo, ensuring it’s less saturated than other gold areas on the model.Use Vallejo: Neutral Grey to blend into crevices and scratches, creating a reverse shading effect.Add Vallejo: Morrow White (Ceramite White) to blend in some warmth and detail.Rebreather Cylinders: Highlight the cylinders with a mix of Vallejo: Ice Yellow (Ushabti Bone with a touch of yellow) and Vallejo: Black.Blend in some of the previous colours to add more detail and scratches.Use Games Workshop: Emperor’s Children for the tubing, and highlight with Vallejo: English Uniform (XV-88).Cabling and Tubes: Highlight cabling with a mix of Vallejo: White and Vallejo: English Uniform (XV-88).Pay attention to angles and details, painting from one angle along the length to maintain consistency.Add final highlights sparingly using Vallejo: Ice Yellow (Ushabti Bone with a touch of yellow).Fleshy Details: Paint the stringy flesh between canisters with Vallejo: Rhinox Hide for an organic look.Use Vallejo: Evil Sunz Scarlet as a glaze to transition light hitting the piping while maintaining details.Final Touches: Paint black ribbing on the inside of the lower tube with Vallejo: Neutral Grey and highlight with Vallejo: Heavy Blue Grey (Celestra Grey).Ensure all details are well-defined and consistent.
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My latest tutorials, this time on how to paint a Chaos Warrior! He is a part of my small Slaves to Darkness army, but ultimately this is a failure as it took me too long to paint him. I need something that looks good while ideally taking not much longer than an hour, but this was just over 3. Follow my tutorials below for a fast(ish) way to paint to this standard.
To start, you will need to assemble and clean up the model (for a handy guide on this, go here) then prime it black.
Video – How to Paint a Chaos Warrior – Part One
Paints Needed
Vallejo Paints: Neutral Grey, Dark Grey, Black, White, Pale Grey Blue, Ice Yellow, Heavy Sienna, and Heavy Gold Brown.
Base Coating
Primary Highlights: Start with Vallejo Dark Grey to block in the primary highlight points, taking into consideration how light naturally hits the model. This won’t be perfectly accurate due to the differences between metal and plastic, but it provides a solid starting point. Remember, areas like kneecaps that face downwards will receive less light.
Adding Depth and Highlights
Further Highlights: Using Neutral Grey, create the second “band” of highlights. These should be more confined than those highlighted with Dark Grey, allowing the undercoat to be visible.
For areas you plan to render vibrant later (such as eyes), it’s acceptable to roughly block them in now. Adjustments and definitive colours, like red for eyes, can be added subsequently.
Non-Metallic Metal (NMM) Techniques
Flat Surfaces: For the Chaos Warrior’s flat armour surfaces, like the thighs or wrist guards, avoid intricate sky-like patterns due to their complexity. Instead, focus on simple yet effective highlighting to suggest metallicity.
Refining Highlights
With Pale Grey Blue, apply it to areas like the helmet for more pronounced non-metallic metal effects. Adjustments, especially around the face mask for glow effects or additional detailing, can be made as needed.
Detailing and Texturing
Use a mix of the greys and white to highlight edges and create texture across the armour. For cylindrical surfaces, such as the forearm guard, ensure the highlight mirrors the shape’s curvature. This step is crucial for adding realism and depth to your model.
Shield and Back Details
Although the back of the model may not be the focal point, it’s important to maintain consistency in quality. Apply similar highlighting techniques to the shield, adjusting for the light source being from the front. Use Corvus Black (or a similar dark grey) for glazing and smoothing transitions.
The Eight-Pointed Star of Chaos
Begin with a base of Heavy Sienna, accenting edges with Heavy Gold Brown and Ice Yellow for a rich, golden tone. Exercise restraint with Ice Yellow to preserve the gold’s richness. For added authenticity, make the edges irregular to suggest wear.
This guide covers the essentials for achieving a tabletop standard Chaos Warrior. The second part of this series (below) will explore further detailing and final touches to bring your Chaos Warrior to life.
Video – How to Paint a Chaos Warrior – Part Two
Having previously focused on non-metallic metal (NMM) armour, we will now delve into painting the more colourful aspects of the miniature. Unfortunately, due to technical difficulties, some early steps won’t be visually documented, but I’ll guide you through the process!
Paints Needed
Games Workshop Paints: Doombull Brown, Evil Sunz Scarlet, Wild Rider Red, Mephiston Red, Baharroth Blue, Corvus Black, Deathworld Forest, Ushabti Bone, Rhinox Hide.
Vallejo Paints: Heavy Sienna, Neutral Grey. Use Cadian Fleshtone as an alternative to Natural Flesh.
Painting the Cloak
Base Coat: Begin with Deathworld Forest for the cloak, aiming for a forest green shade. The paint may need to be thicker due to its poor coverage, so adjust the consistency to about 1:1 paint to water ratio for better application.
Highlighting: Utilize Heavy Gold Brown to pick out edges and folds in the cloak, remembering the light direction must match the rest of the model. Aim for a textured look by not being overly neat with your highlights.
Enhancing Details
Further Highlights: Apply Ice Yellow sparingly to the most raised parts of the cloak for maximum light exposure, concentrating on creating focal points that draw the eye towards the head.
Texturing: For texture and detail on parts like the cloak’s scales, a combination of the base and highlight paints, applied in a stippling fashion, can add visual interest without overwhelming the miniature.
Painting the Elf Trophy
Skin Tones: Vallejo Natural Flesh (or Cadian Fleshtone) works well for the elf’s skin, focusing on lighter applications on raised areas like cheeks and forehead. Add a wash of Neutral Grey for shadows to give the skin an unhealthy pallor fitting for a trophy.
Hair Detail: Heavy Gold Brown is perfect for the elf’s hair, creating a vibrant contrast. Apply in streaks to simulate hair texture, focusing on lighter touches towards the roots where the Chaos Warrior grips the hair.
Leather and Cloth
Loincloth and Boots: Start with Rhinox Hide as a base for both the loincloth and boots, adding layers of Doombull Brown and Heavy Sienna for depth and highlighting. Keep the boots darker to draw less attention, focusing brightness and detail higher up on the model.
Texture and Highlights: Apply Neutral Grey and Ushabti Bone for final highlights on leather parts, using a technique similar to dry brushing but with a slightly wet brush for more control and subtlety.
Final Touches
Eyes Glow: For the glowing eyes effect, start with a base of Evil Sunz Scarlet, adding Wild Rider Red for brightness in the centre, followed by a glaze of Mephiston Red around the sockets to suggest glow.
Unified Lighting: To unify the model under a consistent light source, glaze Baharroth Blue and Corvus Black strategically across the model. Blue glazes on highlights simulate a cool light source, while black glazes enhance shadows and recesses.
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A selection of tutorials on how to paint Master Lazarus’ Cloak. In these we explore simple freehand with bold, clean lines, then move onto the more complex custom Dark Angel symbol on the rear of Master Lazarus of the Dark Angels.
Video: Simple Freehand Cloak – Front
This video shows how to paint the simple Dark Angel freehand symbol on the inside of the cloak of Master Lazarus
The following paints were used: Games Workshop: Mephiston Red Vallejo: Ice Yellow, Neutral Grey, Pale Grey Blue
Step-by-Step – How to paint the cloak of Master Lazarus of the Dark Angels
Step 1: Preparation
Ensure that you have already glued the cloak onto the model.Have Mephiston Red paint ready for the freehand work.Make sure you’ve applied texture work to the cloak before starting the freehand.Step 2: Starting the FreehandBegin with a drag motion using Mephiston Red along the edge of the cloak. This will be your first guideline.Maintain consistent pressure while painting to ensure an even line.Step 3: Lower EdgeRepeat the process for the lower edge.Step 4: Creating Simple ShapesPaint a line equidistant from horizontal and vertical lines, forming the basis for the sword part of the wing.Be cautious with thickness and avoid making it too thick.Step 5: Painting WingsPaint the wings by going straight up towards the guideline, making your life easier.Focus on leaving space at the top for the hilt of the sword.Feel free to paint curves for feathers, keeping in mind the hilt’s space.Step 6: Painting the HiltPaint a line straight across for the hilt, extending it to touch the wings.Use neutral gray and pale gray blue to define the diamond shapes on the hilt.Cut into the edges with the appropriate gray colours to make it sharp.Step 7: Adding Details to FeathersUse neutral gray and pale gray blue to define individual feathers on the wing.Make them as sharp as possible, and don’t worry if they look slightly patchy.Step 8: Adding Lighting EffectsMix ice yellow with the base colour to create a gradient for the highlights.Paint a gradient up towards the lightest part on the cloak, following the natural flow of light.Ensure neat painting, using the tip of the brush and bracing your arms for stability.Step 9: Final TouchOptionally, add a touch of ice yellow to the line underneath the hand for a subtle transition.Soften the contrast and make the lighting more cohesive with the overall model.
Video: Complex Cloak – Back Freehand Part One
This video shows the difficulty of painting a design for the cloak of Master Lazarus and how to paint the freehand.
The following paints were used: Vallejo: Black, Pale Grey Blue, Dark Blue Pale, Dark Grey, Black P3: Morrow White
Step-by-Step – How to paint the cloak of Master Lazarus of the Dark Angels
Step 1: Prepare the BaseMake sure your model has been previously stippled and glazed, creating a smooth surface for the freehand work.If needed, adjust the base colours by adding white and gray-blue to achieve a smoother finish.Step 2: Outline the DesignBegin by using Vallejo model colour black to outline the freehand design on the rear of Master Lazarus’s cloak.Take note of any folds or challenges in the cloak’s sculpt, as these may impact the symmetry and centralization of the design.Step 3: Adjust PlacementAddress any issues with the cloak’s fold or bias to one side by adjusting the placement of the design.Consider the visibility of the main focal points, such as a sword, and ensure they are not hidden within creases.Step 4: Start the Freehand WorkUse black as a base colour for the freehand work, focusing on creating the overall shapes and outlines of the design.The black background allows for easier corrections, but the details should be lighter than black to ensure visibility.Step 5: Refine the DesignRefine the shapes and details by using a 50/50 mix of dark blue pale and dark gray.Take your time with the refining stage, using the tip of the brush to add intricate details to feathers and other elements.Step 6: Add Organic DetailsIntroduce organic details, such as veins in the feathers, to make the freehand design look more natural.Make small tweaks to enhance the overall appearance, ensuring the design is visually appealing.Step 7: Focus on Feather HighlightsHighlight the feathers using a 50/50 mix of dark blue pale and dark gray, focusing on the tips and edges.Avoid making the edge highlights too obvious, maintaining the illusion of feathers.Step 8: Work on Sword HiltMove on to the detailed and complex freehand on the hilt of the sword, planning for a non-metallic effect.Use various shades, starting with dark blue pale and gradually adding pale gray blue for highlights.Step 9: Create Texture and HighlightsBuild texture by creating small marks and bumps on the hilt, paying attention to the shapes and transitions.Add dots with white on the brightest parts to enhance contrast and create a more dynamic effect.Step 10: Final TouchesMake final adjustments as needed, ensuring that the freehand complements the overall model without overshadowing it.Take breaks when necessary to maintain focus and avoid painting when fatigued.Note: Keep an eye on the wet palette, especially in warmer conditions, to prevent paint from thickening and affecting the painting process.
Video: Complex Cloak – Back Freehand Part Two
This video is part 2 for how to paint the custom Dark Angel symbol on the rear of Master Lazarus of the Dark Angels.
The following paints were used: Vallejo: Dark Grey, Blue Grey Pale, Pale Grey Blue, Heavy Goldbrown, Ice Yellow, English Uniform, Black Games Workshop: Mournfang Brown P3: Morrow White
Step-by-Step – How to paint freehand on Master Lazarus of the Dark Angels
Step 1: PreparationEnsure you have the necessary paints ready: Dark Grey, Blue Grey Pale, Pale Grey Blue, Heavy Goldbrown, Nuln Oil, Pale Grey Blue, P3 Morrow White, and a 50/50 mix of Heavy Gold Brown and Ice Yellow.Step 3: Start with Skull and CircleUse English Uniform to roughly block in the skull and circle in the center of the cloak.Use Nuln Oil to define eye sockets and nose hole.Cut into shapes with black paint to refine details.Step 4: Gold Non-Metallic SkullHighlight skull with a mix of Heavy Goldbrown and Ice Yellow.Emphasize high contrast, especially on the forehead for a non-metallic look.Step 5: Detailing the BladePaint the blade using Blue, Blue Grey Pale, a 50/50 mix of Dark Gray and Pale Blue, and Pale Gray Blue.Consider the highlights on the blade separately to ensure clarity.Step 6: Refining the DesignCut back into the design with fluid black paint for sharper edges and finer highlights.Emphasize the central section of the blade, adjusting highlights accordingly.Add random highlights with Blue Grey Pale to enhance the non-metallic look.Step 7: Wings and TrimPaint the second wing with slight variations, maintaining an organic feel.Cut into black edges for sharpness, especially at the bottom of the cloak.Highlight the gold trim, aligning it with the natural highlights on the cloak.Step 8: Final TouchesCheck for any faults or blobs and address them.Avoid making highlights too bright, maintaining a realistic feel.Consider adding small details for visual interest without overshadowing the main design.
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More Freehand tips:
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A video tutorial showing the techniques I used to paint the filigree pattern on Nagshes dress and weathering.
Dress basics and stippling
Filigree Pattern
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Weathering
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A video tutorial showing the techniques I used to paint this weathered cloth and leather effect on Nagash.
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Learn how to paint Abaddon Skull and Leather in this tutorial and guide! Abaddon’s skull, dangling around between his legs (!), serves as a grim reminder of his connection to death and destruction. Painting it required careful layering of XV-88, Morghast Bone, and Screaming Skull to create the right mix of texture and realism. The leather loincloth, on the other hand, allowed for a more rugged, worn appearance. By using Rhinox Hide as the base, and carefully layering Cadian Fleshtone and Morghast Bone for highlights, I aimed to give the leather a weathered, battle-scarred look.
Video – How to Paint Abaddon Skull and Leather
Paints needed
Paints:
Games Workshop: XV-88, Morghast Bone, Screaming Skull, Rhinox Hide, Cadian Fleshtone, Mournfang Brown
Vallejo: Neutral Grey
P3: Morrow White
Painting the Skull
Base Coat:
Start by applying a base coat of XV-88 to the skull. Use a rough, stippling technique to create texture. Thin the paint slightly (1.5 parts water to 1 part paint) to allow the black primer to show through, providing natural shading.
First Highlight:
Apply Morghast Bone using a similar stippling technique. Focus on smaller areas than the base coat, building up highlights gradually. Ensure the paint is thin and applied delicately to avoid overpowering the base coat.
Second Highlight:
Use Screaming Skull for the next layer of highlights. Apply smaller stipples, concentrating on the areas that would catch the most light from the top left. This creates a sense of depth and realism.
Final Highlight:
Add the final highlights with P3 Morrow White. Use a fine brush to apply very small, controlled stipples. This step emphasizes the brightest points on the skull, giving it a natural bone appearance.
Detailing the Studs:
Paint the service studs on the forehead with Vallejo Pale Grey Blue and add a small dot of P3 Morrow White for the final highlight, creating a shiny metallic effect.
Painting the Leather Loincloth
Base Coat:
Apply a rough base coat of Rhinox Hide to the leather loincloth. The coverage doesn’t need to be perfect; a patchy application adds to the texture and realism.
Initial Highlights:
Mix Rhinox Hide and Cadian Fleshtone in a 50/50 ratio. Apply this mix to the highlight areas, using a rough, textured technique. Highlight both convex and concave areas, reflecting where the light hits.
Further Highlights:
Use pure Cadian Fleshtone to add more delicate highlights. Focus on the most raised or prominent areas, using fine, controlled strokes to create the appearance of worn leather.
Final Highlights:
Carefully apply Morghast Bone to the highest points of the leather. Use thin, controlled lines to simulate creases and cracks in the leather, adding depth and realism.
Adding Wear and Tear:
Apply Vallejo Neutral Grey to the torn edges of the leather. This step is optional but adds an interesting worn effect. Be sparing with this colour to avoid overpowering the brown tones.
Glazing:
Glaze the entire loincloth with Rhinox Hide to unify the colours and add depth. Thin the paint to a wash consistency and apply it carefully, focusing more on the shadowed areas to enhance contrast.
Final Touches:
For additional warmth and contrast, apply very light glazes of Mournfang Brown to selected areas. Be cautious with this step to avoid lightening the shadows too much.
There are lots more tutorials for painting Abaddon! Follow the link below to watch them all, or scroll town to explore them by model part.
Abaddon the Despoiler
A series of videos on how to paint Abbadon the Despoiler to competition standard – (new step-by-step guides included!)
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Learn how to paint the Deathshroud Scythe wrap for the Death Shroud Terminators with this straightforward painting guide. The techniques detailed are accessible, with only the fine detailing requiring specific brush control skills.
What’s covered in the Deathshroud Scythe wrap guide:
Materials and Paints: Discover the paints used in this project, including products from Games Workshop and P3. While specific paints are listed, the guide emphasizes that similar colours from other brands can be used to create the necessary transitions from dark brown to white.
Initial Base Coating: The guide begins with painting the entire wrap using Mournfang Brown. The light reflection on the paint is noted as useful for later highlighting stages.
Layering Highlights: Learn how to paint each section of the wrap with Bestigor Flesh, ensuring to leave gaps of Mournfang Brown for separation. This stage sets the foundation for the subsequent detailing work.
Detailing: Instructions for adding detailed highlights using Menoth White Base (or your choice of ivory). The guide includes painting edge highlights and horizontal lines on each section, creating a visually striking wrap.
Adding Final Highlights: Tips for applying pure white highlights to pick out specific details along the wrap. The guide stresses maintaining the separation lines and ensuring the dirty effect from the initial layers remains visible.
Glazing for Shading: The final step involves using Rhinox Hide for glazing to create smooth, subtle shadows. This technique enhances the depth and realism of the wrap while preserving the previously applied highlights.
Additional Features:
High-Quality Images: The guide includes high-resolution images to illustrate each step, providing clear visual references to help you achieve the best results.
Efficient Techniques: Learn faster methods to achieve professional results, such as glazing and highlighting techniques for detailed work.
Download the full guide below and start painting your Deathshroud Terminators today!
Please wait for the below PDF to load. Alternatively, you can download it here.
DeathShroudScytheWrapForPatreon
More Deathshroud Tutorials
How to Paint Deathshroud ArmourDeathshroud Scythe Handle WrappingDeathshroud Terminator Cloak FreehandHorn Painting Guide
Video Tutorials
Death Guard Deathshroud Bodyguard
A series of video tutorials on how I painted my set of Golden Demon winning Death Guard Deathshroud Bodyguard! This includes nurgly armour, weathering, rust, metals, tentacles, freehand and more!
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Two video tutorials on how to paint Raven Guard Freehand on the shoulders of a black Primaris Marine, with step by step guide and all materials and paints needed.
Video: How to Paint Raven Guard Freehand – Shoulder Pad Freehand (bird skull and wings)
Materials Needed
Games Workshop paints: Balor Brown, Ushabti Bone
Vallejo paints: German Grey, Neutral Grey, Heavy Bluegrey
Fine detail brushes for the intricate work (I use the Artist Opus range).
A wet palette to keep your paints thinned and workable
A Space Marine model with a shoulder pad primed and base coated
Step by Step Guide to The Raven Skull Freehand
Step 1: Base Sketch – Start with a rough sketch of the raven skull in the centre of the shoulder pad using Balor Brown. Aim for an upside-down teardrop shape for the skull, keeping the paint light and not worrying about solid colour or precise shape at this stage.
Step 2: Highlighting Background – Before detailing the freehand, ensure the shoulder pad is highlighted properly. This includes spot highlights and broader highlights to emulate light reflection. These will later integrate with the highlights on the freehand design.
Step 3: Painting the Wings – Using Neutral Grey by Vallejo, paint the rough shape of the wings flaring from the sides of the skull. The wings should be asymmetrical but balanced, with feathers ruffling outward. Utilize German Grey to add depth and shading, creating a transition between the colours and the black of the armour.
Step 4: Detailing the Skull – Refine the raven skull, paying special attention to its beak and eye sockets. Use German Grey to outline and add depth, ensuring the skull retains its distinct shape against the black armour. For the tip of the beak, maintain a dark but slightly contrasted tone to distinguish it from the background.
Step 5: Feather Texture – Gradually build up the feather texture on the wings using a combination of Neutral Grey and German Grey. Paint the feathers with a fine brush, starting from the base of the wing and working outwards, increasing in size. This creates a natural feathered effect.
Step 6: Final Highlights and Details – Use Ushabti Bone to add highlights to the skull, focusing on the top edges and the eye sockets to enhance its dimensional appearance. Apply Heavy Bluegrey for the final highlights on the wings, blending them into the armour’s highlights for a cohesive look.
Step 7: Finishing Touches – Review the entire piece, adding final adjustments to the skull and wings as necessary. You may need to retouch some areas to ensure a smooth gradient and correct any overspill. The aim is to have a clear, recognisable raven symbol that integrates well with the armour’s existing highlights and shadows.
Step 8: Sealing the Work – Once you’re satisfied with the painting, allow it to dry thoroughly. Consider sealing the model with a matte varnish to protect the freehand work and the model’s overall finish.
Video: How to Paint Raven Guard Freehand – Arrow Shoulder Pad
Materials Needed
Vallejo Heavy Greyblue (Celestra Grey equivalent)
Vallejo German Grey (akin to a mixture of Skavenblight Dinge and black)
P3 Morrow White (similar to Ceramite White from Games Workshop)
Fine detail brushes
A wet palette to keep your paints workable
Preparation
Ensure the shoulder pad is base coated and highlighted beforehand. This foundational work is crucial as it sets the stage for the tactical arrow, allowing the highlights to seamlessly integrate with the overall design.
Step-by-Step Guide to the Arrow Shoulderpad
Sketching the Arrow – Begin by painting a central line down the middle of the shoulder pad with Vallejo Heavy Greyblue. This line acts as a guide, ensuring symmetry in your design.Expand outwards from this line to sketch the arrow’s shape. Focus on achieving neat, straight edges, but don’t worry about opacity at this stage.
Refining the Shape – Adjust the width and angles of the arrow to fill the shoulder pad appropriately. Work from the centre outwards to maintain symmetry.
If mistakes occur, remember you can incorporate chips and scratches into the arrow later to mask any imperfections.
Painting Over Obstacles – Take care when painting near the rope or other raised details on the shoulder pad. It may be necessary to rotate the model for better brush access and to prevent paint from touching these areas inadvertently.
Achieving a Smooth Base – Apply additional layers of Heavy Greyblue to solidify the base of the arrow. Aim for a smooth, opaque finish, paying extra attention to the edges for sharpness.
Adding Highlights – Use P3 Morrow White to highlight the top of the arrow, creating a gradient effect towards the base. This step requires patience and a steady hand to maintain clean lines and prevent the white from overwhelming the greyblue base.
Blending Techniques – Mix the Heavy Greyblue and Morrow White on your palette (or directly on the model) to create intermediate shades for blending. Use these mixed shades to smooth the transition from the white highlights to the greyblue base.
Glazing for Smoothness – With Morrow White, apply thin glazes towards the highlight areas to enhance the smooth gradient effect. This technique helps to soften any harsh lines between the white and greyblue.
Adding Battle Damage – Use Vallejo German Grey to add chips and scratches to the arrow, giving it a battle-worn look. Apply these marks sparingly and with precision to avoid detracting from the overall design.
Final Adjustments – Revisit the entire marking, making any necessary corrections or refinements. This may include tightening up the edges, enhancing the gradient, or adding more battle damage for realism.
Looking to paint the entire marine? Check all of the tutorials for him, here:
Black Marine
A set of video tutorials on how I painted this black marine, including full armour guide, freehand tips, subtle weathering, leather and nmm gold detailing.
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Weathered and Battered Metals
This guide will take you through a comprehensive, hand-painting (no airbrush needed!) approach to How to Paint a Legions Imperialis Vulturax from the Mechanicum set. This process focuses on giving the Vulturax a gritty, battle-worn look suited for the Mechanicum. The layering and glazing techniques create depth and realism without the need for an airbrush!
Video: How to Paint a Legions Imperialis Vulturax
Materials Needed
Primers: Black primer
Metallic Paints: Vallejo Metal Colour Gunmetal Grey, Two Thin Coats Dragon’s Gold
Contrasts/Washes: Games Workshop Skeleton Horde Contrast, Nuln Oil
Layer Paints: Games Workshop Rhinox Hide, Mournfang Brown, Evil Sunz Scarlet, Barak-Nar Burgundy (optional)
Highlight Colours: Vallejo Model Colour Black, P3 Morrow White (or white of your choice)
Step by Step Guide on How to Paint a Legions Imperialis Vulturax
Priming and Preparing the Model
Prime the model in black. A solid black primer will help accentuate shadows, adding depth to the metallic layers applied later.
If there are noticeable gaps (e.g., along the carapace), fill these with sprue goo, soften with Tamiya Extra Thin cement, and scrape off excess with a scalpel for a smooth finish once dried.
Base Metallic Layer
Using Vallejo Metal Colour Gunmetal Grey, apply a rough metallic base layer to all metallic parts. This paint flows well but can be tricky to control, so use a small, chunky brush (like an Artis Opus Series M, size 3) in a dry-brush style. This ensures you catch raised areas without flooding recesses.
Note: If you’re aiming for quick tabletop-ready results, you could airbrush the metallics instead and add the black areas afterward.
Adding Gold Trim
Paint any decorative trim or other detailing with Two Thin Coats Dragon’s Gold. Thin the paint slightly for a smoother application.
Once dry, cover all metallic areas (including the gold trim) with Games Workshop Skeleton Horde Contrast. This will provide a dirtier, muted effect and unify the metals with a tarnished look.
Highlighting and Refining Metals
Go back in with Vallejo Metal Colour Gunmetal Grey in a dry-brush style to pick up some of the edges and raised details for a more worn look.
Add depth and subtle shading by applying Nuln Oil wash into the darkest recesses (e.g., around jets, under tentacle areas). Multiple layers of Nuln Oil can increase contrast, building up a realistic depth.
Armour Panel Highlighting (Grey Tones)
Prepare a range of grey shades by mixing Vallejo Model Colour Black with increments of white, or use pre-made grey paints (e.g., German Grey for the base layer).
Layering Technique: Starting with the darkest grey, layer up to a lighter grey at the highest points, focusing highlights on prominent armour curves, like the front curve of the carapace.
Highlight Direction: Always paint towards the highlighted area, keeping the brightest highlights focused on the most raised and forward-facing surfaces for a directional light effect.
Lens Detailing
For lenses, use Evil Sunz Scarlet as a base. Optionally, mix Barak-Nar Burgundy with white for a pinkish shade to create a soft gradient effect from dark to light within the lens.
Place a small white dot at the top left of each lens to simulate a reflection, creating a focal shine.
Grime and Dirt Effects
To create a weathered look, use Rhinox Hide and Mournfang Brown:
Thin Rhinox Hide to a glaze consistency (about four parts water to one part paint).
Start at the highlighted edges of the grey panels and pull the glaze toward recesses to soften transitions and add a subtle brown tint.
Repeat with Mournfang Brown along the edges of trim and armour joins to add dirt streaks and grime. You can dilute this colour less for streaking effects and apply it in vertical strokes for a natural weathering look.
Final Highlights and Touch-Ups
Use a mixture of P3 Morrow White with a touch of black to create a very light grey for edge highlights along the carapace.
For the gold trim, reapply Dragon’s Gold sparingly to highlight curves and make the edges pop, aligning highlights with the shine spot on the carapace’s front for a cohesive look.
Adding Optional Details
If you want to make your Vulturax model stand out, consider adding an hazard stripes or stripes in orange to some armour panels for a striking visual.
So, the idea behind this Vulturax was to give it a darker, grittier look, kind of like it belongs to the Dark Mechanicum. At the time of painting, I didn’t have the full rulebook, so I wasn’t entirely sure how it could be used in a force, but I later found out that while the Dark Mechanicum can’t field it as a primary unit, it can be used as an allied unit for traitor forces. So, if you want to have these in your Dark Mechanicum army, you totally can, but they’ll act as allies rather than main force members.
This really plays into the idea that the Dark Mechanicum forces are distinct from their Loyalist counterparts – they don’t use the same types of machines. The Dark Mechanicum is all about those huge, chaotic, SP war machines, while the traditional Mechanicum has cleaner, more standardised tech.
This separation between traitors and Loyalists isn’t just about who’s ‘good’ or ‘bad’ in 30K, though – it’s more of a philosophical and technological divide. Dark Mechanicum units, for example, aren’t focused on keeping things shiny or pristine. They’re more rugged, rough around the edges, and unapologetically worn-looking. I think that fits the character of the Vulturax perfectly.
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This video guide and full instructions will walk you how to paint a Castellax model from the Mechanicum Battle Force box set. The goal is to achieve a high-quality tabletop standard using quick, repeatable techniques—no airbrush required!
The process focuses on achieving a grimy, weathered look that complements a Death Guard army.
Video – How to Paint a Castellax from the Mechanicum Battle Force Box
Paints and Materials Needed
Paints:
Games Workshop: Balor Brown, Morghast Bone, Screaming Skull, Darkoath Flesh (Contrast), Contrast Medium, Sotek Green, Sybarite Green, Warpstone Glow, Moot Green, Flash Gitz Yellow
Vallejo: Model Colour Black
Scalecolour: Necro Gold
Pro Acryl: Light Bronze Metallic
P3: Morrow White
Brushes:
Artis Opus Size 4 (Worn-out brush for stippling)
Artis Opus Size 3M (Shorter bristle brush for dry brushing)
Size 0 brush (for detailing)
Size 00 brush (for fine details)
A piece of dense foam (for sponge chipping)
Step 1: Preparation
Begin by assembling the model, leaving the legs separate from the torso to make painting easier. This is a common technique to manage sub-assemblies, allowing easier access to harder-to-reach areas and making the model more manageable to hold.
All I’ve done there is put some sprue glue and I’d left that to dry so I hadn’t sanded that down perfectly smooth here because the shoulder pad’s coming two parts and you can clearly see how one part connects to the other, but they are glued onto the model at the moment.
While it’s possible to leave the shoulder pads off to make painting easier, it’s up to personal preference. Some may find that too many sub-assemblies can result in scattered parts and unfinished projects. If you do decide to leave them off, it will make painting these parts slightly easier, especially when it comes to avoiding overspill.
Step 2: Base Coat
Prime the model with a black base coat using Vallejo Model Colour Black. This forms a solid foundation for the metallic and armour colours, ensuring good coverage and depth in subsequent layers.
“The first thing we’re doing is using some scale colour necro gold… I haven’t really watered it down too much… you want it reasonably runny but not too runny.”
Ensure the base coat is smooth and even, as this will help the metallics and other layers adhere better and produce a cleaner finish.
Step 3: Metallic Base
Use Scalecolour Necro Gold to cover all metal areas of the model. Apply this using a stippling technique with a worn-out Artis Opus Size 4 brush. The goal here is to create a textured, weathered look on the metallic areas. Be cautious with the thickness of the paint to avoid unwanted texture buildup, as you only want the paint to create a visual texture, not a physical one.
“You’re just doing that all over all the metal areas on the model… be careful of physical texture buildup… the only texture you want really on the model is painting texture, not three-dimensional thick paint texture.”
Next, use Pro Acryl Light Bronze Metallic to highlight raised areas. Focus on prominent features like the dome of the head, flamer nozzles, and the edges of the armour. Switch to a Size 3M Artis Opus brush for more control, as its shorter bristles help achieve a smooth application with this dry brushing technique.
“This is a little bit thinner than the Necro Gold and the idea with this is you’re doing a very similar kind of process with it… don’t go too crazy with the light bronze because it is a very light colour; it almost looks silver when you apply it.”
Step 4: Clean Up
Once the metallics are dry, use Vallejo Model Colour Black to go back over any areas where metallic paint has spilled onto the armour panels. This clean-up step is crucial for keeping the final look neat and avoiding metallic flakes showing through when painting the armour colours.
“When I was painting the metal I didn’t care where the paint got onto armour panels… it makes the process much quicker, and you don’t have to worry… just keeps everything looking neat.”
Take your time with this step to ensure all overspill is covered, particularly in recesses and around edges where the metallics might have spread.
Step 5: Armour Panels
Start by applying Games Workshop Balor Brown, thinned with water in a 1:1 ratio. Stipple this over all armour panels using the Size 3M brush. This technique creates a textured, weathered effect that forms the base layer for the armour.
“You’re basically covering all of the armour panels with that stippling effect… a large brush makes it hard to paint in some of these recess areas without getting the paint onto the metal.”
Next, apply Games Workshop Morghast Bone in the same manner, focusing on the curves and raised areas of the armour. The goal here is to start building up lighter areas, enhancing the depth and contrast on the model.
“You want the area to look darker in the recesses anyway… making sort of like a very soft light volume onto the armour.”
Finally, highlight the most prominent areas with Screaming Skull. As you progress to lighter colours, apply the paint more carefully, focusing on areas where light naturally hits the model, such as the tops of the shoulder pads, the chest, and the front-facing parts of the armour.
“We’re trying to get those highlight positions and be a little bit more accurate with it… you want to rotate the brush around a little bit and you also want to make sure that when you dab the brush onto the model you have it straight on.”
Remember to dab off any excess paint on kitchen roll before applying it to the model to avoid blobs or streaks.
Step 6: Applying Wash
Mix Darkoath Flesh Contrast with Contrast Medium in a 1:1 ratio. Apply this wash over the entire model, covering both the armour and metallic areas. This step is essential for toning down the highlights, blending the colours, and adding a grimy effect that suits the model’s aesthetic.
“If you use water, you will actually destroy the effect the way that the contrast paint works… it will give a very smooth, clean finish all over.”
Be mindful of pooling, especially in recesses. Use a clean brush to wick away any excess wash from these areas to maintain the model’s detail.
Contrast paint is slightly thick, so if you have a big pool of contrast paint, it will dry and it will just start to kind of gloss over some of the details.
Step 7: Decals and Further Weathering
If using decals, apply them at this stage. Use Micro Set to position them and ensure they blend seamlessly with the surface. For a more integrated look, consider applying the decals before the Darkoath Flesh wash so that they naturally blend into the model’s finish.
After the decals are in place, stipple Morghast Bone along their edges to simulate chipping and wear, especially around the corners and where the decals might receive the most damage.
Finally, apply another layer of the Darkoath Flesh wash over the decals to blend them further and reduce the starkness of the decal’s edges.
Step 8: Sponge Chipping
Thin Games Workshop Rhinox Hide with water in a 1:1 ratio. Use a piece of dense foam (such as that from old Warhammer clamshell packs) to sponge this onto the edges and areas likely to receive wear and tear. Focus on creating an irregular, natural pattern, with more chipping towards the front and the edges of the armour.
“You want to pay attention to the position of the weathering… it’s very easy to rub an edge against something, whereas the flat surface is less likely to get any damage.”
Before applying, dab the sponge on kitchen roll to remove excess paint. This prevents the foam from dumping too much paint onto the model, which could create an unwanted texture buildup.
“When you put the foam into the paint, you need to dab it off on some kitchen roll… you want to remove the excess paint.”
Step 9: Detailing
Using a Size 00 brush, paint fine scratches and streaks with Rhinox Hide. Place these near areas likely to see heavy use or impact, such as around weapons or sharp edges. This step adds realism and depth to the model by simulating wear and tear.
For larger chips created during the sponge chipping, consider adding a highlight line with Morghast Bone on the lower edge of the chip to simulate light catching the edge of the flaked paint.
“Picking out a few edges here and there… it makes it look like a chip and the light’s catching the flake of paint.”
Run the side of your brush along the edges of the armour to create subtle highlights, but focus primarily on upward-facing edges where light would naturally hit.
Step 10: Grimy Weathering
For added grime, especially around weapons and heavily used areas, use undiluted Darkoath Flesh. Apply this carefully, building up layers to simulate dirt, grease, and other battlefield detritus. Focus this application near the front of the model,
Step 11: Further Grimy Weathering
For added grime, especially around weapons and heavily used areas, use undiluted Darkoath Flesh. Apply this carefully, building up layers to simulate dirt, grease, and other battlefield detritus. Focus this application near the front of the model, particularly around the chainsaw blade hands, where the most action would occur.
If desired, you can mix a bit of red into the Darkoath Flesh to create a fresher, bloodier effect, adding another layer of realism to the model’s grimy appearance.
Step 12: Verdigris (Optional)
To add a verdigris effect to the metal areas, mix Sotek Green and Sybarite Green in a 50:50 ratio, then thin it heavily with water (4:1). Apply this wash into the recesses and areas where water might naturally collect, simulating the patina of aged copper.
If you want to push the verdigris further, add a touch of white to the mix for the most extreme recesses, but be careful not to overdo it as it can make the effect too opaque.
Step 13: Metallic Highlights
Reapply the Light Bronze Metallic sparingly to the highest points of the metallic areas to restore some shine lost during the wash step. This should be done with a very fine brush and thinned paint (2:1 water to paint) to maintain control and avoid overpowering the subtle weathering.
Step 14: Lenses (Optional)
For the lenses, start with Warpstone Glow, then layer Moot Green, followed by a final highlight with Flash Gitz Yellow. This creates a gradient effect that mimics light shining through the lens.
“This makes it slightly less shiny… it just depends on how you want to do it; I just like the way this looks personally.”
Finish by adding a small white dot in the top left corner of each lens for a reflective effect, bringing the lenses to life and adding a focal point to the model.
Final Touches and Further Tips
As you finish your Castellax, take a moment to review your work and touch up any areas that may need it. Focus on ensuring your highlights are consistent, your grime looks natural, and that the overall effect is cohesive and fitting with the rest of your army.
Further Tips:
Patience with Stippling: When stippling, less is often more. Build up your layers gradually and step back occasionally to check the overall effect. This prevents overworking the model and keeps the texture subtle and realistic.
Experiment with Washes: The mix of Contrast Medium with Darkoath Flesh can be adjusted to suit your preference. A thicker wash will give a grimier look, while a thinner wash will maintain more of the underlying colour. Don’t be afraid to experiment on a test model or a hidden part of the figure.
Edge Highlighting: For a clean and professional finish, take your time with edge highlighting. While it may seem tedious, careful edge highlighting can significantly enhance the depth and definition of your model, making it stand out on the tabletop.
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My detailed how to paint the Nagash helmet tutorials, with videos plus step by step guide and tips with full paints used.
Video – How to Paint the Nagash Helmet Part OnePaints and Materials UsedPaintsBrushesOther MaterialsSteps and Tips on How to Paint the Nagash HelmetVideo – How to Paint the Nagash Helmet Part TwoPaintsSteps and Tips on How to Paint the Nagash Helmet (Part Two)Video – How to Paint the Nagash Freehand Swirls/FiligreePaintsTips for the Freehand FiligreeVideo – How to Paint the Nagash Helmet Leather Strips and RunesPaintsStep and Tips on How to Paint the Nagash Helmet Leather Strips and RunesFor all of my Nagash Tutorials in one place, go hereExplore More Nagash Technique Tutorials
Video – How to Paint the Nagash Helmet Part One
In this tutorial, we’ll focus on painting the metallic areas of Nagash, specifically the head. The colours used for this tutorial are a bit different from the standard, and in the video I discuss techniques in more detail to achieve a textured, refined finish.
Paints and Materials Used
Paints
Vallejo:
English Uniform (VX-88)
Golden Olive (Elysian Green mixed with Yriel Yellow)
Yellow Green (Dorn Yellow mixed with Moot Green)
Ice Yellow (Dorn Yellow)
Ivory (Screaming Skull)
Games Workshop:
Rhinox Hide
Abaddon Black
Naggaroth Night (for future use)
Brushes
Fine detail brush (suitable for intricate work and small highlights)
Medium-sized brush (for larger areas and base coating)
Wet palette (to keep paints fresh and workable)
Other Materials
Wet palette
Green stuff (for sculpting additional details, if desired)
Painting lamp (for consistent lighting during the painting process)
Miniature holder (for ease of handling and painting)
Steps and Tips on How to Paint the Nagash Helmet
Prepare the Model: Ensure your miniature is assembled and primed appropriately for painting. I’ve used a black primer for my Nagash.
Block in the Base Colour: Start by blocking in the main highlights using Vallejo’s English Uniform (VX-88). Apply this colour where you want the primary light source to hit, focusing on a top-left orientation.Be mindful not to make the colour too opaque; a slight texture is desirable for the metallic effect.
Understanding Colour Choices: The choice of metallic colours doesn’t have to be conventional. For this model, I went for a dark and moody theme inspired by the artwork of Nagash.My chosen metallic shades include Golden Olive, Yellow Green, and Ice Yellow from Vallejo, along with Rhinox Hide and Abaddon Black from Games Workshop.
Building Layers of Colour: Use Golden Olive to build layers on top of the English Uniform, focusing on areas that require additional depth and shading.The opacity of Vallejo paints allows for strong, defined marks, ideal for creating small details and textures.
Creating Texture and Depth: With each layer, gradually introduce lighter shades such as Yellow Green and Ice Yellow to enhance highlights and add dimension to the metallic surfaces.Keep in mind the direction of light and focus on maintaining a balance between light and shadow.
Understanding Volume and Light: Highlighting metallic surfaces requires understanding how light interacts with volume. Unlike standard blending techniques, aim for distinct contrasts between light and shadow. Make sure you consider how light reflects off different surfaces, creating highlights and shadows of varying intensities. I like to use lots of real-life references of metal to study as I paint.
Achieving a Moody Atmosphere: For an undead character like Nagash, aim for a dark, desaturated overall appearance. Use strong, small highlights strategically to draw attention to focal points.
Avoid smooth blending; purposefully textured painting adds depth and character to the model.
Experimenting with Glazing TechniquesExperiment with glazing techniques to blend colours seamlessly and soften transitions between different areas of the model.Glazing allows for subtle colour adjustments and can help unify the overall color scheme, creating a harmonious visual effect.
Video – How to Paint the Nagash Helmet Part Two
In this part, we’ll focus on painting the skull face, hair, and bone structures atop the hat.
Paints
Vallejo Model Colour: English Uniform (VX-88), Golden Olive (Elysian Green mixed with Yriel Yellow), Yellow Green (Dorn Yellow mixed with Moot Green), Ice Yellow (Dorn Yellow), Ivory (Screaming Skull), Neutral Grey (Mechanicus Standard Grey), Pale Grey Blue (Grey Seer mixed with Blue Horror)
Games Workshop: Rhinox Hide, Warpstone Green Contrast, Deathclaw Brown
P3: Morrow White
Steps and Tips on How to Paint the Nagash Helmet (Part Two)
Paint the Bone Structures: Using Vallejo’s English Uniform (VX-88), begin by painting the bone structures on top of the hat. Focus on picking out the highlights, keeping in mind the top-left orientation of the light source. Apply the paint carefully to emphasize the edges and contours of the bones.Enhance the Bone Texture: Utilise Golden Olive (a mix of Elysian Green and Yriel Yellow) to add depth and shading to the bone structures. Concentrate on areas that require additional definition, such as the joints and sockets. Remember to maintain a balance between light and shadow to create a realistic, textured effect.Add Highlights: With Yellow Green (a mix of Dorn Yellow and Moot Green), further highlight the bone structures, focusing on the areas where light would naturally hit. Pay attention to the left-hand side of the model to create a stronger contrast and emphasise the lighting direction.Refine the Highlights: Using Ice Yellow (Dorn Yellow), continue to build up the highlights on the bone structures, especially on the left-hand side. Gradually increase the brightness of the highlights towards the center of the model to draw attention to focal points.Adjusting with Rhinox Hide: If necessary, use Rhinox Hide to refine any areas where you’ve made mistakes or to add depth to the shadows. The translucency of this paint allows for easy blending and adjustment while maintaining a natural look.Painting the Skull Face: For the skull face, start with Deathclaw Brown, focusing on creating a weathered, textured appearance. Apply the paint in a rough, uneven manner to mimic the natural wear and tear of ancient bones.Highlighting the Skull: Gradually add highlights to the skull using Morghast Bone. Concentrate the highlights towards the left-hand side of the face to maintain consistency with the overall lighting scheme. Ensure the highlights stand out against the darker base colour to create depth and dimension.Adding Detail to the Eyes: Use a small amount of Morghast Bone to pick out the details around the eyes, emphasising the cheekbones and brow ridge. Be mindful of the sculpted eye sockets and adjust the highlights accordingly to enhance the overall appearance.Painting the Hair: Begin painting the hair with Neutral Grey, focusing on the large, clumpy strands. Keep the highlights towards the top side of the hair to simulate light hitting the surface. Apply the paint in a rough, textured manner to achieve a realistic look.Adding Texture to the Hair: Continue to build up the texture of the hair using Pale Grey Blue. Emphasize the highlights on the top side of the hair while leaving the underside darker to create depth and volume.Refining the Highlights: Using Morrow White sparingly, refine the highlights on the hair strands to add contrast and dimension. Focus on the areas closest to the face to draw attention to the focal points.
Video – How to Paint the Nagash Freehand Swirls/Filigree
Paints
Vallejo: English Uniform (VX-88), Golden Olive (Elysian Green mixed with Yriel Yellow), Yellow Green (Dorn Yellow mixed with Moot Green), Ivory (Screaming Skull), Neutral Grey (Mechanicus Standard Grey), Pale Grey Blue (Grey Seer mixed with Blue Horror)Games Workshop: Warpstone Green Contrast, Abaddon BlackP3: Morrow White
Tips for the Freehand Filigree
Base Coat: Apply a base coat of Vallejo English Uniform (VX-88) to start the filigree on the Nagash hat. Ensure even coverage and allow it to dry completely.
Highlighting with Yellow-Green: Mix Vallejo Yellow Green (Dorn Yellow mixed with Moot Green) with a small amount of white to increase opacity. Use a fine tip brush to apply highlights to what would be the raised areas of the filigree. Focus on creating sharp lines and highlights to enhance the detail.
Adding Ivory Highlight Dots: Using Vallejo Ivory (Screaming Skull), create small highlight dots on the filigree. These dots should be strategically placed on curves and extreme curve points to simulate shine and reflectivity. Ensure consistency in placement for a cohesive look.
Enhancing Contrast with Black: With Games Workshop Abaddon Black, carefully outline the filigree details to enhance contrast and definition. Use a fine tip brush and steady hand to create clean lines and borders.
Glazing with Warpstone Green Contrast: Thin Games Workshop Warpstone Green Contrast with water (about two parts water to one part paint) to create a glaze. Apply the glaze over the filigree to enhance shading and highlights.
Final Touches: Use P3 Morrow White to add final highlights to the filigree, focusing on the most raised and reflective areas. Ensure consistency and restraint with the white highlights to avoid overpowering the overall effect.
Video – How to Paint the Nagash Helmet Leather Strips and Runes
By following these steps and techniques, you can effectively paint leather strips and runes on your Nagash (or any other model, really!) adding depth, texture, and character.
Paints
Games Workshop: Rhinox Hide, Mournfang Brown, Cadian Fleshtone, Temple Guard Blue, Barroth Blue.
Step and Tips on How to Paint the Nagash Helmet Leather Strips and Runes
Base Coat: Ensure that the leather strips on the Nagash helmet are properly primed with black primer. Once primed, apply a base coat of Games Workshop Mournfang Brown to the leather strips. This will serve as the foundation for the leather texture.
Highlighting with Mournfang Brown: Using Games Workshop Mournfang Brown, begin highlighting the curves and raised areas of the leather strips. Apply the paint in a textured manner, focusing on creating depth and dimension to simulate the appearance of weathered leather. Don’t worry about perfect blending; imperfections add to the realism.
Layering with Cadian Fleshtone: Next, switch to Games Workshop Cadian Fleshtone and continue highlighting the leather strips. Apply this paint more sparingly, focusing on the most raised areas and curves to enhance the texture. The tonal contrast between Mournfang Brown and Cadian Fleshtone will create depth and visual interest.
Glazing with Rhinox Hide: Thin Games Workshop Rhinox Hide with water to create a glaze. Apply the glaze over the highlighted areas to tone down the highlights and add depth to the leather texture. Focus on applying the glaze in the shadowed areas and along the edges of the leather strips for a realistic look.
Painting Runes: Using Games Workshop Temple Guard Blue and Barroth Blue, paint the runes onto the leather strips. Ensure that the runes are clearly visible and neatly painted. Use a fine tip brush and steady hand to create clean lines and shapes. Less is more; avoid overcrowding the leather strips with too many runes to maintain balance.
Touching Up: Review the painted leather strips and runes, making any necessary touch-ups or adjustments. Ensure consistency in highlighting placement and rune design throughout the miniature model.
For all of my Nagash Tutorials in one place, go here
Nagash, Supreme Lord of the Undead
Nagash, Supreme Lord of the Undead is the father of necromancy. I created a series of detailed tutorials on how I painted him.
Watch Now
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This video shows how to paint a Grimdark Grimy Death Guard for the Horus Heresy. The model is a new MKIII plastic marine and is painted in the Grimdark style to try and capture the weight and brutal nature of the armour.
The following paints were used:Games Workshop: Balor Brown, Morghast Bone, Screaming Skull, Mephiston Red, Wildrider Red, Yriel Yellow, Contrast Darkoath Flesh, Contrast Medium, Rhinox Hide, Agrax Earthshade Vallejo: Heavy Blackgreen, Ice Yellow P3: Morrow White (Any white will do) Kimera Colours: Black (Any black will do) Pro Acryl: Light Bronze Metallic, Rich Gold Metallic
Top Grimdark Grimy Death Guard Tips!:
Prepare Your Palette: Utilize a wet palette to maintain paint hydration.For the initial dry brushing, use Balor Brown from Games Workshop on a wet palette.Choose the Right Brush:Select a small dry brush, like the Artis Opus dry brush, for the stippling technique.Stippling Technique:Diverge from traditional dry brushing; instead, stipple the paint onto the model.Aim for a disheveled, grimy, and weathered appearance.Start with Balor Brown, advancing to lighter hues like Morghast Bone, Screaming Skull, and Yriel Yellow for a textured effect.Application Method:Stipple the paint directly onto the model, concentrating on armour panels.Rotate the model as you paint to ensure each section dries before revisiting.Focus on hitting the model face-on with the brush to create a textured, dotty buildup.Chipping Effect:For chipping effects, use Rhinox Hide with a sponge chipping technique.Contemplate hand-painting some scratches for added detail.Accentuating Details:Employ a fine brush for details like scratches and chips.Highlight specific armour panels for added depth.Contrast and Weathering:Apply Darkoath Flesh contrast paint mixed with contrast medium to unify the your Grimdark Grimy Death Guard.Experiment with adding more brightness by layering appropriately watered-down contrast paints.Highlighting and Shadows:
Highlight edges using Morrow White from P3.Contemplate applying washes like Agrax Earthshade to blend highlights and shadows.Use Ice Yellow from Vallejo for specific details, building up the colour gradually.Fine-Tune Highlights:Use a finer brush to refine highlights and correct any over-spill.Introduce Agrax Earthshade for added depth in recessed areas.Final Touches:Experiment with Wildrider Red and Mephiston Red from Games Workshop for added details.Apply a matte varnish to seal the paint job.Consider adding additional details to your Grimdark Grimy Death Guard like basing with textures and powders.
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Here is the shorter version of my Alchemite Warforger video, which is available to watch on here or Youtube for free. For more detail, check out the longer version!
The following paints were used: Games Workshop: Rhinox Hide, Mournfang Brown, Balor Brown, Daemonette Hide, Slaanesh Grey, Mephiston Red, Yriel Yellow, Wild Rider Red, Troll Slayer Orange, Bugman’s Glow, Cadian Fleshtone, Morghast Bone, XV88.Vallejo: Ice Yellow, German Grey, Neutral GreyP3: Morrow White Grass: Mininatur Spring Moss Pads
Step-by-Step Guide to the Alchemite Warforger
Preparation:
Assemble your Cities of Sigmar Alchemite Warforger model from the Cities of Sigma box set.
Prime the model with black primer.
Omit the cube with smoke for easier painting (add it back when you’ve painted the model!)
Helmet Painting:
Use XV88 to block in highlights for a bronzy colour on the helmet.
Apply the paint loosely with a size 2 Artist Opus brush, focusing on where light naturally falls.
Thin the paint to around 1.5 parts water to 1 part paint for easy layering.
Metal Painting:
Use a gray base colour (Neutral Gray or Mechanicum Standard Gray) for most steel-colored objects.
Optionally, add colour with Daemonette Hide for a purpley-gray tone.
Apply the paint loosely and scribbly to create texture.
Use smaller brushes for refined marks in specific areas.
Consider adding Daemonette Hide and Slaanesh Gray for additional colour on metal pieces for reflections.
Leather Parts:
Base the leather apron and other leather parts with Rhinox Hide.
Apply the paint loosely with a mix of around 1.5 parts water to 1 part paint.
Keep the paint flowing with the shape of the sculpt for a harmonized look.
Highlighting:
Highlight the metal parts with Slaanesh Gray, applying smaller and more refined marks.
For leather, use Mornfang Brown for additional layers, creating a distinct color difference.
Glaze with Mourning Brown on top of the highlights for added contrast.
For leather straps, use larger black marks at the edges and smaller marks towards the core.
Skin Painting:
Base the skin with Rhinox Hide and layer with Mornfang Brown.
Highlight using the following sequence: XV88, Guardian Flesh Tone mixed with Baneblade Brown and a bit of white.
Keep the skin texture smooth, differentiating it from the heavily textured leather.
Final Details:
Apply Verdigris to metal clasps for a weathered look.
Add OSL (Object Source Lighting) with plain flesh tone for the rune effect.
Optionally, use Rhinox Hide for a runic effect.
Consider the placement of the cube with smoke for potential obstructions.
Remember, these steps are a guide, and you can adjust them based on your preferences and painting style. Happy painting!
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This full video shows how to paint an Alchemite Warforger from the Cites of Sigmar, which Games Workshop sent to me as an early review copy.This guide will cover various techniques such as non-metallic metal effects (NMM), leather texture, and object source lighting (OSL).
How to paint an Alchemite Warforger Video
You’ll Need:
Alchemite Warforger.
A range of brushes (including a size 3 Artist Opus M brush).
Paints from Games Workshop: Rhinox Hide, Mournfang Brown, Balor Brown, Daemonette Hide, Slaanesh Grey, Mephiston Red, Yriel Yellow, Wild Rider Red, Troll Slayer Orange, Bugman’s Glow, Cadian Fleshtone, Morghast Bone.
Vallejo paints: Ice Yellow, German Grey, Neutral Grey.
P3 paint: Morrow White.
Mininatur Spring Moss Pads for basing.
Let’s Get Started:
Base Coating: Initiate with a base layer of XV-88. This creates an ideal foundation for both gold and bronze non-metallic metal (NMM) effects. Apply these base colours in a relaxed manner; perfection isn’t the goal at this stage.
Non-Metallic Metal (NMM) Bronze/Gold: Use a combination of XV-88, Balor Brown, Ice Yellow, and a touch of Rhinox Hide. Mix these colours in various ratios to achieve the desired NMM effect.
Leather Textures: For the leather apron and straps, start with a base of Rhinox Hide. Then, build up the texture and highlights with Bugman’s Glow and Cadian Fleshtone, adding Morghast Bone for the lighter areas.
Skin Tones: Begin with Mournfang Brown as the base for the skin. Gradually layer up the skin tones using a mix of Mournfang Brown and Cadian Fleshtone, finishing with lighter highlights.
Object Source Lighting (OSL): For the glowing effects, such as the pot’s contents, start with Mephiston Red and build up to Yriel Yellow and Wild Rider Red for the intense glow.
Detailing: Use Slaanesh Grey and Daemonette Hide for the cooler tones, and Vallejo’s Ice Yellow and Neutral Grey for the metallic areas. German Grey can be used for darker shadows.
Finishing Touches: Use Morrow White for the brightest highlights and final touches. The base can be detailed with Mininatur Spring Moss Pads to add a natural touch.
Remember, painting is about building up layers and textures, so take your time and enjoy the process. Each layer adds depth and character to your Alchemite Warforger.
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This video shows you how to paint a Squigboss from the Gloomspite Gitz army for Age of Sigmar. The model was painted exclusively using Two Thin Coats paints.In this how to paint a Squigboss video, we’ll be doing something a bit different. I’ll guide you through the process of painting the Squig boss, generously sent to me by Games Workshop. Alongside, I’ll be reviewing a set of paints I personally purchased, intrigued by reviews—the Two Thin Coats series by Duncan Rhodes. These paints will exclusively adorn our Squigboss, and I’ve procured them independently. So, no sponsorships or freebies; it’s all about exploring these paints. Now, let’s get started!
All videos are recorded in HD 1080p or higher – use full screen for the full effect and let the video load completely. You can also click the little “cog” and change the speed of the video, if I am going too fast (or slow!).
The following paints were used:Two Thin Coats: Two Thin Coats: Doom Death Black, White Star, Etheral Green, Carcharodon Grey, Dark Sun Yellow, Skulker Yellow, Skeleton Legion, Demon Red, Scorched Earth, Dragon Fang, Boar Hide, Sanguine Scarlet, Dwarven Skin, Marine Blue, Orange Flare, Emerald Green, Wolf Grey, Fanatic Orange, Cuirass Leather, Berserker Red
Tips on how to paint a Squigboss with these paints!
Base Coat with Boar Hide Colour:Initiate with the “Boar Hide” shade, akin to Games Workshop’s Mournfang Brown, serving as the foundational coat for the entire Squig boss model.
Non-Metallic Metal Gold Face Mask:I’ve gone for a non-metallic gold style for the goblin’s face mask, utilising the unique properties of the Duncan Rhodes Two Thin Coats series.Apply the same colours used for the face mask on the staff, creating a non-metallic metal effect. Note differences in technique for different areas.
Adapting to Paint Properties:The paints seem quite nice to work with. Thinning is essential, however, and adapting to the colours’ strength becomes a creative challenge.
Use Translucent Marks for Subtle Effects:Experiment with translucent or softer marks by thinning the paint more. This technique can be effective for creating subtle details but requires precision in application.
Be Mindful of Paint Strength:As mentioned, the colour strength might be stronger than anticipated, so be cautious when adding subtle marks. Adjust as needed to avoid overpowering the model with vibrant colours.
Varied Application Techniques:Explore different application techniques for varied textures and effects. The angular features of the model complement the paints’ adaptability very well and allows for creative highlighting and detailing
Matte Finish and Dark Tones:Consider a matte finish for the model to achieve a pastel look. Embrace the dark and yellow tones for added depth and character.
Diverse Colour Palette for Highlights:Incorporate a diverse colour palette, such as Dark Sun Yellow, for highlighting and detailing, providing a unique touch to gold and other elements. The matte finish and the richness these paints bring to dark and yellow tones is great.
Quick Scratches and Detailing:Create quick, sharp scratches and detailing, adding interest to specific areas without the need for extensive blending. Quick and sharp detailing becomes a breeze with these paints, making them ideal for adding interesting detail without the need for laborious blending.
Highlighting with Translucent White:Use translucent white for highlighting, applying small amounts to achieve a subtle effect. Ensure quick application to prevent drying before reaching the model.
Colour Variations for Textures:Experiment with different colours for textures, adapting to the model’s features. Allow the varied palette to enhance details and bring out the intricacies. The paints are good at bringing out intricate details.
Teeth Detailing:Detail the teeth with simple lines, complementing the skin fold creases. Use the extra detailing to fill spaces and add interest without smoothing transitions.
Remember, the beauty lies in adapting and exploring the properties of the paints. Happy painting!
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This video shows you how to paint the Bandages, Clothing, NMM Skull and Skin on a Blood Bowl Mummy.
Video Tutorial – How to Paint the Bandages, Clothing, NMM Skull and Skin
All videos are recorded in HD 1080p or higher – use full screen for the full effect and let the video load completely. You can also click the little “cog” and change the speed of the video, if I am going too fast (or slow!).
Paints and Materials Needed
Paints (Games Workshop):
Mournfang Brown
Rhinox Hide
XV-88
Balor Brown
Morghast Bone
Ushabti Bone
Death Korps Drab
Hobgrot Hide (not recommended)
Trollslayer Orange
Paints (Vallejo):
Ice Yellow
Pure White
Neutral Grey
Brushes:
Size 00 Artist Opus Brush (for detailed work)
Size 2 Artist Opus Brush (for broader strokes and glazing)
Other Materials:
MiniNatur Moss Pads (for the base grass effect)
Step-by-Step Guide
1. How to Paint the Bandages:
Base Layer: Start with Mournfang Brown (Games Workshop) as a base layer for the bandages.
Main Colour: Apply Balor Brown (Games Workshop) over the bandages. It’s recommended to use this instead of Hobgrot Hide for better coverage and a more desired effect.
Highlighting: Use Morghast Bone and Ushabti Bone (both from Games Workshop) for highlighting. Focus on creating lines parallel to the bandages’ direction, paying special attention to the upper edges around the face for more detail.
Shadows and Grubby Effect: Apply a thinned down Rhinox Hide (Games Workshop) in shadowed areas and to add a grubby effect to the bandages.
2. How to Paint the Skull (Non-Metallic Metal Gold):
Base Layer: Use Rhinox Hide (Games Workshop) as the base.
Layering: Progressively layer with Mournfang Brown, XV-88, Balor Brown, Ice Yellow (Vallejo), and Pure White (Vallejo). Each layer should be smaller than the previous, creating a bright highlight effect.
Refinement: Feather the edges of each layer for a smooth transition between shades.
3. How to Paint the Clothing (Trousers/Pants):
Base Colour: Mix Rhinox Hide (Games Workshop) with Neutral Grey (Vallejo) and apply as the base colour.
Texture and Highlight: Create a scratchy, rough texture using a mix of Rhinox Hide, Grey, and Ice Yellow (Vallejo). Add white to the mix for final highlights.
4. How to Paint the Belt:
Base Layer: Apply Rhinox Hide (Games Workshop) as the base colour.
Detailing: Use Trollslayer Orange (Games Workshop) for the detailing, ensuring the paint is not too thick.
5. How to Paint the Skin:
Base Layer: Use Death Korps Drab (Games Workshop) as the base layer for exposed skin areas.
Highlighting: Gradually add white to Death Korps Drab for highlighting, focusing on the knuckles, fingertips, and muscle definition.
6. How to Paint the Base and Finishing Touches:
Grass Application: The base is painted with Mournfang Brown (Games Workshop) and decorated with MiniNatur Moss Pads for grass.
Final Adjustments: Ensure the consistency of the lighting and colour theme across the model.
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This video and guide shows how to paint an Ogroid sword with NMM (non-metallic metal) and rusty effects.
(Apologies for the dog hair)
Video : How to Paint an Ogroid Sword with NMM and Rust
All videos are recorded in HD 1080p or higher – use full screen for the full effect and let the video load completely. You can also click the little “cog” and change the speed of the video, if I am going too fast (or slow!)
Paints and Materials
Paints
Games Workshop:
Mournfang Brown
Troll Slayer Orange
Fire Dragon Bright
Rhinox Hide
Vallejo:
Ice Yellow
Black
German Grey
Neutral Grey
Pure White (Mecha Color)
Brushes
A range of brushes were used, including but not limited to:
A fine detail brush (such as a size 0 or 00), used for detailed work and fine highlights.
A larger brush (like a size 2), which can be useful for broader strokes and glazing.
Other Materials
Blue Tack: Used to temporarily attach the sword to the model for assessing lighting and highlight placement.
Wet Palette: Essential for mixing and maintaining paint consistency.
Water: For thinning paints, essential for techniques like glazing and stippling.
Step-by-Step
Basecoat and Shades:
Start with a neutral grey, darkened slightly with black.
Create a gradient of greys by mixing German Grey with Neutral Grey, and then adding Ice Yellow for various shades. This creates a series of warm greys for highlights.
Use a wet palette to mix and maintain the paint consistency.
Highlighting the Blade:
Focus on creating a main shine spot on the curved part of the blade, as this area naturally catches more light.
Add random reflections down the blade. Over-highlight initially as you will glaze over these later to reduce their intensity.
Remember that the flat of the blade will be rusty, so avoid highlighting this area.
Adding Details:
Paint distinct blocks of highlights or reflections on the blade, especially around the curved section.
Start with darker greys and layer up to lighter ones, finishing with Pure White for the brightest spots.
Use vertical brush strokes for control and consistency.
Rust Effects on the Blade:
Stipple Mournfang Brown over the flat of the blade for a textured rust effect. Be random and uneven in your application.
Layer Troll Slayer Orange over this, focusing on specific patches for an uneven and realistic rust effect.
Optionally, use Fire Dragon Bright for the brightest rust highlights.
Refining and Adding Scratches:
Add scratches and chips using a mixture of Neutral Grey and Ice Yellow.
Apply these details sparingly and randomly to avoid patterns.
For added depth, add a line of a darker colour (like Rhinox Hide) above some of the scratches.
Finishing Touches:
Make final adjustments to the highlights and rust effects.
Use glazing techniques to soften transitions and blend colours seamlessly.
Be cautious with the use of white; too much can detract from the warm effect.
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How to Paint a Blood Bowl Bronze Mummy with weathered NMM bronze effects, bandages, clothing, NMM Skull and Skin!
Scroll town to explore the two video tutorials in order, or quick jump to specific techniques and materials you might need.
Video One – How to paint NMM Bronze with VerdigrisPaints and Materials NeededStep-by-Step Guide on How to Paint a Blood Bowl Bronze MummyVideo Two: Bandages, Clothing, NMM Skull, Skin and BasePaints and Materials NeededStep-by-Step GuideBandagesSkull (Non-Metallic Metal Gold)Clothing (Trousers/Pants)BeltSkinBase and Finishing Touches
Video One – How to paint NMM Bronze with Verdigris
All videos are recorded in HD 1080p or higher – use full screen for the full effect and let the video load completely. You can also click the little “cog” and change the speed of the video, if I am going too fast (or slow!).
Paints and Materials Needed
Games Workshop: Mournfang Brown, Rhinox Hide, XV-88, Balor Brown, Sybarite Green, Gauss Blaster Green Vallejo: Ice Yellow, Pure White
Step-by-Step Guide on How to Paint a Blood Bowl Bronze Mummy
1. Priming and Base Coating:
Start with the model already primed in black. Apply Mournfang Brown (Games Workshop) roughly on the armour, focusing on areas that would naturally catch light. The application at this stage can be quite loose and liberal.
2. Layering for Texture:
Proceed with XV-88 (Games Workshop), this time being more careful and refined in your brushwork. Focus on creating a weathered texture, interpreting the previous layer’s marks as damage or wear. Use the very tip of the brush for finer lines and stippling.
3. Detailing with Lighter Tones:
Use Balor Brown (Games Workshop) to further enhance the details. At this stage, focus on the edges, rivets, and any other raised details on the armour. Remember, the aim is to create a three-dimensional effect, highlighting the lower edges of dents or imperfections to create depth.
4. Highest Highlights:
Introduce Ice Yellow (Vallejo) for the brightest parts of the armour. Apply it sparingly and only on the most raised areas to create the illusion of light reflecting off metal. Be cautious with this step to maintain a realistic metallic look.
5. Glazing for Depth:
If needed, mix Rhinox Hide (Games Workshop) with water to create a glaze. Apply this over areas that are in shadow or need to be toned down. This step helps integrate the highlights and creates a more cohesive look.
6. Applying Verdigris:
For the verdigris effect, use Sybarite Green and Gauss Blaster Green (both Games Workshop). Thin these paints down considerably. Apply them mainly in recessed areas, joints, and crevices where verdigris would naturally accumulate. Avoid covering the highest highlights to maintain the metallic sheen.
Technique Tips:
Work in layers, building up from dark to light to create depth and realism.
Focus on where light naturally hits the model, creating highlights that follow the form and curvature of the armour.
In the verdigris step, less is more. It’s easier to add more verdigris effect than to remove it, so start with a light application and build up as neede
Video Two: Bandages, Clothing, NMM Skull, Skin and Base
All videos are recorded in HD 1080p or higher – use full screen for the full effect and let the video load completely. You can also click the little “cog” and change the speed of the video, if I am going too fast (or slow!).
Paints and Materials Needed
Paints (Games Workshop):
Mournfang Brown
Rhinox Hide
XV-88
Balor Brown
Morghast Bone
Ushabti Bone
Death Korps Drab
Hobgrot Hide (not recommended)
Trollslayer Orange
Paints (Vallejo):
Ice Yellow
Pure White
Neutral Grey
Brushes:
Size 00 Artis Opus Brush (for detailed work)
Size 2 Artis Opus Brush (for broader strokes and glazing)
Other Materials:
MiniNatur Moss Pads (for the base grass effect)
Step-by-Step Guide
Bandages
Base Layer: Start with Mournfang Brown (Games Workshop) as a base layer for the bandages.
Main Colour: Apply Balor Brown (Games Workshop) over the bandages. It’s recommended to use this instead of Hobgrot Hide for better coverage and a more desired effect.
Highlighting: Use Morghast Bone and Ushabti Bone (both from Games Workshop) for highlighting. Focus on creating lines parallel to the bandages’ direction, paying special attention to the upper edges around the face for more detail.
Shadows and Grubby Effect: Apply a thinned down Rhinox Hide (Games Workshop) in shadowed areas and to add a grubby effect to the bandages.
Skull (Non-Metallic Metal Gold)
Base Layer: Use Rhinox Hide (Games Workshop) as the base.
Layering: Progressively layer with Mournfang Brown, XV-88, Balor Brown, Ice Yellow (Vallejo), and Pure White (Vallejo). Each layer should be smaller than the previous, creating a bright highlight effect.
Refinement: Feather the edges of each layer for a smooth transition between shades.
Clothing (Trousers/Pants)
Base Colour: Mix Rhinox Hide (Games Workshop) with Neutral Grey (Vallejo) and apply as the base colour.
Texture and Highlight: Create a scratchy, rough texture using a mix of Rhinox Hide, Grey, and Ice Yellow (Vallejo). Add white to the mix for final highlights.
Belt
Base Layer: Apply Rhinox Hide (Games Workshop) as the base colour.
Detailing: Use Trollslayer Orange (Games Workshop) for the detailing, ensuring the paint is not too thick.
Skin
Base Layer: Use Death Korps Drab (Games Workshop) as the base layer for exposed skin areas.
Highlighting: Gradually add white to Death Korps Drab for highlighting, focusing on the knuckles, fingertips, and muscle definition.
Base and Finishing Touches
Grass Application: The base is painted with Mournfang Brown (Games Workshop) and decorated with MiniNatur Moss Pads for grass.
Final Adjustments: Ensure the consistency of the lighting and colour theme across the model.
If you don’t have an account, please sign up here! The website currently has over 350 video tutorials with steps and tips, plus a selection of PDFs. If you are not sure about joining, you can explore my free videos with a free membership, or take the plunge and become a full subscriber for full access.
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This video shows you how to paint a Death Guard marine for the Horus Heresy. This guide incorporates a mix of airbrushing and traditional painting techniques, ideal for achieving a weathered, battle-hardened look.
Death Guard Horus Heresy – Video
All videos are recorded in HD 1080p or higher – use full screen for the full effect and let the video load completely. You can also click the little “cog” and change the speed of the video, if I am going too fast (or slow!).
Materials Required:
Death Guard Marine miniature, primed black
Airbrush and Tamiya X20A thinner
Paints: Games Workshop’s Mournfang Brown, Ionrach Skin, Yriel Yellow, Mephiston Red, Troll Slayer Orange, Rhinox Hide, Moot Green, Mortarion Grime (Shade), Vallejo’s Black, Burnt Iron Metal Colour, Pure White, and P3’s Iosen Green
Brushes, including a large brush for applying washes and a fine detail brush
Painting Steps:
Base Coat: Apply Mournfang Brown using an airbrush, thinned with Tamiya X20A to ensure smooth application. If an airbrush is unavailable, a brown primer can be used as an alternative.
Secondary Coat: Airbrush Ionrach Skin over the model. If the paint speckles, add more thinner to achieve a smooth finish. Focus on armour panels, allowing some brown to show in recesses for depth.
Highlighting: Use Vallejo Pure White, thinned more heavily than the previous layers, to highlight areas such as the head, chest, and shoulder pads. Be selective, as the right shoulder pad will be painted green later.
Metallic Parts: Paint all metal parts with Vallejo Burnt Iron Metal Colour. For better control and to prevent the paint from flowing into unwanted areas, let it thicken slightly in a palette before use.
Black Areas: Use a black contrast paint to cover areas like the shoulder pad. This can be done with a large brush for speed and efficiency. A couple of coats may be needed for full coverage.
Green Shoulder Pad: Airbrush Iosen Green onto the left shoulder pad, gradually adding Yriel Yellow to the mix for a bright front highlight, creating a transition from bright to dark.
Shading: Saturate the model with Mortarion Grime shade using a large brush. Ensure an even coat and avoid pooling. The shade will naturally darken recesses and enhance details.
Chipping Effect: Apply Rhinox Hide to simulate chips and wear on the armour. Focus on edges and surfaces that would naturally see wear and tear. This step adds realism to the model.
Highlighting Chips: Using Vallejo Pure White, highlight the lower edges of the chips to create a three-dimensional effect. This step is particularly effective in making the chipping stand out.
Weapon Details: Highlight the gun with Neutral Grey by Vallejo, focusing on upward-facing edges and adding scratches for realism. This adds contrast and depth to the weapon.
Glowing Red Eyes: Start with Mephiston Red, followed by Troll Slayer Orange, and then highlight with Yriel Yellow. Finish with a small dot of Pure White in the centre for a glowing effect.
Final Touches: Apply light highlights of Vallejo Burnt Iron Metal Colour on metallic surfaces for extra sheen. Use Forge World Dark Sand weathering powder on the feet for a dusty look.
Tips for Success:
Ensure smooth transitions when airbrushing by adjusting paint consistency.
Use the chipping technique to add character and age to the model.
Focus on focal points like the head and chest for your brightest highlights.
Experiment with the thickness of your paint for different effects; thicker paint can achieve sharper lines and highlights.
Be mindful of the lore and aesthetic of the Death Guard when choosing colours, especially for details like the eye lenses.
Remember, the goal is to create a visually striking model that embodies the rugged and corroded nature of the Death Guard.
Show it off!
As you progress, feel free to adapt and tweak techniques to suit your style. Good luck! When you’ve finished, why not pop into our Discord and show it off to other website members? 🙂
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This video and step by step guide shows you how to paint a Death Guard Scorpius Missile Tank, blending traditional brushwork with optional airbrush techniques, ensuring a deeply weathered, battle-hardened appearance. Whether you’re a seasoned painter or just starting, this tutorial should and leave you with a striking addition to your Death Guard army.
Quick Jump to:
Video: How to Paint a Death Guard Scorpius Missile TankPaints UsedStep-by-Step GuidePreparation and PrimingStippling the Base LayersBuilding LayersAirbrushing (Optional)Detailing and WeatheringChipping EffectLenses and Vision SlitsFinal Weathering
Video: How to Paint a Death Guard Scorpius Missile Tank
All videos are recorded in HD 1080p or higher – use full screen for the full effect and let the video load completely. You can also click the little “cog” and change the speed of the video, if I am going too fast (or slow!).
Paints Used
Games Workshop: XV-88, Hobgrot Hide, Morghast Bone, Ushabti Bone, Yriel Yellow, Mephiston Red, Troll Slayer Orange, Mournfang Brown, Rhinox Hide, Moot Green, Darkoath Flesh (Contrast), Contrast Medium, Athonian Camoshade Vallejo: Black, Ice Yellow, Burnt Iron Metal Colour P3: Morrow White, Iosen Green
Step-by-Step Guide
Preparation and Priming
Model Assembly: Assemble the Scorpius missile tank but leave the missile pods and top unglued for ease of painting.
Priming: Prime the model black. For an easier approach, consider starting with a brown primer.
Stippling the Base Layers
Stippling Technique: Use a large dry brush, like Artist Opus, to stipple on the paint. Start with a color like XV-88 from Games Workshop, diluted to about 50% with water.
Application: Ensure the stippled paint reaches recesses but expect some natural variation in tone. Apply two coats for adequate coverage
Building Layers
Lightening the Base: Apply successive lighter shades of brown and bone colors (like Morghast Bone and Ushabti Bone), each time covering a smaller area to create a natural, textured fade from dark to light.
Focus on Raised Areas: With each lighter layer, focus more on the raised areas, leaving recesses darker for contrast.
Airbrushing (Optional)
Airbrush Use: If desired, use an airbrush for a smoother finish on the lower two-thirds of the tank. Start with a light brown and gradually transition to white for a clean look.
Detailing and Weathering
Contrast Shading: Use Darkoath Flesh contrast paint mixed with contrast medium for shading. Apply it carefully, focusing on recesses and high contrast areas.
Metallic Parts: Paint all metal areas with Vallejo Burnt Iron Metal Colour and then apply Athonian Camoshade for shading.
Chipping Effect
Chipping Technique: Use Rhinox Hide to create chips and scratches, focusing on edges and surfaces where wear is likely.
Highlighting Chips: For added depth, highlight the lower edges of each chip with a lighter color like P3 Morrow White.
Lenses and Vision Slits
Painting Lenses: Start with a base color like Iosen Green, then add layers of progressively lighter shades, focusing on creating a reflective effect.
Vision Slits: Begin with Mephiston Red, followed by layers of Troll Slayer Orange and Yriel Yellow for a glowing effect.
Final Weathering
Streaking: Create streaks with a heavily diluted brown paint, using vertical strokes for a natural rain-streaked effect.
Weathering Powder: Apply dark sand weathering powder mixed with matte varnish for a realistic, powdery finish on lower sections.
More Tank Tutorials!
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This video shows you how to paint an Imperial Guard Armoured Sentinel (Astra Militarium), which Games Workshop sent me as part of the new Army Box.
Quick Jump to:
Video Tutorial: How to Paint An Imperial Guard Armoured Sentinel
Paints Used
Step by Step Guide – How to Paint An Imperial Guard Armoured Sentinel
Initial Setup
Airbrushing the Base Coat
Enhancing Highlights
Weathering and Details
Missile and OSL (Object Source Lighting)
Final Touches and Highlights
Metal Work and Final Weathering
Video Tutorial: How to Paint An Imperial Guard Armoured Sentinel
All videos are recorded in HD 1080p or higher – use full screen for the full effect and let the video load completely. You can also click the little “cog” and change the speed of the video, if I am going too fast (or slow!).
Paints Used
Games Workshop: Daemonette Hide, Sotek Green, Yriel Yellow, Mephiston Red, Troll Slayer Orange, Mournfang Brown, Rhinox Hide, Moot Green Vallejo: Black, Ice Yellow P3: Morrow White, Iosen Green
Step by Step Guide – How to Paint An Imperial Guard Armoured Sentinel
Initial Setup
Model Assembly: This Sentinel from the Imperial Guard Astra Militarum Army box can be built in various ways. Our focus is on the armored version with a plasma cannon and hunter-killer missile. The weapons aren’t glued for easier painting.
Airbrushing the Base Coat
Airbrush Settings: Use a 0.4 needle with PSI around 30. Thin ‘Daemonette Hide’ paint with Tamiya X-20A thinner.
Application Technique: Aim for dramatic lighting with stronger opacity on the front cabin, top left, fading towards bottom right. Ensure smooth transitions, but don’t worry too much about perfection as weathering will cover minor flaws.
Enhancing Highlights
Mixing for Highlights: Gradually mix ‘Morrow White’ into the ‘Daemonette Hide’ mixture for highlighting, focusing on the dramatic light effect.
Highlighting Method: Create a realistic lighting effect, brighter on the top left of each section.
Weathering and Details
Base Coating Metal Areas: Apply ‘Burnt Iron’ Vallejo metal color on metal parts and ‘Viking Gold’ from Scale 75 on decorations like aquilas.
Weathering: Use ‘Mournfang Brown’ for rust-style weathering. Apply ‘Cyberite Green’ on gold areas for a Verdigris effect.
Missile and OSL (Object Source Lighting)
Missile Painting: Originally red, but later changed to black for better contrast with the OSL.
OSL Technique: Start with ‘Mephiston Red’ for the plasma glow, then layer with ‘Troll Slayer Orange’ and ‘Yriel Yellow’ for intensity.
Final Touches and Highlights
Adding Details: Paint lenses using a progression from ‘Sotek Green’ mixed with white for a glowing effect.
Armor Panel Highlights: Use the brightest highlight mix used earlier, focusing on the top left areas and incorporating into scratches for a realistic effect.
Metal Work and Final Weathering
Metallic Highlights: Reapply ‘Burnt Iron’ on metal parts for brighter edges.
Final Weathering: Add rust effects with thinned down ‘Rhinox Hide’ and ‘Troll Slayer Orange’, focusing on edges and recesses.
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These videos show how to paint Cado Ezechiar, one of the vampire models from Games Workshop. He was painted as a part of my Golden Demon entry for 2024!
There are a lot of fun techniques I used on Cado, from his pitted, slightly worn armour, to his cloth undershirt, cape and some weathered leather. Read on to explore the tutorials in order, or click below to explore each part.
Video Part One – Armour and Red ClothPaints UsedPreparationBlocking in ColoursPainting the ArmourEnhancing Texture and ColourVideo Part Two – Leather Belt and Pouch, the NMM Gold Dragon on his chest and his Black Cape with WeatheringPaints UsedStep-by-Step GuideLeather DetailsNMM Gold DragonBlack CapeVideo Part Three – How to Paint a Vampire HeadMaterials ListHow to Paint a Vampire Head Painting GuidePreparationBase CoatingLayering and DetailingAdditional TipsVideo Part Four – How to Paint his Cracked Leather ScabbardMaterials and PaintsStep by Step Guide to Paint a Cracked Leather ScabbardLeather Technique TipsVideos Not Showing?
Video Part One – Armour and Red Cloth
All videos are recorded in HD 1080p or higher – use full screen for the full effect and let the video load completely. You can also click the little “cog” and change the speed of the video, if I am going too fast (or slow!).
Paints Used
Games Workshop: Mournfang Brown, Corvus Black Vallejo: Ice Yellow, Neutral Grey, German GreyP3: Morrow White
Preparation
Priming: The model should already be primed black. Imperfections in the primer’s coverage are not a concern, as all surfaces will be covered with paint.
Blocking in Colours
Base Coating: Start by blocking in base colours for efficiency and to prevent having to meticulously paint near completed areas later. Use Rhinox Hide for leather parts and German Grey (or a dark grey made by mixing black and white) for armour sections. This step is about laying down foundational colours and reacquainting yourself with the painting process.
Painting the Armour
Initial Armour Layer: Apply a base layer of German Grey across all armour parts. This step establishes a dark base for building up the texture and highlights that will follow.
Adding Texture and Base Highlights: Switch to Neutral Grey to begin adding texture and lighting effects to the armour. This involves creating scratch-like marks to simulate corrosion and wear, enhancing the model’s detailed sculpting. A size 00 brush is recommended for fine control and detail work.
Building Highlights: Gradually lighten the armour by adding more Neutral Grey, and then lighten further by mixing in Ice Yellow with Neutral Grey. The goal is to create a gradient of highlights leading to the brightest points of the armour. The addition of Ice Yellow introduces warmth to the grey, adding visual interest.
Final Highlights: Use P3 Morrow White for the final highlights. Apply this sparingly to the most raised areas and points where light would naturally be the strongest. The white should be watered down significantly to ensure a smooth application.
Enhancing Texture and Colour
Glazing for Depth: Mix a glaze using Mournfang Brown and apply it to shadow areas and recesses to add depth and warmth to the armour. Follow up with Corvus Black for deepening the shadows further. These glazes help unify the texture and add complexity to the finish.
Adjustments and Finishing Touches: Continuously assess the model as you paint, especially when transitioning between different sections or colours. Ensure that the lighting and colours are cohesive across the model to maintain the unit’s unified appearance.
Video Part Two – Leather Belt and Pouch, the NMM Gold Dragon on his chest and his Black Cape with Weathering
Paints Used
Games Workshop: Rhinox Hide, Mournfang Brown, Fire Dragon Bright, XV-88, Balor Brown Vallejo: Dark Grey, Ice Yellow
Step-by-Step Guide
Leather Details
Base Coat: Start with Rhinox Hide as the base for all leather parts, which was applied in the previous painting session.
Initial Highlights: Using Mournfang Brown, begin blocking in the details on the belt and pouch using a size 00 brush. Focus on applying the paint with the tip of the brush, even when filling larger areas, to maintain precision and control.
Adding Texture: With the same brush, enhance the leather texture by applying additional highlights with a mixture of Mournfang Brown and Fire Dragon Bright. The Fire Dragon Bright will lighten the colour but may also increase the paint’s translucency, requiring multiple layers for full opacity.
Further Highlights: Introduce Ice Yellow into the mix for the next set of highlights, focusing on the most illuminated areas like the top of the pouch and the sides of the belt that are exposed to light. Use a delicate touch to add fine details and texture, simulating the natural wear and tear on the leather.
NMM Gold Dragon
Base Layer: Use XV-88 as your base colour for the dragon emblem. Carefully outline the shape, leaving black lines between the details to create depth and contrast.
Building Up Colour: Gradually add Balor Brown to the XV-88, focusing on areas where light would naturally hit the emblem. Consider the curvature and form of the dragon to place your highlights thoughtfully, enhancing the 3D effect.
Final Highlights: Mix in Ice Yellow with your base colours to brighten the highest points of the emblem. Apply these highlights sparingly to areas like the brow, nose tip, and the edges of the dragon heads to achieve a metallic shine. Optionally, add a dot of pure white at the very brightest points for maximum impact.
Black Cape
Initial Layering: Prime the cape black and then apply Vallejo Dark Grey, thinned with water (approximately 60% water to 40% paint), to start building up the layers. Aim for smooth, gradual transitions, focusing on the creases and raised areas of the cape.
Highlighting: Incrementally mix Ice Yellow into the Dark Grey for the highlights. Apply these to the edges and folds of the cape where the light naturally hits, ensuring that the highlights are concentrated towards the top of the folds to emphasise the flow and texture of the fabric.
Weathering: Using Rhinox Hide, begin stippling the lower edges of the cape to simulate mud and grime build-up. Progressively add Mournfang Brown and then Balor Brown into your mix, focusing the lighter, more detailed stippling towards the very bottom to create a realistic weathered effect. Avoid making this look too uniform; natural wear and variety in the marks will enhance the realism.
Video Part Three – How to Paint a Vampire Head
All videos are recorded in HD 1080p or higher – use full screen for the full effect and let the video load completely. You can also click the little “cog” and change the speed of the video, if I am going too fast (or slow!).
Materials List
Paints:
Games Workshop: Cadian Fleshtone, Mephiston Red, Evil Sunz Scarlet
Vallejo: Neutral Grey, German Grey
P3: Morrow White (or any white paint)
Brushes:
Size 2 Round Brush (for broad applications)
Size 00 Round Brush (for detailed work)
Other Materials:
Wet Palette (to keep paints moist and workable)
Water Pot (for cleaning brushes)
Mixing Palette (for mixing custom paint shades)
Blue Tack (for temporarily attaching components)
Metal Rod (for holding the model while painting)
Super Glue (for assembly adjustments)
How to Paint a Vampire Head Painting Guide
Preparation
Modify and Assemble: Modify the hair of the model to prevent it from touching the face, allowing for easier access when painting. This involves careful cutting, reattaching, and positioning of the hair components.
Priming: Prime the model with a neutral primer to ensure paint adhesion and colour accuracy.
Base Coating
Apply Base Colours: Begin with a base coat of Cadian Fleshtone for the skin, applying it thinly (around a 1.5:1 ratio of water to paint) using a size 2 brush for a smooth layer. For the hair, use Neutral Grey as the base.
Layering and Detailing
Layering: Employ both a size 2 brush for general work and a 00 brush for fine details. Gradually build up the skin tones, focusing on creating dramatic lighting by highlighting facial features and leaving recesses darker. Mix Cadian Fleshtone with white for various highlight shades.
Eyes and Teeth Detailing: For the eyes, utilise Mephiston Red and Evil Sunz Scarlet for a glowing effect. For the teeth, mix Cadian Fleshtone with white to achieve a natural bone colour, steering clear of pure white to maintain realism.
Hair: Paint the hair in layers, starting with Neutral Grey, then adding white for highlights. Adjust shading and highlighting to reflect texture and colour accurately.
Shadows and Highlights: Use German Grey for deep shadows to add depth, especially around the eyes and under facial features. Use mixtures of Cadian Fleshtone with white and grey to refine the face’s appearance, enhancing the transition from light to shadow.
Final Touches: Add fine highlights with a mix of the lightest skin tone and a bit of white, focusing on areas where light naturally hits. Use a fine brush for precision, ensuring smooth transitions between light and dark areas.
Additional Tips
Brush Care: Always wet your brush before starting to paint, even if it appears clean, to ensure smooth paint flow.
Lighting Effects: When painting, consider how light interacts with the model’s features. This helps in achieving a more natural and realistic appearance, even with dramatic lighting.
Colour Mixing: Don’t be limited by paint names. Understand that all paints are just colours, and creative mixing can achieve the desired effect, such as using skin tone mixes for teeth to avoid too stark a contrast.
Video Part Four – How to Paint his Cracked Leather Scabbard
All videos are recorded in HD 1080p or higher – use full screen for the full effect and let the video load completely. Click the cog icon to choose speed, if I’m too fast or slow!
Materials and Paints
Paints:
Rhinox Hide (Games Workshop) – A dark brown paint used as the base color for the leather.
Bugman’s Glow (Games Workshop) – A flesh-toned paint used for creating mid-tones and highlights on the leather.
White (P3 Morrow White) – Used for mixing with Bugman’s Glow to create lighter shades for finer highlights.
Brushes:
Fine Detail Brush – A high-quality, fine-tipped brush, such as a size 0 or 00, is essential for painting the very fine lines that simulate the cracks in the leather. The brush used in the video is my favourite, the size 00 Artis Opus brush.
Additional Materials:
Water – For thinning the paints. The consistency of the paint should be around 50% water to 50% paint, with a slight adjustment for environmental factors like heat.
Wet Palette – To keep the paints hydrated and workable for longer periods. It’s particularly useful for mixing and maintaining the consistency of thinned paints.
Kitchen Roll or Paper Towel – Used for dabbing the brush to remove excess paint or water. It’s important to change the paper regularly to avoid degradation and particles sticking to the brush.
Painting Handle or Holder (optional) – To comfortably hold and manipulate the model while painting. I use Rathcore painting handles.
Step by Step Guide to Paint a Cracked Leather Scabbard
1. Preparation:
Ensure the scabbard on the model (in this case, Cado Ezechiar) is clean and ready for painting.
2. Base Coat:
Start by covering the entire scabbard area with Rhinox Hide (Games Workshop). Apply a couple of coats for even coverage but don’t worry about perfect opacity.
3. Mixing Paints:
Prepare your palette with a progression of mixes:
Rhinox Hide mixed with a small amount of Bugman’s Glow (GW).
Pure Bugman’s Glow, thinned slightly with water.
Bugman’s Glow mixed with a small amount of white (P3 Morrow White), and then a mix with more white added.
4. Detailing with a Fine Brush:
Use a thin brush, like a size 0 or 00, ensuring it has a very sharp tip for fine detailing.
Begin with the Rhinox Hide and Bugman’s Glow mix. Paint very fine, wiggly lines across the scabbard, simulating cracks in the leather. The lines should be more concentrated on the left side where the light hits, but include some on the right side too.
Turn the model as needed for comfort and accuracy but check the marks in the correct orientation to ensure they look natural.
Remember, the paint consistency should be about 50:50 water to paint, perhaps slightly more water for better flow.
5. Building Highlights:
Progress to using straight Bugman’s Glow. Go over some of the previous lines and add new ones. Ensure that some of the initial finer lines remain visible beneath.
Focus on making the edges and areas with supposed more wear brighter.
You can create deeper scratches by painting over the previous lines, adding detail and depth.
6. Correcting and Enhancing:
If any lines are too thick or dense, use Rhinox Hide to adjust them. You can also enhance them by extending the lines and creating additional features.
Remember, each line or mark should be distinct and avoid uniform patterns.
7. Final Highlights:
Use the mix of Bugman’s Glow and white for the brightest highlights. Apply these sparingly and focus on making them as small and fine as possible.
Adjust the intensity of your highlights by removing excess paint from the brush before application.
8. Glazing for Depth:
To bring the whole effect together and add depth, apply a glaze of Mournfang Brown (GW) over the entire area. This step also helps soften the texture and make it more refined.
You can go back with Rhinox Hide into darker recesses if needed, to adjust the contrast and depth.
9. Final Touches:
Add more detail and glaze as needed to achieve the desired depth and realism in the leather texture. Be mindful of over-glazing, which can dilute the detail work.
10. Review and Adjust:
Continuously review your work and adjust as necessary to ensure a realistic and varied leather texture. Each step can be refined or corrected to achieve the desired effect.
Leather Technique Tips
Consistency in paint mixture is crucial for achieving the fine lines necessary for the cracked leather effect.
Regularly maintaining the brush’s fine tip is essential for detailed work.
Turning the model upside down can facilitate easier brush strokes, but always check the work in its correct orientation.
Glazing with thinned paint helps unify the painted area and add depth to the texture.
Remember, the key to this technique is patience and precision. The fine details make the difference, so take your time with each step to achieve a convincing cracked leather effect.
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This video shows how to paint the loincloth of Be’lakor The Dark master. It looks at leather, skulls, chains and hooks.
Video Tutorial: How to Paint Be’lakor Loincloth
All videos are recorded in HD 1080p or higher – use full screen for the full effect and let the video load completely. You can also click the little “cog” and change the speed of the video, if I am going too fast (or slow!).
Paints and Materials
Games Workshop: Rhinox Hide, Bugman’s Glow, Mournfang Brown, Firedragon Bright, Corvus Black, Balor Brown, Morghast Bone, Vallejo: Neutral Grey, Pale Grey Blue, Basalt Grey, Dark Sea Grey, Black P3: Morrow White
Step-by-Step Guide
Base Coat:
Prime the model in black.
Use Games Workshop’s Rhinox Hide to paint the leather-based Be’lakor Loincloth, skulls, and optionally the chains for a rusted look.
Ensure to fill in the holes in the chains where the leather shows through.
Chain Detailing:
For the chains, use Vallejo’s Basil Grey. Apply it gently, almost like dry brushing, to pick up the surface details without clogging the chain links. Aim for a patchy look to represent rust and wear.
Leather Texture:
Focus on the leather flap under the belly button using Bugman’s Glow from Games Workshop.
Apply paint with scuffy, squiggly lines using the brush tip to create a textured look that combines both texture and highlights. The goal is to maintain texture visibility even on highlighted areas.
Gradually build up the opacity where needed, using a mix of approximately 50% water to 50% paint.
Weathering the Leather:
Add weathering using Vallejo’s Basalt Grey, focusing on the edges to depict wear.
Enhance the leather’s worn appearance with more faded grey towards the bottom.
Adding Colours to Leather on the Be’lakor Loincloth:
Introduce Games Workshop’s Mournfang Brown for added richness. Apply it sparingly for a translucent effect.
Go back with Bugman’s Glow if needed for further blending or highlighting.
Skull Painting:
Paint skulls using a base of Balor Brown, focusing on creating texture with stippling and maintaining the balance of light and dark areas.
Progressively highlight with Morghast Bone and finally with P3’s Morrow White, focusing on teeth and prominent skull areas.
Use Corvus Black for glazing in shadow areas to blend and desaturate colors.
Metal Hook Detailing:
Paint the hooks using a combination of Neutral Grey, Pale Grey Blue, and White from Vallejo.
Focus on creating a worn, dented look with lines and stippling. Ensure to paint the back edges of the hooks to separate them from the chains.
Apply final highlights with Morrow White to create a shiny appearance.
Rust Effects on Chains and Hooks:
Use Mournfang Brown to create rust effects, especially around areas where the skulls and hooks meet the chains.
Introduce Fire Dragon Bright for brighter, more saturated rust spots. Apply it with stippling for a subtle effect.
Highlight chains using Pale Grey Blue followed by small dots of White for metallic shine.
Final Touches:
Review the entire area, making adjustments as needed. Utilize all the colours on your palette to tweak and correct any areas.
Ensure that highlights and shadows are consistent with the light source direction and the overall look of the model.
Explore More Be’lakor!
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In this how to paint the Emperor’s Champion’s sword video, I outline a methodical approach to painting the sword using the Non-Metallic Metal technique, focusing on creating the illusion of metal through careful layering and highlight placement.
Video: How to Paint the Emperor’s Champion Sword in NMM
Materials Needed
Games Workshop: Daemonette Hide
Vallejo: Model Colour Black, Ice Yellow
P3: Morrow White (or any white paint)
Step-by-Step Guide on how to paint the Emperor’s Champion’s sword
Base and Colour Prep:
Prime the sword black. Optionally, add a layer of black paint over the primer for consistency.
Prepare a wet palette with the following colours: Daemonette Hide, Vallejo Black, a mix of Daemonette Hide and Black with varying ratios for transitions, Ice Yellow, and P3 Morrow White.
Initial Layering:
Start with a mixture closer to a 50/50 blend of Daemonette Hide and Black.
For areas needing darker transitions, use the mix with more Black. This gives you control over the intensity of the shades.
Highlight Placement:
The primary highlights should mimic the light source. If using a lamp, observe how light naturally hits the sword.
Add secondary reflections randomly, focusing on making the sword look interesting and balanced. These are typically placed on the left-hand side as small lines.
Building Up Highlights:
Use the mix of Daemonette Hide and Ice Yellow for the initial highlights. The paint should be thin (around 50/50 or 60/40 water to paint ratio) to ensure smoothness and buildable layers.
Focus on the curve at the top of the sword for a strong, bright highlight, and add extra highlights down the blade.
Adjust the opaqueness by layering the same colour; more layers in a spot will increase opacity and create a highlight effect.
Adding White Highlights:
White is used at the end to add the highest points of light. Be conservative; too much white can desaturate the colour and reduce contrast.
Apply white sparingly to the most prominent areas of the sword, like the tip and edges, to create a glare effect.
Edge Highlights:
Edge highlighting is crucial for a realistic metallic look. Use slightly thicker paint for sharp, clean lines.
Highlight both the sharp edge and the inner flat edge of the sword. Keep the paint on the right-hand side darker to maintain the light source consistency.
Final Touches:
Add final highlights and refine the edges. Ensure that the transitions are smooth and the bright areas are prominent.
The sword should have a different material appearance from the armour, achieved by the hints of Ice Yellow and the light volume (size of the highlights).
Notes:
The key to NMM (Non-Metallic Metal) is creating the illusion of reflectivity through strategic highlights and shadows.
Adjust the number of transition steps between colours based on your preference and desired smoothness of the gradient.
Always remember to thin your paints for smoother application and better control over the blending.
If you don’t have an account, please sign up here! The website currently has over 350 video tutorials with steps and tips, plus a selection of PDFs. If you are not sure about joining, you can explore my free videos with a free membership, or take the plunge and become a full subscriber for full access.
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My how to paint Emperor’s Champion black armour guide provides a streamlined approach to painting the black armour of the Emperor’s Champion, focusing on creating depth and a worn appearance through layering and glazing techniques. You can use these techniques on any other model with armour plating. Read on for the video tutorial, plus step by step text guide and paints used.
Video Tutorial : How to Paint the Emperor’s Champion Black Armour
All videos are recorded in HD 1080p or higher – use full screen for the full effect and let the video load completely. You can also click the little “cog” and change the speed of the video, if I am going too fast (or slow!).
Materials Needed
Games Workshop: Daemonette Hide, Xereus Purple, Rhinox Hide, Corvus Black
Vallejo: Model Colour Black (or any black paint)
P3: Morrow White (or any white paint)
Ultimate Primer by Badger (or equivalent)
A wet palette
Brushes including a large brush for glazing
Step-by-Step Guide
Base Coat:
Prime the Emperors Champion black. Note: The head and backpack are temporarily attached for easy removal during painting.
Prepare your wet palette with Daemonette Hide, a mix of Daemonette Hide and white, a further lightened mix, Rhinox Hide, Vallejo Black, and P3 Morrow White.
Layering and Highlighting:
Start with Daemonette Hide. Use scratchy, loose brushwork to create a worn look.
Gradually layer using the mixed shades on the wet palette. Aim for translucency with each layer, creating depth and a battered appearance.
Focus on areas where light naturally hits, like the chest and the forward-facing leg.
Add white highlights sparingly for focal points like the head and chest.
Glazing for Depth and Tone:
Mix glazes of Corvus Black, Rhinox Hide, and Xereus Purple using a ratio of approximately 5-6 parts water to 1 part paint.
Apply the glazes, starting from mid-tones to shadows, to blend and soften the texture. Primarily use Xereus Purple, but incorporate Rhinox Hide and Corvus Black to vary the tones and reduce the purple dominance.
Avoid covering the brightest highlights with glaze to maintain contrast.
Refining Details:
For added depth, highlight the lower edges of darker marks with a mix of Daemonette Hide and a small amount of white. This creates the illusion of dents and wear on the armour.
Continuously evaluate the balance between light and shadow, adjusting with glazes and highlights as needed.
Finishing Touches:
Assemble the head and backpack onto the Emperor’s Champion and make any final adjustments to ensure the light placement and tones are cohesive.
Remember to keep the armour’s texture visible through the glazes for a realistic, worn effect.
Additional Notes:
The key to this technique is creating a translucent layering effect, building up the appearance of worn, battered armour.
This approach offers flexibility and forgiveness in brush strokes, making it suitable for varying skill levels.
The final look will be influenced by the amount of glazing; adjust this to your preference.
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This video shows how to paint Be’lakor Armour NMM (non metallic metal), in this case the leg armour.
Video Tutorial: How to Paint Be’lakor Armour NMM
All videos are recorded in HD 1080p or higher – use full screen for the full effect and let the video load completely. You can also click the little “cog” and change the speed of the video, if I am going too fast (or slow!).
The following paints were used:
Vallejo: Black, German Grey, Basalt Grey, Neutral Grey, Dark Sea Grey, Pale Grey Blue, Ice Yellow, Japanese Uniform Games Workshop: Mournfang Brown, Corvus Black, XV-88, Dryad Bark P3: Morrow White
Step-by-Step: How to Paint Be’lakor Armour NMM
Observe and Plan
Examine how light reflects on the model’s armour. Use these reflections as a reference for placing highlights to achieve a non-metallic metal (NMM) effect.
Prepare Your Palette
Set up your palette with the following colours: Vallejo Black, German Grey, Basalt Grey, Neutral Grey, Dark Sea Grey, Pale Grey Blue, Ice Yellow, Japanese Uniform; Games Workshop Mournfang Brown, Corvus Black, XV-88, Dryad Bark; P3 Morrow White.
Base Coating
Start with the steel plate, applying a base coat of the darker colours like German Grey and Basalt Grey.
Adding Texture
Use the base colours to add texture to the armour. This includes creating scratchy, chaotic marks that follow the armour’s undulations. This step aims to capture a scuffed NMM effect, reflecting the battle-damaged look of the model.
Non-Metallic Gold Trim
As you progress, begin working on the gold trim alongside the steel plate. This ensures that the lighting and colouration remain consistent across different armour elements.
Highlighting
Progressively add lighter shades, like Neutral Grey and Dark Sea Grey, to create a transition from dark to light. Focus on raised areas and edges for highlight placement.
Final Highlights
Utilise the lightest colours, such as Ice Yellow and Morrow White, for the final highlights. Apply these carefully to the most raised and prominent parts of the armour to create a strong metallic effect.
Glazing for Depth
Use thin glazes of Corvus Black and Mournfang Brown to deepen the shadows and enrich the colours. Apply these glazes sparingly, focusing on mid-tones and shadows, avoiding the brightest highlights to maintain their intensity.
Refining and Detailing
Go back over the armour, refining the highlights and ensuring a smooth transition between shades. Add small details like edge highlights and minor scratches for realism.
The Golden Trim
For the gold trim, start with a base of Dryad Bark, followed by layers of XV-88, Japanese Uniform, and Ice Yellow for highlights. Apply these colours while considering the light source and the sculpted details of the trim.
Final Touches
As a final step, revisit the brightest highlights and make any necessary adjustments. You can use a fine brush to add small, bright dots of white to simulate reflective points on the armour.
Attention to detail and gradual layering are key to achieving the desired NMM effect.
Be’lakor, called the “Dark Master,“ Tutorials:
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The most powerful model from the Age of Sigmar Dominion box!
I thought it was time that I painted the most powerful model from the new Age of Sigmar Dominion box! It’s the mighty Stab-Grot!
Materials Required:
Stab Grot miniature, fully assembled and primed with Scale 75 Surface Black Primer
Paints: Games Workshop (Mournfang Brown, Rhinox Hide, Cadian Fleshtone, Ushabti Bone, Firedragon Bright, Daemonette Hide, Sotek Green, XV-88, Moot Green, Mephiston Red, Evil Sunz Scarlet), Vallejo (Ice Yellow, Black, Neutral Grey, White, German Grey, Pale Grey Blue)
Brushes, including a fine detail brush (size 00 recommended)
Painting Process:
Base Layers: Begin with Vallejo German Grey, applying it to the armoured parts using a scratchy technique. Concentrate on lighter points where light naturally falls (shoulder, forearm), but ensure even coverage.
Adding Tones: Apply Daemonette Hide for a subtle hint of colour. Use the same method as with German Grey but in smaller areas, allowing the underlying grey to show through for texture.
Highlights and Shading: Combine Pale Grey Blue and Daemonette Hide for highlights. Aim for a grimy, non-polished metal appearance. Use white sparingly to highlight edges and dents.
Skin Tones: Start with Sotek Green, progressively adding Moot Green and white for highlights. Focus on creating soft transitions with diluted paint for a realistic skin effect.
Leather Details: Base with Rhinox Hide, then layer with XV-88 and Cadian Fleshtone, concentrating on edges and scratches. Use watered-down Mournfang Brown for a glazing effect, softening the highlights.
Red Cloth: Base with Mephiston Red, layering for opacity. Highlight with Evil Sunz Scarlet, careful not to overdo it to preserve the red’s vibrancy.
Final Touches: Add final details such as rust on the blade with Mournfang Brown and scratches with Ice Yellow. Remember, moderation is key for a realistic weathered look.
Tips for Success:
Pay attention to natural light fall for realistic highlights and shadows.
Use a scratchy technique for armour to create texture and a weathered appearance.
Thin your paints for smoother transitions, especially on the skin.
Avoid over-highlighting reds to prevent a pink or orange shade.
Patience and attention to detail are vital for a small, detailed model like Stab Grot.
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This video shows you how to create a Titan Martian Base, a Martian red landscape for your Adeptus Titanicus Titan, or for any large model you like, really!
Video Tutorial: Titan Martian Base
All videos are recorded in HD 1080p or higher – use full screen for the full effect and let the video load completely.
Paints and Materials Used
Fimo and Milliput: For making rock shapes.
Baking Soda: For creating the fine-grained surface texture.
Paints:
Scale 75’s Antares Red
Scale 75’s Red Leather (or similar Games Workshop red and brown colours)
Games Workshop’s Deathworld Forest
Games Workshop’s Ushabti Bone
Weathering Powders:
Forge World’s Aged Rust
Forge World’s Orange Rust
Matte Varnish: For sealing the base.
Tools:
Brushes for painting and dry brushing.
Sculpting tools or a flat surface for applying the baking soda mixture.
Airbrush for applying weathering powder (optional).
Other Materials:
Water: For mixing with weathering powders.
Super Glue: For securing rocks to the base.
Q-tip: Slightly damp, for cleaning up excess weathering powder.
Step by Step Guide
Preparing the Base: Start by placing your model on the base and arrange rocks around it. Use rocks made from a mixture of Fimo and Milliput, baked and then broken into shapes.
Creating the Surface: Mix baking soda (for fine texture), Scale 75’s Antares Red and Red Leather paint (or similar GW paints), and matte varnish to form a sticky, wet-looking substance. This creates the dusty, Martian surface.
Applying the Surface Mixture: Carefully apply the mixture to the base, ensuring it’s pushed up against the rocks. Use a large, slightly damp brush to stipple and smooth out the mixture, avoiding unnatural marks.
Using Cracking Paint: Apply a thin layer of Martian Ironearth cracking paint for subtle cracking effects. Ensure it’s not too thick to maintain the scale’s integrity.
Painting the Rocks: Once dry, paint the rocks with Vallejo Model Color Black or a similar black paint. Then dry brush with GW Deathworld Forest for initial colour, followed by Ushabti Bone for highlights.
Applying Weathering Powder: Mix Forge World Aged Rust and Orange Rust powder with a lot of water, and spray over the base using an airbrush. Focus on the lower parts of the model for a realistic effect. For manual application, use a large, soft brush.
Cleaning Up: After the weathering powder dries, use a slightly damp Q-tip to remove excess powder from the rocks and lower sections of the Titan, enhancing the details and textures.
Final Touches: Seal the base with a matte varnish to preserve the dusty look and reduce the brightness of the orange rust effect.
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I created some shiny (and then grimy!) non metallic metal copper on my Maggotkin of Nurgle, which I then weathered with distinctive green verdigris. This is how I did it in a series of step by step guides and videos on NMM copper.
How to Paint NMM Copper – Part One
Paints and Materials
Brush Size and Type:
Don’t use a tiny detail brush for the entire process. Instead, a slightly larger, older brush is preferred. My older brush has a worn tip, which is thicker than a new brush and allows for better paint control and blending.
An old, well-used brush is good for this type of painting. The worn tip of an older brush can make blending easier.
Paints Used
Games Workshop: Doombull Brown, Golden Yellow (old colour; find a modern equivalent if needed)
Scale 75: Ice Yellow, Salmon Pink, Black Red
Black and White paint (any preferred brand)
Step-by-Step Guide
Understanding Copper NMM:
Remember, copper NMM aims to create a metallic effect without using metallic paints. Copper is essentially pink in hue, similar to skin tones, with brown for shadows and a hint of sand yellow.
Preparation of Palette:
On your wet palette, blend all the colours together into one smear. This is because copper has a lot of subtleties in colouring. Start with Doombull Brown and mix in Black Red from Scale 75. If you don’t have Black Red, mix black and red to achieve a dark, reddish brown.
Creating the Base Colour:
For the darker areas of copper, you want something a bit more red. Along your paint smear on the palette, integrate colours that become more yellow and orange. Use Golden Yellow and Ice Yellow for this purpose. Add Salmon Pink at the very end for highlights.
Applying the Base Layer:
Before starting the video, paint the whole model (or the part you’re working on) with Doombull Brown. This creates an easier starting point for the copper effect.
Mixing on the Model:
You’ll be mixing the paint directly on the model, working quickly. This method is different but effective for creating copper NMM. Apply the colours and quickly determine where the highlights will be. The idea is to get lighter colours down first as a base to work from.
Developing the Effect:
Start blending in reflections and refining the look. Add lighter colours and work on creating smooth transitions and contrast. Remember, smooth transitions and good contrast are key in NMM painting.
Refining the Details:
As you progress, you’ll refine the copper effect by using thinner paint and increasing contrast. Use Salmon Pink for the higher highlights and blend it in for a smooth transition.
Final Touches:
Towards the end, focus on refining the paint with continual glazes until it looks smooth and metallic. You might need to make slight adjustments to the highlights and shadows. Add black, turned into a glaze, at the bottom of the shoulder pad to increase contrast.
Final Overview:
The final piece should showcase a refined copper NMM effect with smooth transitions, proper contrasts, and a realistic metallic look.
How to Paint NMM Copper Greeny Verdigris Effect
Paints and Materials
Games Workshop Sybarite Green
P3 Morrow White (or your preferred white paint)
Step-by-Step Guide
Understanding Verdigris:
Verdigris is a patina that forms on copper, brass, or bronze when exposed to air or seawater over time. This guide aims to create a more realistic effect, where verdigris covers larger areas rather than just around rivets and crevices.
Creating Verdigris Tones:
You will mix Sybarite Green with Morrow White to create three stages of verdigris tones:
First Stage: Pure Sybarite Green.
Second Stage: A mix of half Sybarite Green and half Morrow White.
Third Stage: Mostly Morrow White with a tint of Sybarite Green.
Applying the First Layer:
Start with the pure Sybarite Green. Apply it by gently dabbing it onto the model. The goal is to create a patchy texture rather than smooth streaks.
This layer should cover most of the area, but try to maintain the shades and shine of the underlying metallic paint.
Mid-tone Application:
Next, apply the second stage mix (half Sybarite Green, half Morrow White). This should be used more sparingly than the first layer.
Focus on applying this mix to darker areas and recesses. You want to maintain visibility of the copper NMM base, so apply it carefully and artistically.
Adding Highlights:
For the final layer, use the lightest mix (mostly Morrow White with a hint of Sybarite Green). This is like a reverse highlight, working best in shadows to create contrast.
Apply this very selectively, as it can quickly cover the base layers. It should go into the deepest recesses and lower curved areas where verdigris would naturally accumulate.
Final Touches:
Remember, verdigris should have an uneven, patchy appearance. It should not be smooth or uniformly applied like rust.
Check your work against reference images to ensure a natural look.
Finishing Up:
After applying all three stages, your model should exhibit a realistic verdigris effect over the copper. The underlying NMM copper should still be visible, contributing to the overall realism.
Gallery – Click to view larger
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A series of tutorials on how I painted my set of Golden Demon winning Deathguard Deathshroud Bodyguard! This includes nurgly armour, weathering, rust, metals, tentacles, freehand and more!
Quick note here – these are some of my earliest tutorial videos, so are not of the same quality as my current tutorials visually and sound-wise. My apologies for this.Richard
Scroll down to explore the tutorials in order, or quick-jump to a segment by clicking on one of the items below:
Video: Deathguard Deathshroud Bodyguard Green ArmourMaterials and Paints UsedStep by Step GuideVideo: Deathguard Deathshroud Bodyguard Armour DetailMaterials and Paints UsedStep by Step GuideVideo: Deathguard Deathshroud Bodyguard Pink TentaclesMaterials and Paints UsedStep by Step GuideVideo: Deathguard Deathshroud Bodyguard Copper CanisterMaterials and Paints UsedStep by Step GuideVideo: Deathguard Deathshroud Bodyguard Red CloakMaterials and Paints UsedStep by Step GuideVideo: Deathguard Deathshroud Bodyguard Cloak FreehandMaterials and Paints UsedStep by Step GuideVideo: Deathguard Deathshroud Bodyguard Cloak Freehand RefinementMaterials and Paints UsedStep by Step GuideMore Deathshroud TutorialsLots More Deathguard Video Tutorials!
Video: Deathguard Deathshroud Bodyguard Green Armour
All videos are recorded in HD 1080p or higher – use full screen for the full effect and let the video load completely.
Materials and Paints Used
Games Workshop: Elysian Green, Nurgling Green, Rhinox Hide
Additional paints for mixing and shading: Pine Oxide, Loden Gree
Step by Step Guide
Paint Preparation: Gather your paints – Legion Green, Pine Oxide, Loden Green, and Rhinox Hide. Mix these to create five different shades ranging from light to dark for various transitions.
Base Coat: Start with a base coat of pure Legion Green. This will be your foundation colour.
Shading: Begin shading the lower belly area and other parts where shadows naturally fall. Use a mixture of Legion Green and Rhinox Hide for this. Remember, at this stage, the transitions don’t need to be perfect.
Wet Blending: Apply the shading using a wet blending technique. This involves placing one colour and, before it dries, adding another colour to blend on the model. It’s a rough, quick blending to position the shadows and shapes.
Highlighting: For highlighting, mix Legion Green with Megan Green. Start applying highlights to areas where light naturally hits, like the upper sections of the model.
Refining Transitions: As you progress, refine your transitions and shadows for a more polished and detailed look.
Final Highlights: Use pure Nurgling Green for the final highlight stage. This adds a brighter touch to the highest points where light would be most intense.
Detailing: Add finer details, like light reflections and texture variations, as needed to enhance the realism of the armour.
Additional Techniques: If desired, use glazes or additional layers to further refine the shading and highlighting.
Video: Deathguard Deathshroud Bodyguard Armour Detail
Materials and Paints Used
Games Workshop: Elysian Green, Nurgling Green, Mournfang Brown, Rhinox Hide Forge World: Gal Vorbak Red (use Games Workshop Khorne Red with a tiny amount of blue for a similar colour)
Step by Step Guide
Initial Shading: Start by shading the lower leg using a mix of Elysian Green and Rhinox Hide. This forms the base for the subsequent layers.
Layering with Pine Oxide: Apply Pine Oxide in layers. This is a form of light layering, where the paint is applied thinly, almost like working with glazes but slightly thicker.
Blending Techniques: Employ wet blending by quickly layering the paint. This helps in merging the layers smoothly, ensuring a subtle transition of colours.
Stippling with Mournfang Brown: Use Mournfang Brown for stippling effects. This is done by applying small dots to create texture and depth.
Refining Highlights: Add highlights using a finer brush. Highlight the lower edges of the leg where light naturally catches but avoid highlighting the upper edges to maintain a natural look.
Fixing Imperfections: If any area becomes too dark, use the in-between transitions to correct it. This involves mixing paint directly on the model, which can help in hiding mistakes.
Applying Red Glazes: Use a heavily watered-down Evil Sunz Scarlet (or a similar red glaze) to add subtle tones and enhance contrast.
Streaking for Battle Damage: For bullet holes or battle-damaged areas, create streaking effects using Mournfang Brown and Rhinox Hide, depicting the gunk running down from the damage.
Final Touches: Add final details and weathering to complete the look of the armour. This includes additional stippling and refining the contrast between light and shadow areas.
Video: Deathguard Deathshroud Bodyguard Pink Tentacles
Materials and Paints Used
Games Workshop: Emperor’s Children, Rhinox Hide, Evil Sunz Scarlet
Vallejo: Model Colour Black (Alternatively, Games Workshop black can be used)
P3: Morrow White (Alternatively, Games Workshop white can be used)
Step by Step Guide
Base Colour: Start with a base of Emperor’s Children pink.
Shading: Apply Rhinox Hide for shading. Paint the tip of the tentacle black for contrast.
Blending: Blend Rhinox Hide mixed with Emperor’s Children down from the black tip to create a smooth transition.
Detailing: Using straight Emperor’s Children, add line details to the tentacle, going beyond the sculpted segments for more intricacy.
Highlighting: Focus on the middle area of the tentacle with a mix of Emperor’s Children and Morrow White. This creates a focal point and simulates light catching the tentacle.
Final Touches: For light reflections, use a lighter pink or white. Add a glaze of Evil Sunz Scarlet for depth and contrast.
Video: Deathguard Deathshroud Bodyguard Copper Canister
This technique will give you a realistic copper effect using a simplified palette.
Materials and Paints Used
Games Workshop: Doombull Brown, Cadian Fleshtone Vallejo: Ice Yellow
Step by Step Guide
Base Coat: Start with a base coat of Doombull Brown.
Mixing Colours: Create a palette with five shades by mixing Doombull Brown, Cadian Fleshtone, and Ice Yellow in different proportions.
Highlighting: Apply the mix of Doombull Brown and Cadian Fleshtone across the upper curve for initial highlights. Adjust the position of the highlight by observing the model under light.
Refining: Blend the colours for smooth transitions. Use finer brushes for detailed areas and to keep dark lines sharp.
Final Highlights: Use a mixture of Cadian Fleshtone and Ice Yellow for brighter highlights. Add small touches of pure Ice Yellow for the brightest points.
Artificial Reflections: Paint reflections and detail lines that may not naturally occur but enhance the metallic effect. Look as photographs of copper items for references to help you with this.
Finishing Touches: Adjust and refine the highlights and shadows, ensuring a balance between realism and aesthetic appeal.
Video: Deathguard Deathshroud Bodyguard Red Cloak
This process results in a textured, worn cloak suitable for a Death Shroud Terminator, using a simple but effective painting technique.
Materials and Paints Used
Gal Vorbak Red (Forge World) Cadian Fleshtone (Games Workshop) Eldandil Violet (Scalecolour Fantasy)
Step by Step Guide
Base Coat: Start with Gal Vorbak Red as the primary colour.
Detailing and Texture: Use Cadian Fleshtone for adding highlights and texture, creating a worn and mouldy appearance.
Shading: Apply Eldandil Violet for shading in the recesses, enhancing depth and wear.
Glazing with Evil Sunz Scarlet: Use it as a glaze to add warmth to the cloak.
Refining Texture: Focus on cross-hatching movements to build texture, emphasizing the worn look.
Final Touches: Add further glazes and highlights to refine the texture and depth, tailoring the effect to your desired level of detail.
Video: Deathguard Deathshroud Bodyguard Cloak Freehand
Materials and Paints Used
The following paints were used:Games Workshop: Rhinox Hide Vallejo: Heavy Brown, Cork Brown, Ice Yellow, Black P3: Battlefield Brown *Note, Morrow White was not actually used in this video, but is used in part 2.
Step by Step Guide
Preparation: I used a test model to experiment with my design concept. This approach allows you to refine the freehand pattern before applying it to the main models.
Base Colours: Apply Vallejo Heavy Brown as a foundational colour. Enhance the base with Cork Brown for a richer texture. Use Rhinox Hide to outline the design, ensuring the lines are crisp and distinct.
Detailing: Carefully mark the eye sockets with black paint, paying attention to the cloak’s folds. These details will add depth and character to the freehand design.
Highlighting: Utilize Ice Yellow for highlights. This step involves blending the highlights with the base colors to achieve a natural, integrated look. The highlights should accentuate the topography of the cloak and enhance the freehand design.
Shading: Use Battlefield Brown to deepen the shadows and add complexity to the design. This shade will create a more dynamic and realistic appearance on the cloak.
Finishing Touches: Review the entire design, making final adjustments for consistency and balance. Focus on refining the freehand artwork, ensuring it harmonizes with the cloak’s texture and the overall theme of the model.
Video: Deathguard Deathshroud Bodyguard Cloak Freehand Refinement
Materials and Paints Used
The following paints were used: Games Workshop: Cadian Fleshtone, Pallid Wych Flesh, Bugman’s Glow, Rhinox Hide, Loren Forest, Nurgling Green, Vallejo: Ice Yellow, Cork Brown, Black, Neutral Grey, Pale Grey Blue, Heavy Brown P3: Battlefield Brown, Morrow White
Step by Step Guide
Base Preparation: Start by painting a rough base of fleshy shapes using Cadian Fleshtone. This initial layer doesn’t need to be perfect or smooth.
Detailing Ears and Face: Add ears to distinguish the image from a skull, creating a more zombie-like face. Use Kadeem Flesh Tone for this step.
Sketching Flesh and Bone: Sketch out areas where flesh appears torn or missing, revealing bone underneath. This technique enhances the undead appearance and integrates the existing skull highlights.
Adding White Highlights: Use Pallid Wych Flesh to accentuate bone areas, making them stand out from the flesh tone.
Painting the Eyes: Employ Neutral Grey, followed by Pale Grey Blue for the eyes. Add white dots in the center and top left corner of each eye for a lifelike effect.
Mouth and Teeth Details: Refine the mouth and teeth using Rhinox Hide and Ice Yellow for highlights. Focus on defining the teeth shapes and adding depth to the mouth.
Adding Texture to Flesh: Use Bugman’s Glow and other flesh tones to create textured, worn skin. Apply these tones in layers, allowing the underlying skull details to peek through.
Final Touches: Finish by adding fine details and additional highlights to enhance the depth and realism of the freehand design.
The key to this process is building up the layers gradually, refining the details as you go, and ensuring the highlights and shadows work together to create a realistic, three-dimensional appearance.
More Deathshroud Tutorials
How to Paint Deathshroud ArmourDeathshroud Scythe Handle WrappingDeathshroud Terminator Cloak FreehandHorn Painting Guide
Lots More Deathguard Video Tutorials!
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This video shows how to paint the metal and weathering effects on the legs of the Adeptus Titanicus Titan. Enhancing the metalwork, particularly the armour trim and skeletal structure, to achieves a detailed and realistic finish that looks fantastic on the battlefield. We’ll be using a mix of Games Workshop, Vallejo, and Forge World paints to bring our Titan to life.
Video: How to Paint Weathering and Metal on an Adeptus Titanicus Titan
All videos are recorded in HD 1080p or higher – use full screen for the full effect and let the video load completely.
Paints
Games Workshop:
Agrax Earthshade
Wyldwood (Contrast)
Contrast Aggaros Dunes
Forge World:
Aged Rust (Weathering Powder)
Vallejo Metal Colour (Airbrush Ready):
Victorian Brass (Scale 75 for an alternative base colour)
Magnesium
Gold
Chrome
Winsor & Newton:
Water Mixable Oil Colour Burnt Umber
Brushes
A fine detail brush for applying precise highlights and for controlled application of contrast paints and weathering powders.
A medium brush for applying base coats and larger areas of colour.
A soft, large brush for applying washes and for dusting off excess weathering powders.
I use the Artis Opus range of brushes, but any good quality brush is recommended.
Step by Step – Weathering and Metal on the Adeptus Titanicus Titan
Preparing the Armour Trim
Base Coat: Begin with a base coat of Scale 75 Victorian Brass over the trim. This provides a solid foundation for subsequent layers.
Initial Shading: Apply Contrast Aggaros Dunes over the Victorian Brass to introduce depth and shading to the trim. This step should have been completed in earlier stages of the model’s painting process.
Enhancing the Trim
Adding Depth: Use Games Workshop’s Wyldwood contrast paint to darken recesses and joints in the trim. The high contrast between the dark recesses and the metallic brass creates visual interest and depth. Apply the paint selectively to areas that would naturally accumulate shadow.
Highlighting: Vallejo Metal Colour Gold is used to highlight the edges of the trim. Due to its fluidity, it provides a smooth application but be mindful of its runniness. Lightly touch the edges with a fine brush to catch the raised areas.
Painting the Skeleton
Base Layer: Vallejo Metal Colour Magnesium serves as the base layer for the Titan’s skeletal structure. Its liquidity ensures it flows well into recesses but exercise caution to prevent pooling.
Weathering: Apply Forge World’s Aged Rust weathering powder mixed with water to the skeletal structure for a grimy, rusted effect. Focus on areas that would naturally collect dirt and rust, maintaining a balance to avoid obscuring details.
Sealing the Weathering: Once dry, seal the weathering with a mix of Agrax Earthshade. This reactivates and fixes the weathering powder, giving a durable and realistic rust effect.
Detailing Pistons and Metal Accents
Chrome Pistons: Vallejo Metal Colour Chrome is applied to pistons for a bright, reflective finish. Multiple thin layers may be needed for uniform coverage.
Oily Effects: Windsor and Newton’s Water Mixable Oil Colour Burnt Umber is used to simulate oil and grime on pistons and mechanical parts. Dilute with water for a manageable consistency and apply at joints and moving parts for a realistic oily effect.
Finishing Touches
Reichland Fleshshade Glaze: Optional, but can be used to add warmth to metal parts, particularly useful on brass or gold trims to simulate reflected light or heat staining.
Highlighting and Cleaning Up: After applying weathering and shading, go back to highlight edges and clean up any overspill with your base metallic colours. This step sharpens details and enhances the overall contrast of the model.
Techniques and Tips
Trim Detailing: Use the fine detail brush with Vallejo Metal Colour Gold to highlight the edges of the trim, applying the paint carefully to avoid spillage onto other areas.
Skeleton Base Layer: Apply Vallejo Metal Colour Magnesium with a medium brush, ensuring even coverage and avoiding pooling in recesses.
Weathering Powder Application: Mix Aged Rust with water in the well palette and apply with a large brush, targeting recesses and areas where rust would naturally accumulate.
Chrome Pistons: Use Vallejo Metal Colour Chrome, applying multiple thin layers as needed for a smooth, reflective finish.
Oily Effects: Dilute Winsor & Newton Water Mixable Oil Colour Burnt Umber with water and apply at the tops of pistons and around mechanical parts to simulate oil and grime.
Watch all the tutorials for my War Griffons Warlord!
War Griffons Warlord
A series of quick videos on the different techniques used on this model. These include the marble effect, the stripes, applying decals and weathering and metal.
Watch Now
Free Video Tutorials
Free videos for logged in members – just sign up as a ‘friend’ to view and click any of the thumbs.To explore all of these, visit this page!
If you don’t have an account, please sign up here! The website currently has over 350 video tutorials, plus step by step guides and PDFs. You can explore more free videos with a free “friend” membership, or take the plunge and become a full subscriber for full access.
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In this tutorial, we’ll focus on How to Paint Abaddon’s Shoulder Pad – painting the freehand eye on Abaddon the Despoiler’s shoulder armour, along with the non-metallic metal (NMM) gold trim. We will use a variety of paints from Games Workshop, Vallejo, and P3.
Video – How to Paint Abaddon’s Shoulder Pad
Step-by-Step Guide – How to Paint Abaddon’s Shoulder Pad
Paints used
Games Workshop: Flash Gitz Yellow, Temple Guard Blue, Kantor Blue, Cadian Fleshtone, Ushabti Bone, Balor Brown, Mournfang Brown, Rhinox Hide
Vallejo: Black, Pale Grey Blue, Ice Yellow
P3: Morrow White
Preparing the Surface
Surface Preparation: Start by filling in any sculpted details you don’t need, such as the V-shape on the shoulder pad, using green stuff. Make sure it’s smooth and even. Prime the entire area with black primer.
Base Coating the Eye
Base Coat: Apply a base coat of Cadian Fleshtone to the entire area where the eye will be. Thin the paint with water (about 1.5 parts water to 1 part paint) and apply 3-4 coats for a smooth, opaque finish.
Painting the Pupil
Pupil Outline: Using Vallejo Model Color Black, paint a small black circle in the center of the eye area. Gradually enlarge the circle, ensuring it stays centered and smooth. Thin the paint with water (about 1.5 parts water to 1 part paint).
Painting the Iris
Base Layer:
Paint the iris using Kantor Blue. This layer doesn’t need to be perfect; it just provides a base for the subsequent layers.
Detailing the Iris:
Use Temple Guard Blue to paint the detailed lines and shapes within the iris. These lines should radiate from the pupil outward. Vary the direction and thickness of the lines to create a natural look. Ensure the paint is thin and the brush tip is sharp for precise lines.
Adding Depth:
Apply Flash Gitz Yellow over the Temple Guard Blue lines to create a greenish tone. Then, use Pale Grey Blue to refine the details and add highlights within the iris.
Highlighting the Eye
White of the Eye:
Highlight the white of the eye using Ushabti Bone. Thin the paint (1.5 parts water to 1 part paint) and build up the highlights towards the center of the eye. Use stippling to blend the transitions smoothly.
Veins:
Paint veins in the eye using Khorne Red. Make sure the lines are thin and subtle. Draw them from the edges towards the center, and then glaze over them with heavily thinned Doombull Brown (about 6 parts water to 1 part paint) to blend them in.
Shadow and Depth:
Add shadows using Rhinox Hide. Thin the paint (about 2 parts water to 1 part paint) and apply it to the upper eyelid area to create a shadow. This adds depth and realism to the eye.
Painting the NMM Gold Trim
Base Layer:
Apply a base coat of XV-88 to the trim. Ensure smooth coverage.
Building Layers:
Layer Balor Brown over XV-88, focusing on the raised areas and edges. Use Mournfang Brown for shadows and deeper areas.
Highlights:
Add highlights with Ice Yellow. Apply them to the upper parts and edges of the trim. Use Pale Grey Blue sparingly to add cool tones to the gold.
Final Highlights:
Use Morrow White for the brightest highlights. Apply small dots and lines to the edges and points for a sharp, reflective effect.
Adding Final Details
Texture and Scratches:
Add texture to the trim with Balor Brown and Mournfang Brown. Use thin, scratchy lines to create a worn effect. Blend these with Mournfang Brown to maintain the warmth of the gold.
Rivets and Reflections:
Highlight rivets with the same colors used for the trim. Ensure they are brighter than the surrounding areas. Add additional reflection points with Ice Yellow and Morrow White to enhance the metallic effect.
Top Tips for Painting Abaddon The Despoiler’s Shoulder Armor Freehand Eye and NMM Gold Trim
Preparation is Key:
Ensure the surface is smooth and primed properly before starting. Filling in any unnecessary sculpted details with green stuff will give you a clean canvas to work on.
Thin Your Paints:
For base coating and detailed work, keep your paints thinned (about 1.5 parts water to 1 part paint). This ensures smooth application and better control.
Start Small:
When painting details like the pupil, start with a small circle and gradually enlarge it. This allows for better control and fewer mistakes.
Layering and Blending:
Build up colours gradually with multiple thin layers. This helps in achieving smooth transitions and realistic shading.
Use a Sharp Brush:
A brush with a good tip is essential for fine details. A size 00 brush works well for intricate work, ensuring precise lines and control.
Check Paint Consistency:
Always check your paint consistency on your thumb or a palette before applying it to the model. This helps prevent blobbing and ensures smooth application.
Highlighting Techniques:
Always paint towards the center of the highlight to build up opacity gradually. For a more natural look, use a stippling technique to blend transitions.
Detailing the Iris:
Create varied lines and shapes within the iris to mimic natural patterns. Overlapping lines and varied thicknesses add realism.
Veins in the Eye:
Use a darker red for veins and blend them with heavily thinned Doombull Brown to make them look subtle and natural
When painting NMM, ensure the highlights and shadows are placed accurately to mimic reflective surfaces. Use a combination of warm and cool tones to add depth and realism.
Non-Metallic Metal (NMM) Technique:
Adding Texture:
Use thin, scratchy lines to add texture and wear to the gold trim. This enhances the realism and adds character to the piece.
Small Dots and Lines:
For the brightest highlights, use small dots and lines. This creates a sharp, reflective effect, especially on edges and points.
Use Glazes for Blending:
To soften transitions and blend colors, use glazes. A heavily thinned paint (about 6 parts water to 1 part paint) can help create smooth transitions.
Patience and Practice:
Detailed freehand work and NMM techniques require patience and practice. Take your time and don’t rush the process. With each attempt, you’ll improve and achieve better results.
There are lots more tutorials for painting Abaddon! Follow the link below to watch them all, or scroll town to explore them by model part.
Abaddon the Despoiler
A series of videos on how to paint Abbadon the Despoiler to competition standard – (new step-by-step guides included!)
Watch Now
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Two videos on how to paint weathered armour plate, complete with rust, scratches and chips and a simple freehand banner. You won’t need an airbrush for this tutorial.
Video: Part One – Armour and Weathering
Materials and Paints Needed
Games Workshop Paints: Balor Brown, Yriel Yellow, Mournfang Brown, Rhinox Hide
Vallejo Paints: Neutral Grey, Pale Grey Blue, White
Brushes: Large dry brush (or makeup brush), fine detail brush, glazing brush (size 4 or similar)
Accessories: Water for thinning paints, kitchen towel for wiping brushes, well palette
Preparing the Model
Clean and prime your Redemptor Dreadnought model. A light grey or white primer is recommended for bright colours like yellow.
Base Coating with Stippling Technique
Mix Balor Brown with water in a roughly 50/50 ratio. This will be your base layer.
Stipple Balor Brown onto the armour panels using a large, round, flat brush. Aim for gentle touches to build up the texture without creating pronounced, three-dimensional brush marks. Allow the paint to dry fully before adding more layers. This creates a worn, battlefield-ready appearance.
Glazing for Colour Depth
Create glazes in your well palette by mixing Mournfang Brown and Yriel Yellow separately with water, using about 6-7 parts water to 1 part paint.
Apply Mournfang Brown glaze to shade areas, starting from lighter areas and moving the brush towards darker regions. This adds warmth to the shadows.
Apply Yriel Yellow glaze over the entire panel, focusing more paint towards the centre for a vibrant effect. Ensure to remove excess paint from your brush to avoid pooling.
Chipping for Weathered Effect
Use Rhinox Hide with a fine detail brush to create chipping along the edges of the armour panels where wear would naturally occur. Remember, less is more; avoid overdoing it with lines and crosses.
Highlight the lower edge of each chip with Yriel Yellow to simulate the armour’s wear and tear, making the chips stand out more against the base layers.
Detailing and Finishing Touches
Rivets: Paint each rivet with a dot of Pale Grey Blue on the top left and a tiny line on the bottom right to simulate light reflection.
Metal Exposure: Use Neutral Grey to paint areas where the metal beneath the yellow paint would show through, particularly around chips and edges. This technique helps redefine the model’s shape and adds dimensionality to the weathering.
Final Highlights: Add a final touch by placing a small dot of White on the most prominent parts of the chips and rivets to enhance the reflective effect.
Video: Part Two – Freehand Banner
Materials and Paints Needed:
Games Workshop Paints: Baneblade Brown, Rhinox Hide, Morghast Bone, Screaming Skull, Balor Brown
Vallejo Paints: Model Colour Black
Brushes: A smaller brush for initial sketching and detailing, and a larger brush for smoother finishes on larger sections.
Other Supplies: Water for thinning paints, a palette for mixing, and kitchen towel for wiping off excess paint.
Preparing the Banner:
Base Layer with Morghast Bone: Begin by sketching the basic shape of the banner on the shoulder pad using Morghast Bone. This step involves creating the outline and filling in the banner. For larger sections, use a larger brush to achieve a smoother finish.
Refining Edges: Use a smaller brush to refine the edges and the trailing ends of the banner. Aim for a shape that complements the space available on the shoulder pad, keeping in mind the overall design and avoiding overly stubby ends.
Applying Shadow with Baneblade Brown and Rhinox Hide Mix: Mix approximately 50/50 Baneblade Brown and Rhinox Hide to create a shadow colour. Apply this mixture to add depth and shadow to the banner, especially along the edges and the banner’s folds.
Highlight with Screaming Skull: To highlight the main body of the banner and give it a three-dimensional appearance, apply Screaming Skull, focusing on the central and raised areas. This step brings out the details and makes the banner stand out.
Painting the Text:
Sketching Text with Vallejo Model Colour Black: Using a fine detail brush and Vallejo Model Colour Black, begin sketching the text onto the banner. Start with basic shapes for letters and focus on spacing. The chosen word for this tutorial is “MORTIS.”
Refining Letters: Once the basic spacing and shape are down, refine each letter for clarity and style. Adjust the thickness of the lines and add any stylistic flourishes to match the desired font. Consistency in line weight and style across all letters is crucial for readability.
Correcting and Sharpening Edges: Use Morghast Bone and Screaming Skull to correct any overshoots or to sharpen the edges of the letters. This step allows for cleaner lines and more precise letter shapes.
Final Touches:
Weathering: To integrate the text and banner naturally with the rest of the model, apply weathering. Use Balor Brown to simulate chipped paint and wear on the banner and text. This step adds realism and character to the model.
Applying Filters: A filter of heavily diluted Mournfang Brown and Yriel Yellow can be applied over the entire freehand work. This unifies the colours, softens the contrast, and gives the banner and text a worn look, blending them seamlessly with the model’s overall weathered appearance.
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A series of quick videos on how to paint a War Griffons Warlord Adeptus Titanicus Titan to game standard. This included marble effects, stripes, weathering and decals and more!
Scroll down to explore the videos in order, or use the quick links below to jumps to a technique or part of the model in particular:
Video – How to Paint a War Griffons Warlord : Marble EffectMaterials List:Marble Armour Step-by-Step Guide:Video – How to Paint a War Griffons Warlord : The StripesMaterials Needed:The Stripes Step by Step:Additional Tips:Video – How to Paint a War Griffons Warlord : Weathering and DecalsMaterials Needed:Steps:Preparing the Surface:How to Apply the Forge World Decals:Sealing the Decal:Weathering the Decal and Armour:Additional Tips:Video – How to Paint a War Griffons Warlord : Heat Bloom on Melta CannonMaterials Needed:Melta Cannon Step-by-Step Guide:Video – How to Paint a War Griffons Warlord : Weathering and Metal PaintsStep by Step – Weathering and Metal on the War Griffons WarlordPreparing the Armour TrimEnhancing the TrimPainting the SkeletonDetailing Pistons and Metal AccentsFinishing TouchesTechniques and TipsMore Titan Tutorials!
Video – How to Paint a War Griffons Warlord : Marble Effect
All videos are recorded in HD 1080p or higher – use full screen for the full effect and let the video load completely.
Materials List:
Airbrush: Essential for applying smooth base coats and gradients.
Hand disinfectant wipes or baby wipes: Used to create the marble effect.
Paints:
Vallejo Pale Grey Blue: For the initial base coat.
Vallejo Neutral Grey: To begin creating the marble effect.
Vallejo Dark Grey (German Grey): For adding darker veins to the marble.
Vallejo Heavy Goldbrown: Base colour for yellow armour sections.
Games Workshop Phalanx Yellow: For highlighting yellow armour sections.
Marble Armour Step-by-Step Guide:
Base Coat:
Begin by airbrushing Vallejo Pale Grey Blue onto the carapace of the Titan. This may require a few coats to achieve a smooth finish. The paint can be thinned a bit, but not excessively, to ensure good coverage without too much speckling.
Preparing the Wipe:
Take a hand disinfectant wipe or baby wipe and stretch it out so it’s slightly spread and thin. This texture will be transferred to the armour to create the marble effect.
Applying the Wipe:
Lay the stretched wipe over the armour part you’ve just painted. Ensure it’s not too densely applied; the idea is to leave some areas exposed more than others for a varied marble effect.
Adding Darker Tones:
Airbrush Vallejo Neutral Grey over the wipe-covered armour. Keep the airbrush pressure low to avoid displacing the wipe. Focus more on the edges and less on the centre to mimic natural shading.
Without completely covering the previous layer, lightly apply Vallejo Dark Grey in a few select areas to create the appearance of darker veins within the marble.
Revealing the Effect:
Carefully remove the wipe to reveal the marble effect beneath. You’ll find areas of light and dark grey creating a naturalistic marble pattern.
Cleaning Up:
After removing the wipe, there may be strands left on the model. Take your time to clean these off to avoid them becoming permanently attached in later steps.
Painting Yellow Armour Sections:
For Legio Gryphonicus’s iconic grey and yellow scheme, base coat the relevant armour sections with Vallejo Heavy Goldbrown. Highlight these areas with Games Workshop Phalanx Yellow to achieve a vibrant, contrasting look against the grey marble.
Video – How to Paint a War Griffons Warlord : The Stripes
This guide will take you through the process of painting and weathering the stripes to achieve a battle-worn effect, ensuring your titan stands out on the tabletop.
Materials Needed:
Scale 75 Victorian Brass (For the trim)
Tamiya Masking Tape (3mm strips recommended for precision)
Games Workshop Kantor Blue (For the base stripe colour)
Vallejo Ultramarine Blue (For highlighting the stripes)
Vallejo Neutral Grey (For weathering)
Vallejo Pale Grey Blue (For weathering)
Airbrush and airbrush thinner (Vallejo Airbrush Thinner recommended)
Fine detail brush for weathering
The Stripes Step by Step:
Prepare the Trim:
Begin by painting the trim of the carapace using Scale 75 Victorian Brass. This step should ideally be done after painting the stripes to avoid overspray, but if you prefer to paint it first, be prepared to touch it up later.
Masking for Stripes:
Apply Tamiya masking tape to the carapace to create the desired pattern for your stripes. Ensure the tape is firmly pressed down, especially near the edges and armour trim, to prevent paint from bleeding underneath.
Base Colour for Stripes:
Airbrush Games Workshop Kantor Blue over the masked areas. The paint should be thinned appropriately and applied in even coats to achieve an opaque finish. Be mindful of overspray on the trim.
Highlighting Stripes:
After the base colour dries, apply Vallejo Ultramarine Blue as a highlight. Focus on the raised edges and ridges to create a gradient effect, ensuring some Kantor Blue remains visible for contrast.
Removing Masking Tape:
Carefully peel off the masking tape to reveal crisp, clean stripes. This step is highly satisfying and reveals the neat lines that define the pattern.
Weathering the Stripes:
Using a fine detail brush, apply Vallejo Neutral Grey and Pale Grey Blue to simulate chips and wear on the stripes. Focus on areas that would naturally see more wear and tear, breaking up the clean edges of the stripes to create a more realistic, battle-worn look. Use the colours that match the underlying marble effect for a cohesive appearance.
Finishing Touches:
Optionally, go back over the trim with Victorian Brass to clean up any overspray from painting the stripes. This will ensure a neat and polished look.
Additional Tips:
The choice of stripe colour can vary; red or hazard striping are also effective options.
The weathering step is crucial for adding realism. Smaller, more concentrated damage marks enhance the scale effect, making the titan appear as a massive war machine.
Keep the weathering consistent with the overall wear on the rest of the titan for a unified appearance.
Video – How to Paint a War Griffons Warlord : Weathering and Decals
This step-by-step guide, designed to be beginner-friendly, will walk you through applying decals, adding a gloss finish for protection, and executing weathering techniques to give your titan a battle-worn appearance.
Materials Needed:
Vallejo Gloss Varnish
Water for softening decals
Micro Sol and Micro Set for decal application
Tamiya 3mm Masking Tape or equivalent
Games Workshop Kantor Blue
Vallejo Neutral Grey, Ultramarine Blue, and Pale Grey Blue for weathering
Games Workshop Matte Varnish
Fine detail brushes
Airbrush (optional for varnishing)
Forge World Decals for Legio Gryphonicus
Steps:
Preparing the Surface:
Apply Gloss Varnish: Begin by applying Vallejo Gloss Varnish to the areas where decals will be applied. This creates a smooth surface, reducing air pockets and imperfections. You can apply the varnish with a brush or an airbrush. If brushing, slightly dilute the varnish with water for easier application.
How to Apply the Forge World Decals:
Soften Decals in Water: Cut out your chosen decals and soak them in water until they easily slide off the backing paper. This typically takes a few minutes.
Apply Micro Sol: Place a small amount of Micro Sol on the model where the decal will be applied. This softener helps the decal conform to the model’s surface.
Position the Decal: Carefully slide the decal from the paper to the model. Use a soft brush to adjust its position accurately.
Remove Excess Water: Gently dab a soft, dry brush or a paper towel to remove any excess water and air bubbles beneath the decal.
Apply Micro Set: Once the decal is in place, apply Micro Set over it. This solution helps soften the decal further, allowing it to snuggle down into the model’s details. Let it dry thoroughly, ideally overnight. Don’t worry if the decal looks wrinkled at this stage; it will smooth out as it dries.
Sealing the Decal:
Apply Additional Gloss Varnish: After the decal has dried, apply another layer of gloss varnish over it using an airbrush for an even coat. This step helps to seal the decal and even out the surface. If necessary, apply 2-3 coats, allowing each to dry thoroughly.
Matte Varnish Finish: Once the gloss varnish is completely dry, apply a matte varnish over the entire model to give it a uniform, non-glossy finish. This also helps to further blend the edges of the decal into the model.
Weathering the Decal and Armour:
Weathering with Paint: Use Vallejo Neutral Grey and Pale Grey Blue to add weathering around the decals and on the armour. Use a fine detail brush to apply small chips and scratches, focusing on edges and areas that would naturally see more wear. This adds realism and depth to your titan.
Additional Weathering Techniques: For further realism, you can add streaks and rust effects using diluted paint or weathering powders. Apply these sparingly in areas where water and dirt would naturally accumulate and streak down the model’s surface.
Additional Tips:
Take your time with each step, especially when applying and positioning the decals.
Always allow each layer of varnish and paint to dry completely before proceeding to the next step.
Practice weathering techniques on a spare piece before applying them to your model to get a feel for the effect.
Video – How to Paint a War Griffons Warlord : Heat Bloom on Melta Cannon
Materials Needed:
Airbrush and Thinner: For applying smooth gradients of colour.
Brushes: A fine detail brush for precise application and a dry brush for highlighting.
Paints:
Vallejo Metal Colour Magnesium (for the metallic base).
Vallejo Metal Colour Chrome (for highlighting metallic areas).
Scale 75 Victorian Brass (for trim detailing).
Games Workshop Contrast Paints: Iyanden Yellow, Magos Purple, Talassar Blue (for the heat effect).
Games Workshop Contrast Aggaros Dunes (for additional trim detailing).
Melta Cannon Step-by-Step Guide:
Base Coating the Weapon:
Begin by airbrushing the Melta weapon’s recesses with Averland Sunset, ensuring the weapon’s holes face directly towards the airbrush to prevent uneven shading. Don’t worry about overspray on the weapon casing; this will be covered later.
Adding Initial Heat Glow:
Switch to Troll Slayer Orange and apply over the Averland Sunset, creating a gradient effect from the weapon’s recesses outward. Ensure even coverage without tilting the airbrush to maintain consistency across the recesses.
Masking for Overspray:
To prevent overspray on adjacent yellow armour panels, use masking tape or modelling putty. This step is crucial for maintaining clean lines and avoiding accidental paint transfer.
Metallic Base Coat:
Paint the metallic parts of the weapon with Vallejo Metal Colour Magnesium, carefully avoiding the recesses to maintain the glow effect. This creates a solid base for subsequent detailing.
Trim Detailing:
Apply Scale 75 Victorian Brass to the weapon’s trim, followed by a coat of Games Workshop Contrast Aggaros Dunes to add depth and dimension to the detailing.
Heat Bloom Effect:
Begin the heat bloom effect by airbrushing Iyanden Yellow halfway along the Melta Cannon barrel, avoiding the recesses. Layer Magos Purple over the Iyanden Yellow, leaving some yellow visible for a blended effect. Finish with Talassar Blue, applying it over the Magos Purple but not covering all the previous layers, creating a transition from yellow to deep blue.
Highlighting and Finishing Touches:
Dry brush Vallejo Metal Colour Chrome on the non-painted metallic areas to enhance the metallic sheen. Carefully highlight the lower edges of the weapon with Chrome using a normal paintbrush, accentuating the heat bloom’s impact.
Final Assembly:
Once all painting is complete, remove any masking materials and assemble any remaining parts of the Titan, paying attention to aligning the heat bloom effects correctly.
Video – How to Paint a War Griffons Warlord : Weathering and Metal
Paints
Games Workshop:
Agrax Earthshade
Wyldwood (Contrast)
Contrast Aggaros Dunes
Forge World:
Aged Rust (Weathering Powder)
Vallejo Metal Colour (Airbrush Ready):
Victorian Brass (Scale 75 for an alternative base colour)
Magnesium
Gold
Chrome
Winsor & Newton:
Water Mixable Oil Colour Burnt Umber
Step by Step – Weathering and Metal on the War Griffons Warlord
Preparing the Armour Trim
Base Coat: Begin with a base coat of Scale 75 Victorian Brass over the trim. This provides a solid foundation for subsequent layers.
Initial Shading: Apply Contrast Aggaros Dunes over the Victorian Brass to introduce depth and shading to the trim. This step should have been completed in earlier stages of the model’s painting process.
Enhancing the Trim
Adding Depth: Use Games Workshop’s Wyldwood contrast paint to darken recesses and joints in the trim. The high contrast between the dark recesses and the metallic brass creates visual interest and depth. Apply the paint selectively to areas that would naturally accumulate shadow.
Highlighting: Vallejo Metal Colour Gold is used to highlight the edges of the trim. Due to its fluidity, it provides a smooth application but be mindful of its runniness. Lightly touch the edges with a fine brush to catch the raised areas.
Painting the Skeleton
Base Layer: Vallejo Metal Colour Magnesium serves as the base layer for the Titan’s skeletal structure. Its liquidity ensures it flows well into recesses but exercise caution to prevent pooling.
Weathering: Apply Forge World’s Aged Rust weathering powder mixed with water to the skeletal structure for a grimy, rusted effect. Focus on areas that would naturally collect dirt and rust, maintaining a balance to avoid obscuring details.
Sealing the Weathering: Once dry, seal the weathering with a mix of Agrax Earthshade. This reactivates and fixes the weathering powder, giving a durable and realistic rust effect.
Detailing Pistons and Metal Accents
Chrome Pistons: Vallejo Metal Colour Chrome is applied to pistons for a bright, reflective finish. Multiple thin layers may be needed for uniform coverage.
Oily Effects: Windsor and Newton’s Water Mixable Oil Colour Burnt Umber is used to simulate oil and grime on pistons and mechanical parts. Dilute with water for a manageable consistency and apply at joints and moving parts for a realistic oily effect.
Finishing Touches
Reichland Fleshshade Glaze: Optional, but can be used to add warmth to metal parts, particularly useful on brass or gold trims to simulate reflected light or heat staining.
Highlighting and Cleaning Up: After applying weathering and shading, go back to highlight edges and clean up any overspill with your base metallic colours. This step sharpens details and enhances the overall contrast of the model.
Techniques and Tips
Trim Detailing: Use the fine detail brush with Vallejo Metal Colour Gold to highlight the edges of the trim, applying the paint carefully to avoid spillage onto other areas.
Skeleton Base Layer: Apply Vallejo Metal Colour Magnesium with a medium brush, ensuring even coverage and avoiding pooling in recesses.
Weathering Powder Application: Mix Aged Rust with water in the well palette and apply with a large brush, targeting recesses and areas where rust would naturally accumulate.
Chrome Pistons: Use Vallejo Metal Colour Chrome, applying multiple thin layers as needed for a smooth, reflective finish.
Oily Effects: Dilute Winsor & Newton Water Mixable Oil Colour Burnt Umber with water and apply at the tops of pistons and around mechanical parts to simulate oil and grime.
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In this How to Paint Abaddon Trophy Rack tutorial, we’re diving into the grim and iconic details of Abaddon the Despoiler’s trophy rack, focusing on everything from weathered Space Marine helmets to wooden spikes and skulls. Using a mix of Games Workshop and Vallejo paints, we’ll cover a variety of techniques to bring out the dark, battle-hardened essence of Abaddon’s war trophies. Whether you’re after smooth transitions for non-metallic metal effects or want to add that perfect amount of battle damage to a helmet, this guide will help!
Video – How to Paint Abaddon Trophy Rack
Paints used:
Games Workshop: Balor Brown, Mournfang Brown, XV-88, Morghast Bone, Screaming Skull, Rhinox Hide, Khorne Red, Evil Sunz Scarlet, Wild Rider Red
Vallejo: Neutral Grey, Pale Grey Blue, Ice Yellow, White Grey, Heavy Black Green, Black
Space Marine Helmet
Base Coat:
Apply a base coat of Vallejo Heavy Black Green, thinned down with water (about 50/50 water to paint). Apply a couple of coats for a smooth finish.
Initial Highlights:
Mix Heavy Black Green with Ice Yellow for the first highlight. Start applying this mix to the raised areas, especially the forehead and the curves of the helmet.
Refining Highlights:
Gradually add more Ice Yellow to the mix and continue highlighting. Focus on the forehead curve, the edges, and the top of the helmet. Use controlled brush strokes towards the center of the highlight areas to build opacity and achieve a smooth transition.
Scratches and Battle Damage:
Use the same highlight mix to add scratches and battle damage. Vary the length and direction of the scratches, focusing on edges and raised areas. For deeper scratches, add Rhinox Hide to the mix and apply thin lines.
Final Highlights:
Use a mix of mostly Ice Yellow with a small amount of Heavy Black Green for the brightest highlights. Apply these to the most prominent areas, such as the center of the forehead and the edges of the helmet.
Eye Lens:
Paint the eye lens with Khorne Red, then layer Evil Sunz Scarlet and Wild Rider Red towards the front. Add a tiny dot of Ice Yellow mixed with Wild Rider Red for the final highlight. Finish with a small white dot in the back corner for a reflection.
Wooden Spikes
Base Coat:
Base coat the wooden spikes with Rhinox Hide.
Grain and Texture:
Use Mournfang Brown to paint the wood grain, following the sculpted lines on the model. Focus on the top and bottom of the spikes, leaving the middle section darker.
Layering:
Apply XV-88 to the raised areas and the grain lines, blending it into the Mournfang Brown. This creates a natural wood texture.
Highlights:
Use Morghast Bone for the final highlights, focusing on the edges and the splintered parts of the wood. Add a few thin horizontal lines to represent scratches and imperfections.
NMM Metal Spike Tips
Base Coat:
Base coat the metal tips with Neutral Grey.
Initial Highlights:
Apply Pale Grey Blue to the highlight areas, focusing on the upper parts of the tips and the edges.
Refining Highlights:
Add White Grey to Pale Grey Blue and apply smaller highlights, concentrating on the sharp edges and points.
Final Highlights:
Use pure White Grey for the brightest highlights, applying small dots and lines to the edges and points to simulate a shiny metal effect.
Consistency:
Ensure that the highlight direction is consistent with the light source. For the spikes on the left side, highlight the left edges, and for those on the right, highlight the right edges to create a natural look.
Step 4: Skulls
Base Coat:
Apply a base coat of Rhinox Hide to the skulls.
First Layer:
Apply Balor Brown in thin layers, focusing on the raised areas and leaving the deeper recesses darker.
Building Highlights:
Layer Morghast Bone over Balor Brown, concentrating on the upper sections of the skulls and the areas facing the light source.
Final Highlights:
Use Screaming Skull for the final highlights, applying it to the most prominent areas, such as the forehead, cheekbones, and edges. Use thin layers and build up the color gradually.
Details:
Paint the teeth and eye sockets carefully, using a mix of Morghast Bone and Screaming Skull for highlights. Add small dots and lines to represent cracks and imperfections.
There are lots more tutorials for painting Abaddon! Follow the link below to watch them all, or scroll town to explore them by model part.
Abaddon the Despoiler
A series of videos on how to paint Abbadon the Despoiler to competition standard – (new step-by-step guides included!)
Watch Now
Need more Abaddon? Look no further:
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The final painting Morgok video, with kill trophies, highlights, cloth, leather and just those lovely finishing touches.
Video – Kill trophies, highlights, cloth, leather and more on Morgok!
Materials and Paints
The following paints were used: Games Workshop: Cadian Fleshtone, Balor Brown, Morghast Bone, Kantor Blue, XV-88 (Or Balor Brown mixed with black), Rhinox Hide Vallejo: Neutral Grey, Pale Grey Blue P3: Morrow White
Step-by-Step Guide
To finish painting Morgok from Morgok’s Krushas, focusing on the kill trophies and final touches to the armour, here’s a step-by-step guide:
Painting the Trophy Heads:
Basecoat: Start with Vallejo Neutral Grey to outline highlight areas. This grey base helps to convey the deceased look of the heads.
Highlighting: Apply Cadian Fleshtone, which appears pinkish on the palette but turns pale when applied. Mix it with two parts water to one part paint for translucency, allowing underlying grey to show. This creates a dehydrated, mummified look. Focus on prominent features like cheekbones, forehead, upper lip, and nose.
Adding Cool Tones: Use Kantor Blue, heavily diluted (about four parts water to one paint), to add a cold, lifeless tone to the flesh. Be cautious as it’s strong and can overpower other colours. Apply sparingly and touch up with Cadian Fleshtone where needed.
Painting the Hair:
Basecoat: Use Rhinox Hide for a dark base.
Detailing: Apply a mix of Balor Brown and black (or XV-88) for the texture. Water down slightly for a smoother finish. Follow with Morghast Bone for finer details and strands. Apply these colours in thin lines to represent the texture of the hair.
Painting the Skull:
Basecoat: Apply Balor Brown over black primer. Don’t aim for a smooth finish; a bit of messiness adds to the worn look.
Highlighting: Use Morghast Bone for highlights, focusing on raised areas like the brow. This creates the effect of a weathered, unpolished skull.
Final Touches to the Armour:
Secondary Bounce Highlights: Use Neutral Grey for less bright areas, ensuring the main highlights are brighter. Apply these highlights on areas like the underside of the armour, keeping in mind the light source and overall weathered look.
Refining Highlights: Use Pale Grey Blue and Morrow White for hard edges and minor details. Apply Morrow White sparingly to maintain focus on the model’s main areas.
Adding Rust and Grime:
Base Layer: Start with Mournfang Brown for rust and grime, focusing on areas like the belt.
Secondary Layer: Apply Troll Slayer Orange for a more saturated rust effect. This colour is strong; use it carefully to avoid overpowering other elements.
Glazing for Cohesion:
Mixing the Glaze: Create a glaze with Abaddon Black, diluting it heavily (approximately five parts water to one part paint).
Application: Apply the glaze carefully to mid-tones and shadows, avoiding the brightest highlights. This unifies the armour’s look, enhancing shadows and reducing the intensity of mid-tones for a cohesive finish.
Throughout the process, maintain a balance between detail and the overall look of the model. The aim is to create a realistic, battle-worn appearance with attention to the finer details, especially on the trophy heads and armour.
Morgok from Morgok’s Krushas – All Videos
Painting Morgok from Morgoks Crushas
Morgok and his mob of Ironjawz brutes once hunted down and fought the greatest prey they could find amongst Ghur’s trackless wastes. Whether they ran down spiny nephrodiles or fought the storm-warriors of Sigmar, Morgok’s Krushas sought the mightiest trophies in the name of their bellicose deity, Gorkamorka.
Here is the full series of videos on how I painted him!
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Two video tutorials on how to paint the Blissful One from The Unmade – fast and brutally effective fighters with the power to turn anyone who gets in their way into particularly grimdark coleslaw.
Video: Blissful One from The Unmade – Part One
This tutorial will guide you through the initial steps of painting the Blissful One from The Unmade Warband, focusing on establishing base colours, highlighting, and creating contrast. We’ll start with a model that has been assembled and primed in black.
Materials and Paints Needed:
Primer: Black
Base Paints: Games Workshop Mephiston Red, Cadian Fleshtone, Blue Horror, Morghast Bone, Skavenblight Dinge, Ogryn Camo; Vallejo Neutral Grey, Ice Yellow; P3 Morrow White
Step-by-Step Guide to The Blissful One – Part One:
Glue and Prime: Assemble your Blissful One from The Unmade and prime it in black. Bear in mind, this model is quite fragile, so handle it with care during both assembly and painting.
Hood Painting: Start with the hood using Blue Horror. Due to the black primer, multiple layers will be needed to achieve an opaque and neat finish. The hood features intricate folds, excellent for practising highlighting and creating depth.
Skin Mask and Model’s Skin: Apply Cadian Fleshtone to the flayed skin, including the face mask on the belt and the model’s own skin. Start with a patchy application; this allows you to gradually build up texture and depth.
Red Cloth: Use Mephiston Red for the cloth parts of the model. With the dark undercoat, the red will appear quite dark initially but can be brightened through subsequent layering.
Non-Metallic Metals (NMM): For weapons and metallic details, begin with Neutral Grey. Block in areas that catch the most light, using the weapons’ curves as a guide. NMM techniques rely on creating metal illusions through strategic light and dark colour placement, not metallic paints.
Skull and Bone Details: Utilise Morghast Bone for skulls and bones on the Blissful One. This base will be lightened up to white in areas catching the most light.
Highlighting and Adding Depth:
Highlight strongly lit areas with Ice Yellow and Morrow White, such as top edges and curves.
Apply Neutral Grey and Blue Horror to build the NMM effect on weapons and the halo-like accessory.
Skavenblight Dinge and Ogryn Camo can add contrast and deepen shadows when blended into base colours.
Rust Effects: To add realism and age, mix brown and orange shades for rust effects on metallic areas.
Finishing Touches: Continually assess the model for areas needing more depth or brightness. Use glazing techniques with thinned paint to smooth transitions and enhance the look.
Additional Tips:
Layering: Gradually build up colours, especially when working from a dark undercoat for smooth transitions and rich colours.
Directional Highlighting: Maintain light source consistency across the model to reinforce its three-dimensional aspect.
Texture and Contrast: Leverage the model’s texture for your brushwork and colour placement, using the creases in cloth and skin details as guides.
Video: Blissful One from The Unmade – Part Two
We delve further into detailing and finalizing our Blissful One miniature, focusing on leather, flesh, metallics, and final touches.
Materials and Paints Required:
Base Paints: Games Workshop Mephiston Red, Cadian Fleshtone, Blue Horror, Morghast Bone, Skavenblight Dinge, Ogryn Camo, Naggaroth Night, Fire Dragon Bright, Yriel Yellow; Vallejo Neutral Grey, Ice Yellow, Black, Pale Blue Grey; P3 Morrow White, Iosen Green
Fine Detail Brush
Wet Palette
Step-by-Step Guide to the Blissful One – Part Two:
Leather Straps:
Start with Cadian Fleshtone on the leather straps across the chest. Apply sparingly over the black to maintain the dark leather look. Focus on edges and use light touches to create texture and highlight simultaneously.
For the leg leather, begin with Rhinox Hide for a base, leaving some black to show through for shadows. Layer with Cadian Fleshtone for texture and detail, similar to the chest straps, but avoid Ice Yellow to keep it less bright than the chest.
Skin and Flesh:
Layer the living skin with Cadian Fleshtone, aiming for an opaque finish. Use Wraithbone to highlight and add definition to scarring, blending with Naggaroth Night for a subtle, wounded appearance.
For dead skin areas, enhance the rotted look with Ogryn Camo and desaturate with Pale Blue Grey and Skavenblight Dinge. Glaze recesses with Naggaroth Night to deepen the rot effect without overpowering the flesh tone.
Non-Metallic Metals:
Continue with Neutral Grey, Ice Yellow, and Vallejo Black for metallic areas. Apply with a focus on the light source direction, using Ice Yellow for highlights. Add texture and variation with small, detailed brushstrokes.
For rust effects on metallics, use Fire Dragon Bright in recesses and around details for a worn look. Blend with Rhinox Hide or Mournfang Brown to adjust the saturation and achieve a realistic rust appearance.
Freehand Details:
Add simple freehand designs, such as chaos stars, on the ribbons or other appropriate areas. Use a very fine brush and thin paint, keeping the designs neat and proportional to the model’s scale.
Paint glowing eyes on skulls or masks with Iosen Green, highlighting towards the centre with Yriel Yellow for a luminous effect. Avoid overdoing the glow to keep it subtle and realistic.
Final Touches:
Revisit any areas needing refinement or additional highlights. Use the fine detail brush to ensure precision, especially on freehand details and facial features.
Seal the model with a matte varnish to protect your work and reduce any unwanted shine from glossier paints.
Additional Tips:
Detailing Leather: When painting leather, remember that less is more. Use the base black colour to your advantage for shadows and texture.
Skin Tones: For living skin, ensure a healthy glow by avoiding desaturated colours in highlight areas. For dead or rotted skin, desaturation helps convey decay.
Metallics: Non-metallic metal painting requires patience and a good understanding of light. Don’t rush these areas and use reference images if necessary.
Final Checks: Before considering the miniature complete, review it under different light sources to catch any inconsistencies or missed spots.
If you don’t have an account and can’t see the videos, please sign up here! The website currently has over 350 video tutorials with steps and tips, plus a selection of PDFs. If you are not sure about joining, you can explore my free videos with a free membership, or take the plunge and become a full subscriber for full access.
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Below is the latest video for Morgok from Morgok’s Krushas, this time looking at how to paint the heavily weathered Morgok NMM sword.
Video – How to Paint Morgok NMM: Sword
All videos are recorded in HD 1080p or higher – use full screen for the full effect and let the video load completely.
Materials and Paints
The following paints were used: Games Workshop: Mournfang Brown, Troll Slayer Orange Vallejo: Neutral Grey, Pale Grey Blue, Black P3: Morrow White (Any white is fine)
Step-by-Step Guide
Painting Morgok’s sword to achieve a heavily weathered, non-metallic metal (NMM) look involves creating high contrast and emphasizing sculpted details. Here’s a step-by-step guide:
Preparing Your Palette: On your wet palette, lay out Vallejo Neutral Grey, Pale Grey Blue, Black, Games Workshop Mournfang Brown, Troll Slayer Orange, and P3 Morrow White (or any suitable white).
Assessing the Sword: Observe the sword’s chunky and battered appearance, with its distinct shapes. Your goal is to emphasise these aspects rather than aiming for smooth transitions.
Basecoat Application: Begin with Vallejo Neutral Grey as your base. Bear in mind, the blade’s flatter part will be darker, while the cutting edge should be lighter, creating a striking contrast.
Layer Enhancement: Progress to Vallejo Pale Grey Blue, concentrating on the brighter sections of the blade, particularly on the curve before it flattens.
Detailing with Fine Scratches: Utilise the tip of your brush to apply tiny, scratchy marks across the blade. Vary their sizes, but keep them diminutive to accentuate the worn effect.
Highlighting with White: Employ P3 Morrow White to highlight the lower edges of these scratches. This approach lends a three-dimensional look, simulating actual dents.
Creating a Shine: Utilise a stippling technique with Neutral Grey, Pale Grey Blue, and White to form a shine spot, bridging the cutting edge with the flat part of the blade. This spot should be roughly circular, yet not perfectly so, to imitate the diffusion of light.
Rust and Grime Addition: With Mournfang Brown, stipple on rust and grime, concentrating on the crevices and recesses to add texture and augment the weathered appearance.
Altering Highlight Transitions: If necessary, reposition the main highlight towards the middle of the flat side of the blade for enhanced contrast and detail accommodation.
Scratch Enhancement: Return to the cutting edge to add more pronounced scratches, extending from the edge to the flat. Accentuate their central points with White to mimic light reflecting off imperfections.
Rust Intensification with Troll Slayer Orange: Enhance the rust hue using Troll Slayer Orange. Its superb translucency allows for the gradual build-up of vibrant, saturated highlights.
Final Adjustments: Re-examine the entire blade, adding final details and adjusting contrasts to ensure that the rust, grime, and highlights are well-balanced and realistic.
Throughout your painting, focus on maintaining the sharp contrast between light and dark areas while enhancing the textured appearance of the sword. The objective is to achieve a realistic, weathered metallic look that complements the robust, worn style of Morgok’s sword and the Morgok NMM on the rest of the model.
Morgok from Morgok’s Krushas – All Videos
Painting Morgok from Morgoks Crushas
Morgok and his mob of Ironjawz brutes once hunted down and fought the greatest prey they could find amongst Ghur’s trackless wastes. Whether they ran down spiny nephrodiles or fought the storm-warriors of Sigmar, Morgok’s Krushas sought the mightiest trophies in the name of their bellicose deity, Gorkamorka.
Here is the full series of videos on how I painted him!
Watch Now
If you don’t have an account, please sign up here! The website currently has over 350 video tutorials with steps and tips, plus a selection of PDFs. If you are not sure about joining, you can explore my free videos with a free membership, or take the plunge and become a full subscriber for full access.
If you’d prefer to support me on Patreon, please visit: https://www.patreon.com/RichardGray [...]
Rust Grime and Weathering
In this guide, we’ll walk through how to paint the Skaven Arch-Warlock with a grimy, non-metallic metal (NMM) effect. The focus will be on creating weathered steel armour and verdigris-weathered copper. You’ll learn to build up layers using stippling and dry brushing, while maintaining the gritty, battle-worn look typical of Skaven. This method is also ideal for quickly painting an entire army to a table-ready standard.
Video – How to Paint the Skaven Arch-Warlock: Part One
Materials Needed:
Games Workshop Paints: Doombull Brown, Bugman’s Glow, Rhinox Hide, Mournfang Brown, Abaddon Black, Warpstone Glow, Moot Green, Flash Gitz Yellow
Vallejo Paints: Neutral Grey, Ice Yellow
Brushes: Large and small dry brushes (Artis Opus recommended, or makeup brushes can suffice), size 0 brush, and others as needed
Step 1: Prime the Model
Begin by priming your assembled model with Abaddon Black,
Step 2: Base Layer with Mournfang Brown
Using a large dry brush, apply a base coat of Mournfang Brown using a stippling technique. Thin the paint by mixing it with water (about 50/50 ratio). Ensure the dry brush is damp but not wet to avoid texture buildup.
Stipple the paint all over the model, ensuring a smooth application with no unwanted texture. This will create a rough surface that adds depth to the dirty, grimy appearance of the armour.
Step 3: Add Neutral Grey Highlights
Switch to a smaller dry brush for more control, and apply Vallejo Neutral Grey. Again, thin the paint with water (50/50) and lightly stipple the paint over areas where you want the steel effect.
Focus on armour plates and metallic surfaces, building up a soft layer of grey over the brown to give it a worn metallic look. Let the initial layer of Mournfang Brown peek through to give the impression of rust and grime.
Step 4: Refine the Metallic Layers
Now, switch to your size 0 brush for more detailed work. Continue building highlights using Neutral Grey but add small amounts of Ice Yellow with each layer.
Increase the amount of Ice Yellow in each highlight as you progress, eventually reaching pure Ice Yellow for the brightest highlights. Add a final touch of white if you want to push the contrast further.
Be cautious not to overblend; the strength of this technique lies in the visible transitions between layers, adding texture and a rough, battle-worn appearance.
Step 5: Create Verdigris on Copper Sections
For the copper elements, begin with Doombull Brown as your base colour. Hold the model under a light to identify the highlight areas. Thin Doombull Brown and apply it to the copper parts of the model.
Mix Bugman’s Glow with Doombull Brown for the next layer, applying this mix to the raised areas of the copper.
Progressively add Ice Yellow to Bugman’s Glow for further highlights, working up to nearly pure Ice Yellow. If your copper starts looking too pale, glaze over with a watered-down layer of Doombull Brown to restore some warmth.
Step 6: Add Verdigris Weathering
To achieve a verdigris effect, mix Vallejo Ice Yellow and Warpstone Glow with water (about 3:1 ratio of water to paint). Apply this to recesses and areas where the copper would naturally oxidise.
Focus on the joints and edges of the copper parts. As the glaze dries, it will create a subtle verdigris patina, enhancing the aged look of the model.
Step 7: Apply Rusty Shadows and Dark Glazes
To deepen the shadows on the armour, mix Rhinox Hide with Abaddon Black, thinning it with water (4:1 water to paint). Use this glaze to darken recesses and areas where rust would gather, particularly around the joints and lower sections.
Glaze carefully to avoid losing the texture created by earlier stippling. Stay away from the brightest highlights to maintain the contrast.
Step 8: Add a Pop of Colour – Warpstone Glow Lens
For small details like lenses, start by applying Warpstone Glow to the lens, followed by a highlight of Moot Green. Finish with a small dot of Flash Gitz Yellow in the upper corner of the lens for a specular highlight.
Ensure the lens stands out from the grimy armour to give the model a bit of Skaven flare.
This stage of painting the Skaven Arch-Warlock gives you a quick and effective tabletop-ready look, perfect for gaming or as a base for further refinement. The grimy, weathered appearance suits the Skaven’s lore, while the stippling and dry brushing techniques create a realistic metallic effect without needing an airbrush.
In the next part, we’ll continue with other details such as the weapon, robe, and tail.
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This video guide and full instructions will walk you how to paint a Castellax model from the Mechanicum Battle Force box set. The goal is to achieve a high-quality tabletop standard using quick, repeatable techniques—no airbrush required!
The process focuses on achieving a grimy, weathered look that complements a Death Guard army.
Video – How to Paint a Castellax from the Mechanicum Battle Force Box
Paints and Materials Needed
Paints:
Games Workshop: Balor Brown, Morghast Bone, Screaming Skull, Darkoath Flesh (Contrast), Contrast Medium, Sotek Green, Sybarite Green, Warpstone Glow, Moot Green, Flash Gitz Yellow
Vallejo: Model Colour Black
Scalecolour: Necro Gold
Pro Acryl: Light Bronze Metallic
P3: Morrow White
Brushes:
Artis Opus Size 4 (Worn-out brush for stippling)
Artis Opus Size 3M (Shorter bristle brush for dry brushing)
Size 0 brush (for detailing)
Size 00 brush (for fine details)
A piece of dense foam (for sponge chipping)
Step 1: Preparation
Begin by assembling the model, leaving the legs separate from the torso to make painting easier. This is a common technique to manage sub-assemblies, allowing easier access to harder-to-reach areas and making the model more manageable to hold.
All I’ve done there is put some sprue glue and I’d left that to dry so I hadn’t sanded that down perfectly smooth here because the shoulder pad’s coming two parts and you can clearly see how one part connects to the other, but they are glued onto the model at the moment.
While it’s possible to leave the shoulder pads off to make painting easier, it’s up to personal preference. Some may find that too many sub-assemblies can result in scattered parts and unfinished projects. If you do decide to leave them off, it will make painting these parts slightly easier, especially when it comes to avoiding overspill.
Step 2: Base Coat
Prime the model with a black base coat using Vallejo Model Colour Black. This forms a solid foundation for the metallic and armour colours, ensuring good coverage and depth in subsequent layers.
“The first thing we’re doing is using some scale colour necro gold… I haven’t really watered it down too much… you want it reasonably runny but not too runny.”
Ensure the base coat is smooth and even, as this will help the metallics and other layers adhere better and produce a cleaner finish.
Step 3: Metallic Base
Use Scalecolour Necro Gold to cover all metal areas of the model. Apply this using a stippling technique with a worn-out Artis Opus Size 4 brush. The goal here is to create a textured, weathered look on the metallic areas. Be cautious with the thickness of the paint to avoid unwanted texture buildup, as you only want the paint to create a visual texture, not a physical one.
“You’re just doing that all over all the metal areas on the model… be careful of physical texture buildup… the only texture you want really on the model is painting texture, not three-dimensional thick paint texture.”
Next, use Pro Acryl Light Bronze Metallic to highlight raised areas. Focus on prominent features like the dome of the head, flamer nozzles, and the edges of the armour. Switch to a Size 3M Artis Opus brush for more control, as its shorter bristles help achieve a smooth application with this dry brushing technique.
“This is a little bit thinner than the Necro Gold and the idea with this is you’re doing a very similar kind of process with it… don’t go too crazy with the light bronze because it is a very light colour; it almost looks silver when you apply it.”
Step 4: Clean Up
Once the metallics are dry, use Vallejo Model Colour Black to go back over any areas where metallic paint has spilled onto the armour panels. This clean-up step is crucial for keeping the final look neat and avoiding metallic flakes showing through when painting the armour colours.
“When I was painting the metal I didn’t care where the paint got onto armour panels… it makes the process much quicker, and you don’t have to worry… just keeps everything looking neat.”
Take your time with this step to ensure all overspill is covered, particularly in recesses and around edges where the metallics might have spread.
Step 5: Armour Panels
Start by applying Games Workshop Balor Brown, thinned with water in a 1:1 ratio. Stipple this over all armour panels using the Size 3M brush. This technique creates a textured, weathered effect that forms the base layer for the armour.
“You’re basically covering all of the armour panels with that stippling effect… a large brush makes it hard to paint in some of these recess areas without getting the paint onto the metal.”
Next, apply Games Workshop Morghast Bone in the same manner, focusing on the curves and raised areas of the armour. The goal here is to start building up lighter areas, enhancing the depth and contrast on the model.
“You want the area to look darker in the recesses anyway… making sort of like a very soft light volume onto the armour.”
Finally, highlight the most prominent areas with Screaming Skull. As you progress to lighter colours, apply the paint more carefully, focusing on areas where light naturally hits the model, such as the tops of the shoulder pads, the chest, and the front-facing parts of the armour.
“We’re trying to get those highlight positions and be a little bit more accurate with it… you want to rotate the brush around a little bit and you also want to make sure that when you dab the brush onto the model you have it straight on.”
Remember to dab off any excess paint on kitchen roll before applying it to the model to avoid blobs or streaks.
Step 6: Applying Wash
Mix Darkoath Flesh Contrast with Contrast Medium in a 1:1 ratio. Apply this wash over the entire model, covering both the armour and metallic areas. This step is essential for toning down the highlights, blending the colours, and adding a grimy effect that suits the model’s aesthetic.
“If you use water, you will actually destroy the effect the way that the contrast paint works… it will give a very smooth, clean finish all over.”
Be mindful of pooling, especially in recesses. Use a clean brush to wick away any excess wash from these areas to maintain the model’s detail.
Contrast paint is slightly thick, so if you have a big pool of contrast paint, it will dry and it will just start to kind of gloss over some of the details.
Step 7: Decals and Further Weathering
If using decals, apply them at this stage. Use Micro Set to position them and ensure they blend seamlessly with the surface. For a more integrated look, consider applying the decals before the Darkoath Flesh wash so that they naturally blend into the model’s finish.
After the decals are in place, stipple Morghast Bone along their edges to simulate chipping and wear, especially around the corners and where the decals might receive the most damage.
Finally, apply another layer of the Darkoath Flesh wash over the decals to blend them further and reduce the starkness of the decal’s edges.
Step 8: Sponge Chipping
Thin Games Workshop Rhinox Hide with water in a 1:1 ratio. Use a piece of dense foam (such as that from old Warhammer clamshell packs) to sponge this onto the edges and areas likely to receive wear and tear. Focus on creating an irregular, natural pattern, with more chipping towards the front and the edges of the armour.
“You want to pay attention to the position of the weathering… it’s very easy to rub an edge against something, whereas the flat surface is less likely to get any damage.”
Before applying, dab the sponge on kitchen roll to remove excess paint. This prevents the foam from dumping too much paint onto the model, which could create an unwanted texture buildup.
“When you put the foam into the paint, you need to dab it off on some kitchen roll… you want to remove the excess paint.”
Step 9: Detailing
Using a Size 00 brush, paint fine scratches and streaks with Rhinox Hide. Place these near areas likely to see heavy use or impact, such as around weapons or sharp edges. This step adds realism and depth to the model by simulating wear and tear.
For larger chips created during the sponge chipping, consider adding a highlight line with Morghast Bone on the lower edge of the chip to simulate light catching the edge of the flaked paint.
“Picking out a few edges here and there… it makes it look like a chip and the light’s catching the flake of paint.”
Run the side of your brush along the edges of the armour to create subtle highlights, but focus primarily on upward-facing edges where light would naturally hit.
Step 10: Grimy Weathering
For added grime, especially around weapons and heavily used areas, use undiluted Darkoath Flesh. Apply this carefully, building up layers to simulate dirt, grease, and other battlefield detritus. Focus this application near the front of the model,
Step 11: Further Grimy Weathering
For added grime, especially around weapons and heavily used areas, use undiluted Darkoath Flesh. Apply this carefully, building up layers to simulate dirt, grease, and other battlefield detritus. Focus this application near the front of the model, particularly around the chainsaw blade hands, where the most action would occur.
If desired, you can mix a bit of red into the Darkoath Flesh to create a fresher, bloodier effect, adding another layer of realism to the model’s grimy appearance.
Step 12: Verdigris (Optional)
To add a verdigris effect to the metal areas, mix Sotek Green and Sybarite Green in a 50:50 ratio, then thin it heavily with water (4:1). Apply this wash into the recesses and areas where water might naturally collect, simulating the patina of aged copper.
If you want to push the verdigris further, add a touch of white to the mix for the most extreme recesses, but be careful not to overdo it as it can make the effect too opaque.
Step 13: Metallic Highlights
Reapply the Light Bronze Metallic sparingly to the highest points of the metallic areas to restore some shine lost during the wash step. This should be done with a very fine brush and thinned paint (2:1 water to paint) to maintain control and avoid overpowering the subtle weathering.
Step 14: Lenses (Optional)
For the lenses, start with Warpstone Glow, then layer Moot Green, followed by a final highlight with Flash Gitz Yellow. This creates a gradient effect that mimics light shining through the lens.
“This makes it slightly less shiny… it just depends on how you want to do it; I just like the way this looks personally.”
Finish by adding a small white dot in the top left corner of each lens for a reflective effect, bringing the lenses to life and adding a focal point to the model.
Final Touches and Further Tips
As you finish your Castellax, take a moment to review your work and touch up any areas that may need it. Focus on ensuring your highlights are consistent, your grime looks natural, and that the overall effect is cohesive and fitting with the rest of your army.
Further Tips:
Patience with Stippling: When stippling, less is often more. Build up your layers gradually and step back occasionally to check the overall effect. This prevents overworking the model and keeps the texture subtle and realistic.
Experiment with Washes: The mix of Contrast Medium with Darkoath Flesh can be adjusted to suit your preference. A thicker wash will give a grimier look, while a thinner wash will maintain more of the underlying colour. Don’t be afraid to experiment on a test model or a hidden part of the figure.
Edge Highlighting: For a clean and professional finish, take your time with edge highlighting. While it may seem tedious, careful edge highlighting can significantly enhance the depth and definition of your model, making it stand out on the tabletop.
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If you don’t have an account, please sign up here! The website currently has over 350 video tutorials, plus step by step guides and PDFs. You can explore more free videos with a free “freebies” membership, or take the plunge and become a full subscriber for full access.
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This video shows how to paint a Grimdark Grimy Death Guard for the Horus Heresy. The model is a new MKIII plastic marine and is painted in the Grimdark style to try and capture the weight and brutal nature of the armour.
The following paints were used:Games Workshop: Balor Brown, Morghast Bone, Screaming Skull, Mephiston Red, Wildrider Red, Yriel Yellow, Contrast Darkoath Flesh, Contrast Medium, Rhinox Hide, Agrax Earthshade Vallejo: Heavy Blackgreen, Ice Yellow P3: Morrow White (Any white will do) Kimera Colours: Black (Any black will do) Pro Acryl: Light Bronze Metallic, Rich Gold Metallic
Top Grimdark Grimy Death Guard Tips!:
Prepare Your Palette: Utilize a wet palette to maintain paint hydration.For the initial dry brushing, use Balor Brown from Games Workshop on a wet palette.Choose the Right Brush:Select a small dry brush, like the Artis Opus dry brush, for the stippling technique.Stippling Technique:Diverge from traditional dry brushing; instead, stipple the paint onto the model.Aim for a disheveled, grimy, and weathered appearance.Start with Balor Brown, advancing to lighter hues like Morghast Bone, Screaming Skull, and Yriel Yellow for a textured effect.Application Method:Stipple the paint directly onto the model, concentrating on armour panels.Rotate the model as you paint to ensure each section dries before revisiting.Focus on hitting the model face-on with the brush to create a textured, dotty buildup.Chipping Effect:For chipping effects, use Rhinox Hide with a sponge chipping technique.Contemplate hand-painting some scratches for added detail.Accentuating Details:Employ a fine brush for details like scratches and chips.Highlight specific armour panels for added depth.Contrast and Weathering:Apply Darkoath Flesh contrast paint mixed with contrast medium to unify the your Grimdark Grimy Death Guard.Experiment with adding more brightness by layering appropriately watered-down contrast paints.Highlighting and Shadows:
Highlight edges using Morrow White from P3.Contemplate applying washes like Agrax Earthshade to blend highlights and shadows.Use Ice Yellow from Vallejo for specific details, building up the colour gradually.Fine-Tune Highlights:Use a finer brush to refine highlights and correct any over-spill.Introduce Agrax Earthshade for added depth in recessed areas.Final Touches:Experiment with Wildrider Red and Mephiston Red from Games Workshop for added details.Apply a matte varnish to seal the paint job.Consider adding additional details to your Grimdark Grimy Death Guard like basing with textures and powders.
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A series on how to paint a Nurgle Sorcerer from the Death Guard. It will be painted in preparation for Golden Demon!
Quick Jump to:
Bellyplate
Plaguecaster Head
Rotten BellyLeg Armour
NMM Bronze Trim
Nurgle Ribbons and Text
Smoke and Flies
How to Paint a Nurgle Sorcerer: Part One – Belly Plate
In this video you will learn how to paint the belly plate with texture and corruption.
Materials Needed:
Nurgle Sorcerer Miniature from the Spaceman Hero Set
Brushes: Various sizes, including a size two for broad strokes and size zero zero for details
Paints (Games Workshop): Death Guard Green, Balor Brown, Morghast Bone, Ushabti Bone, Screaming Skull, Dark Reaper, Mournfang Brown
Paint (P3): Morrow White
Step 1: Base Coating
Start by applying a base coat of Death Guard Green, thinned with about one and a half parts water to one part paint, using a size two brush for a smooth, thin layer.
Add warmth to the colour with a layer of Balor Brown, applying it in a similar manner to maintain texture.
Step 2: Building Texture
Gradually build up the texture using Morghast Bone. Focus on creating a stippling effect, allowing the green to show through. This creates a transition and adds depth to the plate.
Continue to refine the texture, making the marks finer as you move towards the front of the belly plate, where the light would be strongest.
Step 3: Shadow and Highlight
Paint a distinct line of Dark Reaper down the middle of the belly plate, creating a shadow effect. This divides the plate visually, with a lighter left side and a darker right side.
Progressively lighten the left side of the belly plate, moving up through Ushabti Bone to Screaming Skull, and finally to Morrow White for the brightest highlights.
Step 4: Detailing and Corruption
Using Dark Reaper, begin to add corruption effects. Look for shapes in the texture and expand them into blob-like, corrupt markings.
Over these Dark Reaper blobs, lightly stipple with Morghast Bone to create a sense of corruption protruding from the armour.
For areas that require softer transitions or less intensity, mix Death Guard Green with Morghast Bone for a subtler effect.
Step 5: Refinement and Contrast
Continuously refine the texture and highlights, ensuring the lightest points are at the front of the belly plate.
Add Mephiston Red, thinned heavily, around the edges of the belly plate for a corrupted, wound-like appearance. Blend this in carefully to maintain the integrity of the armour texture.
Step 6: Final Touches
Add finishing touches, such as more precise highlights using Morrow White, especially along the top edges and where the light would naturally be strongest.
Adjust the texture and shading as needed to create a balanced, cohesive look that conveys both corruption and the Nurgle aesthetic.
How to Paint a Nurgle Sorcerer: Part Two – NMM Bronze Trim with Verdigris
The video focuses on the bronze NMM trim and verdigris weathering.
Materials Needed:
Paints:
Games Workshop: Mournfang Brown, Rhinox Hide, XV-88, Balor Brown, Sotek Green, Sybarite Green
Vallejo: Ice Yellow
P3: Morrow White
Brushes: Fine detail brushes (sizes 00 and 2 recommended)
Steps:
1. Base Layer
Paint: Mournfang Brown
Application: Apply a base layer of Mournfang Brown over the areas you want to paint the bronze trim. This layer doesn’t have to be perfectly even; it serves as a foundation.
2. First Highlights
Paint: XV-88
Application: Start applying XV-88 to highlight the raised areas. These highlights should be broad at this stage, as we’ll refine them later.
3. Second Highlights
Paint: Balor Brown
Application: Now, apply Balor Brown to enhance the highlights. Focus on the top edges and areas where light naturally hits.
4. Mixed Highlights
Paint: Mix of Balor Brown and Ice Yellow
Application: Mix Balor Brown with a small amount of Ice Yellow to create a lighter shade. Apply this to the highest points of the highlighted areas for a more intense shine.
5. Brightest Highlights
Paint: P3 Morrow White
Application: Using Morrow White, apply the brightest highlights. These should be on the most raised edges where the light would be strongest.
6. Shading
Paints: Mournfang Brown, Rhinox Hide
Application: Use Mournfang Brown and Rhinox Hide to add shadows and depth. Focus on recessed areas and where the trim meets other parts of the model.
7. Verdigris Effect Base
Paint: Mix of Sybarite Green and a tiny bit of Sotek Green
Application: Thin this mix with water (approx. 2:1 ratio of water to paint) and apply it selectively in recesses and crevices for a weathered look.
8. Lighter Verdigris
Paint: Sybarite Green mixed with a bit of white
Application: Lighten the verdigris effect in some areas for variation. Remember, less is more – don’t cover all the verdigris base layer.
9. Final Adjustments
Technique: Glazing and Smoothing
Application: If necessary, use a glazing technique with the lighter colours to smooth out transitions and add final touches to the highlights.
10. Clean Up
Action: Tidy any overspill or mistakes with appropriate base colours.
Tips:
Consistency: Keep your paint at the right consistency. For NMM, a slightly thicker mix is preferred for stronger colours, but ensure it’s still flowable.
Lighting: Pay attention to the overall lighting of your model. Highlights should be consistent with the light source.
Brush Care: Be mindful of your brushes. Use a separate brush for mixing paints to preserve the tips of your detail brushes.
Patience: Take your time with each step, and let layers dry before applying the next.
How to Paint a Nurgle Sorcerer: Part Three – Plaguecaster Head
How to paint the head, which includes the red hood and chain mask.
Materials Needed:
Paints:
Games Workshop: Khorne Red, Mephiston Red, Bugman’s Glow, Mournfang Brown, Trollslayer Orange, Sotek Green
Vallejo: Black
P3: Morrow White
Brushes: Size 00 and 2 Artist Opus Brushes
Palette: For mixing and diluting paints
Water pot
Steps:
1. Base Colour for the Hood
Paint: Mix of Khorne Red and Black
Application: Apply a base layer of this mix to the hood. Ensure no pure Khorne Red is used; the mix should always include black to desaturate the colour.
2. Adding Highlights
Paints: Various mixes of Khorne Red with Black and White
Application: Create a gradient of shades by mixing Khorne Red with varying amounts of Black and White. Use these mixes to highlight the hood, focusing on the raised areas and textures.
3. Texturing the Hood
Technique: Texture Painting
Application: With a size 00 brush, apply textures using the lighter shades. Focus on creating a worn and weathered look. Balance the textures; don’t overdo them.
4. Chain Mask Detailing
Paint: Neutral Grey and White
Application: Start with Neutral Grey to pick out the chain links. Progressively add White to the mix for highlighting, focusing on the lower edges and curves of each chain link.
5. Glazing the Hood
Paint: Mephiston Red
Application: Dilute Mephiston Red significantly (approx. 4:1 water to paint ratio). Use this glaze to unify the hood’s colour, applying it more in the shadows and less on the highlights.
6. Skin Tones
Paint: Bugman’s Glow with Black and Grey
Application: For the skin, start with Bugman’s Glow mixed with Black and Grey to desaturate. Add White for highlights, focusing on chin, lips, and facial details.
7. Worm and Pustules
Paint: Sotek Green, Mournfang Brown, Trollslayer Orange, Ice Yellow
Application: Paint the worm coming out of the head in Sotek Green. For pustules, use Mournfang Brown for the base, add Trollslayer Orange for mid-tones, and highlight with Ice Yellow.
8. Final Adjustments
Action: Make any necessary tweaks to ensure all elements are coherent and well-blended.
Tips:
Dilution is Key: Ensure paints are correctly diluted, especially lighter colours, to avoid a chalky texture.
Layering: Build up the highlights gradually, allowing each layer to dry before applying the next.
Focus on Details: Spend time on the head as it’s a focal point, especially for a competition piece like Golden Demon.
Brush Care: Use newer, sharper brushes for fine details and textures, saving older brushes for broader strokes and glazing.
How to Paint a Nurgle Sorcerer: Part Four – Nurgle Ribbons and Text
Materials Needed:
Paints:
Games Workshop: XV-88, Morghast Bone, Screaming Skull, Mephiston Red, Rhinox Hide
Vallejo: Neutral Grey
Kimera Colours: Black
Brushes: Size 00 and 3 S (Standard) and M (Miniature) Brushes
Palette: For mixing paints
Water pot
Steps:
1. Base Layer
Paint: XV-88
Application: Start by applying XV-88 as a base layer on the ribbons. Use a size 3 S brush for quick coverage, being careful not to touch the paint while it’s wet to avoid patchiness.
2. Adding Depth
Paint: Morghast Bone
Application: Apply Morghast Bone, focusing on the upward-facing curves and leaving recesses and downward-facing sections in the darker base colour. This step starts to bring out the ribbon’s flow and texture.
3. Highlighting
Paint: Screaming Skull
Application: Now switch to a size 00 brush and use Screaming Skull to pick out the raised details and edges. This lighter colour enhances the texture and gives the ribbons more dimension.
4. Freehand Detailing
Paint: Mephiston Red
Application: Using the size 00 brush, add Nurgle symbols and letters as freehand details. These should be evenly spaced and varied in size for a more natural look. Remember, these don’t need to be perfect as they’re meant to mimic hand-drawn symbols.
5. Text Simulation
Paint: Mephiston Red
Application: Create a text effect using small dots and dashes with Mephiston Red. This simulates handwriting and adds intricate detail to the ribbons. Aim for varied mark-making to avoid a repetitive pattern.
6. Weathering and Shading
Paint: Neutral Grey and Rhinox Hide
Application: Thin down Neutral Grey and Rhinox Hide for glazing. Apply Neutral Grey to shadows and Rhinox Hide to recesses and edges for a dirty, weathered look.
7. Final Touches
Paint: Black (Kimera Colours)
Application: Finally, use thinned black paint to refine the freehand details and text. This step enhances contrast and makes the red details stand out more effectively against the ribbon’s base colour.
Tips:
Consistency: Ensure the right consistency of paint for detailed work, especially for the text. It should flow easily but not be too runny.
Brush Angle: Adjust the brush angle according to the ribbon’s curvature to maintain consistent pressure and mark size.
Layering: Build up colours gradually, allowing layers to dry before applying the next.
Freehand Techniques: Practice freehand techniques separately before applying them to the model to gain confidence.
Detail Focus: Concentrate on the details but remember the overall look. Imperfections can add character, especially for Nurgle-themed models.
How to Paint a Nurgle Sorcerer: Part Five – Rotten Belly and Maggots
Materials Needed:
Paints:
Games Workshop: Bugman’s Glow, Khorne Red, Balor Brown, Morghast Bone, Screaming Skull
Vallejo: Ice Yellow, Neutral Grey
Brushes: Sizes 0 and 3 S (Standard) and M (Miniature) Brushes
Palette: For mixing paints
Water pot
Steps:
1. Base Layer for Rotten Belly
Paint: Bugman’s Glow mixed with Neutral Grey
Technique: Apply this mix to the fleshy areas, avoiding the maggots. This creates an ill-looking skin tone. Initially, use a larger brush, then switch to a size 0 for more detailed work.
2. Adding Depth
Paint: Khorne Red (watered down)
Technique: Apply in the recesses to create a shaded effect and to separate the skin from the armor. This stage is about defining the texture and contours of the belly.
3. Flesh Highlights
Paint: Same base mix (Bugman’s Glow and Neutral Grey) with added Ice Yellow
Technique: Highlight the raised areas and ridges of the flesh, focusing on light sourcing. The addition of Ice Yellow gives a sickly hue, enhancing the rotten look.
4. Painting the Maggots
Paint: Khorne Red
Technique: Paint each maggot, ensuring the red is in the recesses but not covering the entire maggot. Aim for precision to keep the maggots distinct from the skin.
5. Highlighting Maggots
Stage 1: Balor Brown for the first highlight, focusing on the segments but avoiding recesses.
Stage 2: Morghast Bone for the second highlight, applied more selectively.
Final Highlight: Screaming Skull, targeting the most raised segments for a final pop of brightness.
6. Final Touches
Paint: Watered-down Khorne Red
Technique: Apply as a light wash/glaze to add a gory effect, enhancing the realism of the maggots burrowing in and out of the flesh.
Tips:
Consistency and Dilution: Adjust paint dilution based on the step. More watered-down paint is suitable for shading and glazing.
Light Source Alignment: Ensure highlights align with the light source established in other parts of the model.
Texture Focus: Pay attention to the texture of the flesh and maggots, using the paint to enhance the model’s sculpted details.
Clean Up: If you overstep with the paint, go back with the original colour to tidy up any mistakes.
Layering: Build up the colour gradually, allowing layers to dry before applying the next.
Detail Work: Smaller brushes are crucial for the intricate detailing required, especially on the maggots.
How to Paint a Nurgle Sorcerer: Part Six – Smoke and Flies
Materials Needed:
Paints:
Pro Acryl: Grey Blue, Pale Yellow (Alternatively, opt for Games Workshop’s Sotek Green and Ice Yellow)
Games Workshop: Sotek Green, Daemonette Hide, Khorne Red, Balor Brown, Morghast Bone, Screaming Skull
Vallejo: Black (or Kimera Colours: Black)
P3: Morrow White
Brushes: Assorted sizes for varied details
Palette: For mixing paints
Water pot
Steps:
1. Smoke Effect
Paints: Grey Blue, Pale Yellow (or Sotek Green and Ice Yellow)
Technique: Start with Grey Blue, blending into the smoke areas. Gradually introduce Pale Yellow (or Ice Yellow) to lighten and add variation. Employ greys for shadowy areas.
2. Refining the Smoke
Technique: Concentrate on the creases and fine details. Use stippling to introduce texture, imitating particles and spores. Emphasise raised areas and curves with highlights. Apply glazes to soften and blend stippling for a natural look. (Note – I messed up the smoke in this video, I will be revisiting it!)
3. Maggots
Base Colour: Khorne Red
Highlight: Balor Brown for segments.
Technique: Apply red judiciously, avoiding recesses. Use Balor Brown highlights on segments to create dimension.
4. Flies
Base Colour: A blend of Chimera Black and Ice Yellow for a dark grey.
Highlight: Incrementally add more Ice Yellow for highlights. Focus on wing edges and eyes for detail.
Final Touches: Add tiny dots of Ice Yellow for highlights to enhance the glossy appearance.
5. Additional Details
Technique: Employ various mixes of Daemonette Hide and Ice Yellow for wing highlights. For the flies, focus on segmenting and crafting a realistic, shiny texture.
Eggs: Paint with Balor Brown, then add a dot and line of Screaming Skull for luminosity.
Tips:
Layering: Build up the smoke colour progressively, allowing layers to dry before adding the next.
Texture Emphasis: Pay close attention to the texture in the smoke, using stippling to add depth and a lifelike appearance.
Light Source Consistency: Ensure highlights on maggots and flies align with the light source established in other parts of the model.
Detailing: Utilise smaller brushes for intricate work, especially on the flies and maggots.
Glazing: Use glazing techniques to blend and soften the stippled texture on the smoke.
How to Paint a Nurgle Sorceror: Part Seven – Leg Armour
In this tutorial, I’ll be continuing to paint the Malignant Plaguecaster model, specifically focusing on the lower left leg, the trim, and the Nurgle symbol.
Materials Needed
Paints:
Games Workshop:
Death Guard Green
Balor Brown
Morghast Bone
Ushabti Bone
Screaming Skull
Dark Reaper
Mournfang Brown
XV-88
Sotek Green
Sybarite Green
Vallejo: Ice Yellow
P3: Morrow White
Brushes:
Size 0 Artist Opus brush (or similar fine detail brush)
Step-by-Step Instructions
1. Base Coat with Death Guard Green
Preparation: Place a small amount of Death Guard Green on your wet palette.
Application: Use the size 0 brush to apply Death Guard Green over the lower leg armour. This layer doesn’t need to be overly neat as we are aiming for a textured, organic look.
2. Adding Texture with Balor Brown and Dark Reaper
Balor Brown:
Add Balor Brown to the palette.
Using the tip of the brush, apply Balor Brown in random, scratchy strokes to create a textured effect on the armour.
Dark Reaper:
Similarly, place Dark Reaper on the palette.
Use it to paint roughly circular shapes to represent the Nurgle corruption. These shapes should vary in size and be applied in a random pattern.
3. Highlighting with Morghast Bone and Ushabti Bone
Morghast Bone:
Add Morghast Bone to the palette.
Highlight the raised areas of the armour, focusing on the upper parts of the Nurgle bumps to create a slight 3D effect.
Ushabti Bone:
Mix Ushabti Bone with some white if needed for a brighter highlight.
Apply this mix to the very tops of the bumps and the most prominent edges to accentuate the texture.
4. Glazing for Smooth Transitions
Balor Brown Glaze:
Thin Balor Brown with water (approximately 50/50 ratio) to create a glaze.
Apply this glaze over the textured areas to blend the colours and soften the transitions.
Dark Reaper Glaze:
Thin Dark Reaper similarly and use it to add depth to the shadowed areas, particularly around the lower part of the leg.
5. Detailing the Nurgle Symbol
Mournfang Brown Base:
Base coat the Nurgle symbol and trim with Mournfang Brown.
Highlight with XV-88 and Ice Yellow:
Gradually highlight the trim by mixing XV-88 into Mournfang Brown, followed by Balor Brown, and finally adding Ice Yellow for the brightest highlights.
Focus on creating sharp, bright edges to simulate a non-metallic metal (NMM) effect.
6. Applying Verdigris Effect
Base with Sybarite Green:
Mix Sybarite Green with a touch of Sotek Green and apply it to the areas where you want the verdigris effect.
Highlight with Sotek Green and White:
Gradually lighten the Sybarite Green mix with white to create layers of verdigris. Focus on the lower parts of the trim and the areas where water would naturally collect and cause corrosion.
7. Refining and Finishing Touches
Final Glazes and Highlights:
Use thin glazes of Ushabti Bone and Morghast Bone to refine the highlights and ensure smooth transitions.
Final Details:
Add any additional details like rust streaks or further texturing as needed. Use very fine lines and dots to simulate wear and tear.
More Nurgle Videos…
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This video shows how to paint a cracked leather scabbard, in this case a sword, with lots of detail for a very realistic and worn effect. I also go through a full list of materials and paints that you need in the copy below.
Video Tutorial: How to Paint a Cracked Leather Scabbard
All videos are recorded in HD 1080p or higher – use full screen for the full effect and let the video load completely. Click the cog icon to choose speed, if I’m too fast or slow!
Materials and Paints
Paints:
Rhinox Hide (Games Workshop) – A dark brown paint used as the base color for the leather.
Bugman’s Glow (Games Workshop) – A flesh-toned paint used for creating mid-tones and highlights on the leather.
White (P3 Morrow White) – Used for mixing with Bugman’s Glow to create lighter shades for finer highlights.
Brushes:
Fine Detail Brush – A high-quality, fine-tipped brush, such as a size 0 or 00, is essential for painting the very fine lines that simulate the cracks in the leather. The brush used in the video is my favourite, the size 00 Artis Opus brush.
Additional Materials:
Water – For thinning the paints. The consistency of the paint should be around 50% water to 50% paint, with a slight adjustment for environmental factors like heat.
Wet Palette – To keep the paints hydrated and workable for longer periods. It’s particularly useful for mixing and maintaining the consistency of thinned paints.
Kitchen Roll or Paper Towel – Used for dabbing the brush to remove excess paint or water. It’s important to change the paper regularly to avoid degradation and particles sticking to the brush.
Painting Handle or Holder (optional) – To comfortably hold and manipulate the model while painting. I use Rathcore painting handles.
Step by Step Guide to Paint a Cracked Leather Scabbard
1. Preparation:
Ensure the scabbard on the model (in this case, Cado Ezechiar) is clean and ready for painting.
2. Base Coat:
Start by covering the entire scabbard area with Rhinox Hide (Games Workshop). Apply a couple of coats for even coverage but don’t worry about perfect opacity.
3. Mixing Paints:
Prepare your palette with a progression of mixes:
Rhinox Hide mixed with a small amount of Bugman’s Glow (GW).
Pure Bugman’s Glow, thinned slightly with water.
Bugman’s Glow mixed with a small amount of white (P3 Morrow White), and then a mix with more white added.
4. Detailing with a Fine Brush:
Use a thin brush, like a size 0 or 00, ensuring it has a very sharp tip for fine detailing.
Begin with the Rhinox Hide and Bugman’s Glow mix. Paint very fine, wiggly lines across the scabbard, simulating cracks in the leather. The lines should be more concentrated on the left side where the light hits, but include some on the right side too.
Turn the model as needed for comfort and accuracy but check the marks in the correct orientation to ensure they look natural.
Remember, the paint consistency should be about 50:50 water to paint, perhaps slightly more water for better flow.
5. Building Highlights:
Progress to using straight Bugman’s Glow. Go over some of the previous lines and add new ones. Ensure that some of the initial finer lines remain visible beneath.
Focus on making the edges and areas with supposed more wear brighter.
You can create deeper scratches by painting over the previous lines, adding detail and depth.
6. Correcting and Enhancing:
If any lines are too thick or dense, use Rhinox Hide to adjust them. You can also enhance them by extending the lines and creating additional features.
Remember, each line or mark should be distinct and avoid uniform patterns.
7. Final Highlights:
Use the mix of Bugman’s Glow and white for the brightest highlights. Apply these sparingly and focus on making them as small and fine as possible.
Adjust the intensity of your highlights by removing excess paint from the brush before application.
8. Glazing for Depth:
To bring the whole effect together and add depth, apply a glaze of Mournfang Brown (GW) over the entire area. This step also helps soften the texture and make it more refined.
You can go back with Rhinox Hide into darker recesses if needed, to adjust the contrast and depth.
9. Final Touches:
Add more detail and glaze as needed to achieve the desired depth and realism in the leather texture. Be mindful of over-glazing, which can dilute the detail work.
10. Review and Adjust:
Continuously review your work and adjust as necessary to ensure a realistic and varied leather texture. Each step can be refined or corrected to achieve the desired effect.
Technique Tips:
Consistency in paint mixture is crucial for achieving the fine lines necessary for the cracked leather effect.
Regularly maintaining the brush’s fine tip is essential for detailed work.
Turning the model upside down can facilitate easier brush strokes, but always check the work in its correct orientation.
Glazing with thinned paint helps unify the painted area and add depth to the texture.
Remember, the key to this technique is patience and precision. The fine details make the difference, so take your time with each step to achieve a convincing cracked leather effect.
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This is just a quick video showing how to paint dirt on the bottom of a red robe. This technique is useful for cloaks and other types of cloth that might be on your models that you want to look like they’ve been dragged across the ground behind them, too!
Video: How to Paint Dirt on a Robe
Paints Required
Games Workshop: Rhinox Hide, Mournfang Brown, Balor Brown
Preparing to Paint
Begin with Rhinox Hide: Apply at the very bottom of the robe. This colour blends well with the red robe, creating a subtle effect. As you move upwards, make the application more visible with small dots and splotches. This creates an impression of staining.
Adding Depth with Mournfang Brown
Switch to Mournfang Brown: This shade gives depth to the weathering effect. Initially, it might seem light but it darkens as it dries. If you find it too strong, you can tone it down with Rhinox Hide to soften the effect. The key here is to balance the intensity, ensuring it doesn’t overpower the base colour of the robe.
Finishing Touches with Balor Brown
Finalise with Balor Brown: This is a strong colour, so apply it cautiously. It’s significantly different from the previous colours and can make a bold impact. Focus on the very bottom of the robe, gradually building up a denser application of paint. Be mindful of areas near the highlights, such as near the foot of the robe at the front. Here, you might need to add more Balor Brown to counteract the brighter red tones.
General Tips for an Authentic Effect
Strive for unevenness: Avoid symmetrical or uniform patterns. Some areas should appear dirtier than others for a realistic effect.
Control the paint consistency: Aim for a 50/50 mix of paint to water for optimal flow and control. This consistency allows you to work for an extended period without creating a heavy texture.
Use a smaller brush: A smaller brush gives you more control, especially for creating uneven, chaotic patterns. Avoid pressing too hard to prevent large, unintended marks.
Adjust for mistakes: If you apply too much paint, quickly rub it off with your finger. For smears, stipple over them with a bit of Rhinox Hide to create interesting marks.
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This video and guide shows how to paint an Ogroid sword with NMM (non-metallic metal) and rusty effects.
(Apologies for the dog hair)
Video : How to Paint an Ogroid Sword with NMM and Rust
All videos are recorded in HD 1080p or higher – use full screen for the full effect and let the video load completely. You can also click the little “cog” and change the speed of the video, if I am going too fast (or slow!)
Paints and Materials
Paints
Games Workshop:
Mournfang Brown
Troll Slayer Orange
Fire Dragon Bright
Rhinox Hide
Vallejo:
Ice Yellow
Black
German Grey
Neutral Grey
Pure White (Mecha Color)
Brushes
A range of brushes were used, including but not limited to:
A fine detail brush (such as a size 0 or 00), used for detailed work and fine highlights.
A larger brush (like a size 2), which can be useful for broader strokes and glazing.
Other Materials
Blue Tack: Used to temporarily attach the sword to the model for assessing lighting and highlight placement.
Wet Palette: Essential for mixing and maintaining paint consistency.
Water: For thinning paints, essential for techniques like glazing and stippling.
Step-by-Step
Basecoat and Shades:
Start with a neutral grey, darkened slightly with black.
Create a gradient of greys by mixing German Grey with Neutral Grey, and then adding Ice Yellow for various shades. This creates a series of warm greys for highlights.
Use a wet palette to mix and maintain the paint consistency.
Highlighting the Blade:
Focus on creating a main shine spot on the curved part of the blade, as this area naturally catches more light.
Add random reflections down the blade. Over-highlight initially as you will glaze over these later to reduce their intensity.
Remember that the flat of the blade will be rusty, so avoid highlighting this area.
Adding Details:
Paint distinct blocks of highlights or reflections on the blade, especially around the curved section.
Start with darker greys and layer up to lighter ones, finishing with Pure White for the brightest spots.
Use vertical brush strokes for control and consistency.
Rust Effects on the Blade:
Stipple Mournfang Brown over the flat of the blade for a textured rust effect. Be random and uneven in your application.
Layer Troll Slayer Orange over this, focusing on specific patches for an uneven and realistic rust effect.
Optionally, use Fire Dragon Bright for the brightest rust highlights.
Refining and Adding Scratches:
Add scratches and chips using a mixture of Neutral Grey and Ice Yellow.
Apply these details sparingly and randomly to avoid patterns.
For added depth, add a line of a darker colour (like Rhinox Hide) above some of the scratches.
Finishing Touches:
Make final adjustments to the highlights and rust effects.
Use glazing techniques to soften transitions and blend colours seamlessly.
Be cautious with the use of white; too much can detract from the warm effect.
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These videos show how to paint Cado Ezechiar, one of the vampire models from Games Workshop. He was painted as a part of my Golden Demon entry for 2024!
There are a lot of fun techniques I used on Cado, from his pitted, slightly worn armour, to his cloth undershirt, cape and some weathered leather. Read on to explore the tutorials in order, or click below to explore each part.
Video Part One – Armour and Red ClothPaints UsedPreparationBlocking in ColoursPainting the ArmourEnhancing Texture and ColourVideo Part Two – Leather Belt and Pouch, the NMM Gold Dragon on his chest and his Black Cape with WeatheringPaints UsedStep-by-Step GuideLeather DetailsNMM Gold DragonBlack CapeVideo Part Three – How to Paint a Vampire HeadMaterials ListHow to Paint a Vampire Head Painting GuidePreparationBase CoatingLayering and DetailingAdditional TipsVideo Part Four – How to Paint his Cracked Leather ScabbardMaterials and PaintsStep by Step Guide to Paint a Cracked Leather ScabbardLeather Technique TipsVideos Not Showing?
Video Part One – Armour and Red Cloth
All videos are recorded in HD 1080p or higher – use full screen for the full effect and let the video load completely. You can also click the little “cog” and change the speed of the video, if I am going too fast (or slow!).
Paints Used
Games Workshop: Mournfang Brown, Corvus Black Vallejo: Ice Yellow, Neutral Grey, German GreyP3: Morrow White
Preparation
Priming: The model should already be primed black. Imperfections in the primer’s coverage are not a concern, as all surfaces will be covered with paint.
Blocking in Colours
Base Coating: Start by blocking in base colours for efficiency and to prevent having to meticulously paint near completed areas later. Use Rhinox Hide for leather parts and German Grey (or a dark grey made by mixing black and white) for armour sections. This step is about laying down foundational colours and reacquainting yourself with the painting process.
Painting the Armour
Initial Armour Layer: Apply a base layer of German Grey across all armour parts. This step establishes a dark base for building up the texture and highlights that will follow.
Adding Texture and Base Highlights: Switch to Neutral Grey to begin adding texture and lighting effects to the armour. This involves creating scratch-like marks to simulate corrosion and wear, enhancing the model’s detailed sculpting. A size 00 brush is recommended for fine control and detail work.
Building Highlights: Gradually lighten the armour by adding more Neutral Grey, and then lighten further by mixing in Ice Yellow with Neutral Grey. The goal is to create a gradient of highlights leading to the brightest points of the armour. The addition of Ice Yellow introduces warmth to the grey, adding visual interest.
Final Highlights: Use P3 Morrow White for the final highlights. Apply this sparingly to the most raised areas and points where light would naturally be the strongest. The white should be watered down significantly to ensure a smooth application.
Enhancing Texture and Colour
Glazing for Depth: Mix a glaze using Mournfang Brown and apply it to shadow areas and recesses to add depth and warmth to the armour. Follow up with Corvus Black for deepening the shadows further. These glazes help unify the texture and add complexity to the finish.
Adjustments and Finishing Touches: Continuously assess the model as you paint, especially when transitioning between different sections or colours. Ensure that the lighting and colours are cohesive across the model to maintain the unit’s unified appearance.
Video Part Two – Leather Belt and Pouch, the NMM Gold Dragon on his chest and his Black Cape with Weathering
Paints Used
Games Workshop: Rhinox Hide, Mournfang Brown, Fire Dragon Bright, XV-88, Balor Brown Vallejo: Dark Grey, Ice Yellow
Step-by-Step Guide
Leather Details
Base Coat: Start with Rhinox Hide as the base for all leather parts, which was applied in the previous painting session.
Initial Highlights: Using Mournfang Brown, begin blocking in the details on the belt and pouch using a size 00 brush. Focus on applying the paint with the tip of the brush, even when filling larger areas, to maintain precision and control.
Adding Texture: With the same brush, enhance the leather texture by applying additional highlights with a mixture of Mournfang Brown and Fire Dragon Bright. The Fire Dragon Bright will lighten the colour but may also increase the paint’s translucency, requiring multiple layers for full opacity.
Further Highlights: Introduce Ice Yellow into the mix for the next set of highlights, focusing on the most illuminated areas like the top of the pouch and the sides of the belt that are exposed to light. Use a delicate touch to add fine details and texture, simulating the natural wear and tear on the leather.
NMM Gold Dragon
Base Layer: Use XV-88 as your base colour for the dragon emblem. Carefully outline the shape, leaving black lines between the details to create depth and contrast.
Building Up Colour: Gradually add Balor Brown to the XV-88, focusing on areas where light would naturally hit the emblem. Consider the curvature and form of the dragon to place your highlights thoughtfully, enhancing the 3D effect.
Final Highlights: Mix in Ice Yellow with your base colours to brighten the highest points of the emblem. Apply these highlights sparingly to areas like the brow, nose tip, and the edges of the dragon heads to achieve a metallic shine. Optionally, add a dot of pure white at the very brightest points for maximum impact.
Black Cape
Initial Layering: Prime the cape black and then apply Vallejo Dark Grey, thinned with water (approximately 60% water to 40% paint), to start building up the layers. Aim for smooth, gradual transitions, focusing on the creases and raised areas of the cape.
Highlighting: Incrementally mix Ice Yellow into the Dark Grey for the highlights. Apply these to the edges and folds of the cape where the light naturally hits, ensuring that the highlights are concentrated towards the top of the folds to emphasise the flow and texture of the fabric.
Weathering: Using Rhinox Hide, begin stippling the lower edges of the cape to simulate mud and grime build-up. Progressively add Mournfang Brown and then Balor Brown into your mix, focusing the lighter, more detailed stippling towards the very bottom to create a realistic weathered effect. Avoid making this look too uniform; natural wear and variety in the marks will enhance the realism.
Video Part Three – How to Paint a Vampire Head
All videos are recorded in HD 1080p or higher – use full screen for the full effect and let the video load completely. You can also click the little “cog” and change the speed of the video, if I am going too fast (or slow!).
Materials List
Paints:
Games Workshop: Cadian Fleshtone, Mephiston Red, Evil Sunz Scarlet
Vallejo: Neutral Grey, German Grey
P3: Morrow White (or any white paint)
Brushes:
Size 2 Round Brush (for broad applications)
Size 00 Round Brush (for detailed work)
Other Materials:
Wet Palette (to keep paints moist and workable)
Water Pot (for cleaning brushes)
Mixing Palette (for mixing custom paint shades)
Blue Tack (for temporarily attaching components)
Metal Rod (for holding the model while painting)
Super Glue (for assembly adjustments)
How to Paint a Vampire Head Painting Guide
Preparation
Modify and Assemble: Modify the hair of the model to prevent it from touching the face, allowing for easier access when painting. This involves careful cutting, reattaching, and positioning of the hair components.
Priming: Prime the model with a neutral primer to ensure paint adhesion and colour accuracy.
Base Coating
Apply Base Colours: Begin with a base coat of Cadian Fleshtone for the skin, applying it thinly (around a 1.5:1 ratio of water to paint) using a size 2 brush for a smooth layer. For the hair, use Neutral Grey as the base.
Layering and Detailing
Layering: Employ both a size 2 brush for general work and a 00 brush for fine details. Gradually build up the skin tones, focusing on creating dramatic lighting by highlighting facial features and leaving recesses darker. Mix Cadian Fleshtone with white for various highlight shades.
Eyes and Teeth Detailing: For the eyes, utilise Mephiston Red and Evil Sunz Scarlet for a glowing effect. For the teeth, mix Cadian Fleshtone with white to achieve a natural bone colour, steering clear of pure white to maintain realism.
Hair: Paint the hair in layers, starting with Neutral Grey, then adding white for highlights. Adjust shading and highlighting to reflect texture and colour accurately.
Shadows and Highlights: Use German Grey for deep shadows to add depth, especially around the eyes and under facial features. Use mixtures of Cadian Fleshtone with white and grey to refine the face’s appearance, enhancing the transition from light to shadow.
Final Touches: Add fine highlights with a mix of the lightest skin tone and a bit of white, focusing on areas where light naturally hits. Use a fine brush for precision, ensuring smooth transitions between light and dark areas.
Additional Tips
Brush Care: Always wet your brush before starting to paint, even if it appears clean, to ensure smooth paint flow.
Lighting Effects: When painting, consider how light interacts with the model’s features. This helps in achieving a more natural and realistic appearance, even with dramatic lighting.
Colour Mixing: Don’t be limited by paint names. Understand that all paints are just colours, and creative mixing can achieve the desired effect, such as using skin tone mixes for teeth to avoid too stark a contrast.
Video Part Four – How to Paint his Cracked Leather Scabbard
All videos are recorded in HD 1080p or higher – use full screen for the full effect and let the video load completely. Click the cog icon to choose speed, if I’m too fast or slow!
Materials and Paints
Paints:
Rhinox Hide (Games Workshop) – A dark brown paint used as the base color for the leather.
Bugman’s Glow (Games Workshop) – A flesh-toned paint used for creating mid-tones and highlights on the leather.
White (P3 Morrow White) – Used for mixing with Bugman’s Glow to create lighter shades for finer highlights.
Brushes:
Fine Detail Brush – A high-quality, fine-tipped brush, such as a size 0 or 00, is essential for painting the very fine lines that simulate the cracks in the leather. The brush used in the video is my favourite, the size 00 Artis Opus brush.
Additional Materials:
Water – For thinning the paints. The consistency of the paint should be around 50% water to 50% paint, with a slight adjustment for environmental factors like heat.
Wet Palette – To keep the paints hydrated and workable for longer periods. It’s particularly useful for mixing and maintaining the consistency of thinned paints.
Kitchen Roll or Paper Towel – Used for dabbing the brush to remove excess paint or water. It’s important to change the paper regularly to avoid degradation and particles sticking to the brush.
Painting Handle or Holder (optional) – To comfortably hold and manipulate the model while painting. I use Rathcore painting handles.
Step by Step Guide to Paint a Cracked Leather Scabbard
1. Preparation:
Ensure the scabbard on the model (in this case, Cado Ezechiar) is clean and ready for painting.
2. Base Coat:
Start by covering the entire scabbard area with Rhinox Hide (Games Workshop). Apply a couple of coats for even coverage but don’t worry about perfect opacity.
3. Mixing Paints:
Prepare your palette with a progression of mixes:
Rhinox Hide mixed with a small amount of Bugman’s Glow (GW).
Pure Bugman’s Glow, thinned slightly with water.
Bugman’s Glow mixed with a small amount of white (P3 Morrow White), and then a mix with more white added.
4. Detailing with a Fine Brush:
Use a thin brush, like a size 0 or 00, ensuring it has a very sharp tip for fine detailing.
Begin with the Rhinox Hide and Bugman’s Glow mix. Paint very fine, wiggly lines across the scabbard, simulating cracks in the leather. The lines should be more concentrated on the left side where the light hits, but include some on the right side too.
Turn the model as needed for comfort and accuracy but check the marks in the correct orientation to ensure they look natural.
Remember, the paint consistency should be about 50:50 water to paint, perhaps slightly more water for better flow.
5. Building Highlights:
Progress to using straight Bugman’s Glow. Go over some of the previous lines and add new ones. Ensure that some of the initial finer lines remain visible beneath.
Focus on making the edges and areas with supposed more wear brighter.
You can create deeper scratches by painting over the previous lines, adding detail and depth.
6. Correcting and Enhancing:
If any lines are too thick or dense, use Rhinox Hide to adjust them. You can also enhance them by extending the lines and creating additional features.
Remember, each line or mark should be distinct and avoid uniform patterns.
7. Final Highlights:
Use the mix of Bugman’s Glow and white for the brightest highlights. Apply these sparingly and focus on making them as small and fine as possible.
Adjust the intensity of your highlights by removing excess paint from the brush before application.
8. Glazing for Depth:
To bring the whole effect together and add depth, apply a glaze of Mournfang Brown (GW) over the entire area. This step also helps soften the texture and make it more refined.
You can go back with Rhinox Hide into darker recesses if needed, to adjust the contrast and depth.
9. Final Touches:
Add more detail and glaze as needed to achieve the desired depth and realism in the leather texture. Be mindful of over-glazing, which can dilute the detail work.
10. Review and Adjust:
Continuously review your work and adjust as necessary to ensure a realistic and varied leather texture. Each step can be refined or corrected to achieve the desired effect.
Leather Technique Tips
Consistency in paint mixture is crucial for achieving the fine lines necessary for the cracked leather effect.
Regularly maintaining the brush’s fine tip is essential for detailed work.
Turning the model upside down can facilitate easier brush strokes, but always check the work in its correct orientation.
Glazing with thinned paint helps unify the painted area and add depth to the texture.
Remember, the key to this technique is patience and precision. The fine details make the difference, so take your time with each step to achieve a convincing cracked leather effect.
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In this tutorial, we’re diving into the wonderfully grim world of Nurgle as we explore how to bring the Rotbringer Sorcerer from Age of Sigmar to life with vivid detail. Whether you’re a seasoned painter or just starting out, this step-by-step guide will equip you with techniques and tips to get going.
Video: How to Paint a Rotbringer Sorcerer – Part One:
All videos are recorded in HD 1080p or higher – use full screen for the full effect and let the video load completely. You can also click the little “cog” and change the speed of the video, if I am going too fast (or slow!).
Video: How to Paint a Rotbringer Sorcerer – Part Two
Materials and Paints
Primer: Badger’s Ultimate Primer Black
Games Workshop Paints: Mephiston Red, Balor Brown, Yriel Yellow, Mournfang Brown, Corvus Black, Bugman’s Glow, Cadian Fleshtone, Morghast Bone, Screaming Skull, Trollslayer Orange, Rhinox Hide, Skeleton Horde Contrast
Vallejo Paints: Basalt Grey, Ice Yellow, Neutral Grey, Pale Grey Blue (optional)
P3 Paints: Morrow White
Step-by-Step Guide to the Rotbringer Sorceror:
Preparation and Priming: Fully assemble your Rotbringer Sorcerer and prime it with a black primer. For easier access to intricate areas, consider leaving the arm that holds the scythe detached during priming.
Base Coating: Apply base coats using Mournfang Brown for wooden elements and Basalt Grey for the cloak and scythe blade. Bugman’s Glow is ideal for flesh areas. Apply these base coats roughly, aiming for coverage rather than precision.
Skin Tones: Enhance skin areas with Bugman’s Glow, providing a rosy, dark flesh tone. Progress with Cadian Fleshtone for highlights, ensuring to thin your paints for a smooth finish.
Wood and Metal Detailing: Utilise Balor Brown for initial wood highlights, transitioning to Mournfang Brown for added depth. For metallic areas like the scythe blade, start with Rhinox Hide, building up to Neutral Grey mixed with white for higher highlights. Create rust effects using Trollslayer Orange.
Shading: Employ Corvus Black, adequately thinned, to add depth through shading across the model, focusing on recesses and shadowed areas.
Detail Enhancement: Use Screaming Skull for edge highlights and detail work on scrolls and similar features. Maintain thin paint layers for refinement.
Textures and Freehand Elements: Incorporate freehand elements like Nurgle symbols using Mephiston Red. Apply textures such as rust and wood grain using stippling techniques with Trollslayer Orange for rust and Morghast Bone for wood grain.
Verdigris Effect: On copper elements, create a verdigris effect with Sotek Green mixed with white. Apply this judiciously to areas that would naturally show oxidation, steering clear of bright highlights.
Candle Flames: Paint candle flames using Yriel Yellow, adding Trollslayer Orange to the tips. Blend these colours for a realistic flame appearance.
Model Basing: Prepare a base that complements the model, using a mix of sand, poly filler, and paint it with XV-88, Morghast Bone, and weathering powder. Introduce grass patches for added realism.
Final Adjustments: Revisit the Rotbringer Sorcerer for any last highlights or corrections. Use a precise brush for fine details, ensuring the paint consistency is suitable.
Model Sealing: Once satisfied with the painting, apply a matte varnish to protect your work.
Tips:
Thin your paints for smoother layers and better control.
Utilise an older brush for base coating and a newer, finer brush for detailed work.
Regularly assess your work from a distance for adjustments.
Experiment with light placement for dynamic highlighting and shadowing effects on your Rotbringer Sorceror.
Initial layers don’t need perfection as they will be layered over with more detail.
Show it off!
As you progress, feel free to adapt and tweak techniques to suit your style. Good luck! When you’ve finished, why not pop into our Discord and show it off to other website members? 🙂
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The most powerful model from the Age of Sigmar Dominion box!
I thought it was time that I painted the most powerful model from the new Age of Sigmar Dominion box! It’s the mighty Stab-Grot!
Materials Required:
Stab Grot miniature, fully assembled and primed with Scale 75 Surface Black Primer
Paints: Games Workshop (Mournfang Brown, Rhinox Hide, Cadian Fleshtone, Ushabti Bone, Firedragon Bright, Daemonette Hide, Sotek Green, XV-88, Moot Green, Mephiston Red, Evil Sunz Scarlet), Vallejo (Ice Yellow, Black, Neutral Grey, White, German Grey, Pale Grey Blue)
Brushes, including a fine detail brush (size 00 recommended)
Painting Process:
Base Layers: Begin with Vallejo German Grey, applying it to the armoured parts using a scratchy technique. Concentrate on lighter points where light naturally falls (shoulder, forearm), but ensure even coverage.
Adding Tones: Apply Daemonette Hide for a subtle hint of colour. Use the same method as with German Grey but in smaller areas, allowing the underlying grey to show through for texture.
Highlights and Shading: Combine Pale Grey Blue and Daemonette Hide for highlights. Aim for a grimy, non-polished metal appearance. Use white sparingly to highlight edges and dents.
Skin Tones: Start with Sotek Green, progressively adding Moot Green and white for highlights. Focus on creating soft transitions with diluted paint for a realistic skin effect.
Leather Details: Base with Rhinox Hide, then layer with XV-88 and Cadian Fleshtone, concentrating on edges and scratches. Use watered-down Mournfang Brown for a glazing effect, softening the highlights.
Red Cloth: Base with Mephiston Red, layering for opacity. Highlight with Evil Sunz Scarlet, careful not to overdo it to preserve the red’s vibrancy.
Final Touches: Add final details such as rust on the blade with Mournfang Brown and scratches with Ice Yellow. Remember, moderation is key for a realistic weathered look.
Tips for Success:
Pay attention to natural light fall for realistic highlights and shadows.
Use a scratchy technique for armour to create texture and a weathered appearance.
Thin your paints for smoother transitions, especially on the skin.
Avoid over-highlighting reds to prevent a pink or orange shade.
Patience and attention to detail are vital for a small, detailed model like Stab Grot.
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This video shows the whole process of how to paint a Grimdark Imperial Fist for Warhammer 40,000, plus a step by step text guide.
Tool and Paints
The following paints were used:
Games Workshop: Mephiston Red, Wild Rider Red, Cadian Fleshtone, Ushabti Bone, Yriel Yellow, Sotek Green, Balor Brown, XV-88
Vallejo: Neutral Grey, Ice Yellow, Black, (Metal Colour Magnesium)
P3: Morrow White (Any brand of white is fine)
Scale 75: Dwarven Gold, Neco Gold
Winsor & Newton: Oil Colour: Burnt Sienna, Black, Sansodoor solvent
Step by Step Guide : How to Paint a Grimdark Imperial Fist
Step 1: Base Coating with XV-88
Start with a model primed in black and assembled (except for head and backpack).
Use XV88 paint directly from the pot and scrunch it onto a piece of paper towel.
Stipple the paint onto the model with a large brush to cover all armour panels.
Stab the marine harshly with the stippling brush to create texture.
Don’t worry about getting paint on other parts; focus on covering armour panels thoroughly.
Step 2: Adding Baylor Brown Highlights
Switch to a smaller brush for precision.
Use Balor Brown paint and continue stippling, focusing on areas with prominent curves (shoulder pads, backpack, head).
Highlight the model by emphasizing the curves for a top-down lighting effect.
Step 3: Airbrushing with Yriel Yellow and Ice Yellow
Thin Yriel Yellow paint with airbrush thinner in a wet palette.
Apply a thin coat with an airbrush, blending and smoothing the texture.
Use Ice Yellow with the airbrush to highlight specific metal areas (gun, joints, recesses).
Step 4: Red Trim with Mephiston Red
Paint the trim on the marine in red using Mephiston Red paint.
Avoid painting directly from the pot; thin the paint with water to achieve the right consistency.
Focus on essential highlights rather than painting every edge.
Step 5: Final Highlights and Stippling
Use worn-out brushes for final highlights, adding details to areas with texture or leftover stippling.
Stipple lightly to blend and enhance highlights.
Step 6: Weathering with Sotek Green and Verdigris
Apply Sotek Green for verdigris weathering on the chest piece.
Water down the paint and run it into recesses for a weathered effect.
Step 7: Apply Decals and Micro Set
Glue the head on to avoid wobbly head issues.
Apply decals using Micro Set for adhesion.
Skip Micro Sol; Micro Set alone is sufficient for shaping decals.
Step 8: Oil Wash with Agrax Earthshade
Thin Agrax Earthshade with some Sansodor to create a wash.
Apply the wash generously over the model, allowing it to settle in recesses.
Wipe off excess if needed.
Step 9: Final Touches and Stippling
Stipple over highlights again to clean up and enhance contrast.
Use Metal Colour Magnesium paint on lower areas (shin, foot) for a dirty, textured effect.
Focus on making the knee pad stand out and eliminating unwanted highlights.
Step 10: Eyes and Final Details
Paint eyes with a mix of Sotek Green and Metal Colour Magnesium for a glowing effect.
Add final details as needed, keeping the overall grimy and weathered appearance.
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This video shows you how to create a Titan Martian Base, a Martian red landscape for your Adeptus Titanicus Titan, or for any large model you like, really!
Video Tutorial: Titan Martian Base
All videos are recorded in HD 1080p or higher – use full screen for the full effect and let the video load completely.
Paints and Materials Used
Fimo and Milliput: For making rock shapes.
Baking Soda: For creating the fine-grained surface texture.
Paints:
Scale 75’s Antares Red
Scale 75’s Red Leather (or similar Games Workshop red and brown colours)
Games Workshop’s Deathworld Forest
Games Workshop’s Ushabti Bone
Weathering Powders:
Forge World’s Aged Rust
Forge World’s Orange Rust
Matte Varnish: For sealing the base.
Tools:
Brushes for painting and dry brushing.
Sculpting tools or a flat surface for applying the baking soda mixture.
Airbrush for applying weathering powder (optional).
Other Materials:
Water: For mixing with weathering powders.
Super Glue: For securing rocks to the base.
Q-tip: Slightly damp, for cleaning up excess weathering powder.
Step by Step Guide
Preparing the Base: Start by placing your model on the base and arrange rocks around it. Use rocks made from a mixture of Fimo and Milliput, baked and then broken into shapes.
Creating the Surface: Mix baking soda (for fine texture), Scale 75’s Antares Red and Red Leather paint (or similar GW paints), and matte varnish to form a sticky, wet-looking substance. This creates the dusty, Martian surface.
Applying the Surface Mixture: Carefully apply the mixture to the base, ensuring it’s pushed up against the rocks. Use a large, slightly damp brush to stipple and smooth out the mixture, avoiding unnatural marks.
Using Cracking Paint: Apply a thin layer of Martian Ironearth cracking paint for subtle cracking effects. Ensure it’s not too thick to maintain the scale’s integrity.
Painting the Rocks: Once dry, paint the rocks with Vallejo Model Color Black or a similar black paint. Then dry brush with GW Deathworld Forest for initial colour, followed by Ushabti Bone for highlights.
Applying Weathering Powder: Mix Forge World Aged Rust and Orange Rust powder with a lot of water, and spray over the base using an airbrush. Focus on the lower parts of the model for a realistic effect. For manual application, use a large, soft brush.
Cleaning Up: After the weathering powder dries, use a slightly damp Q-tip to remove excess powder from the rocks and lower sections of the Titan, enhancing the details and textures.
Final Touches: Seal the base with a matte varnish to preserve the dusty look and reduce the brightness of the orange rust effect.
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I created some shiny (and then grimy!) non metallic metal copper on my Maggotkin of Nurgle, which I then weathered with distinctive green verdigris. This is how I did it in a series of step by step guides and videos on NMM copper.
How to Paint NMM Copper – Part One
Paints and Materials
Brush Size and Type:
Don’t use a tiny detail brush for the entire process. Instead, a slightly larger, older brush is preferred. My older brush has a worn tip, which is thicker than a new brush and allows for better paint control and blending.
An old, well-used brush is good for this type of painting. The worn tip of an older brush can make blending easier.
Paints Used
Games Workshop: Doombull Brown, Golden Yellow (old colour; find a modern equivalent if needed)
Scale 75: Ice Yellow, Salmon Pink, Black Red
Black and White paint (any preferred brand)
Step-by-Step Guide
Understanding Copper NMM:
Remember, copper NMM aims to create a metallic effect without using metallic paints. Copper is essentially pink in hue, similar to skin tones, with brown for shadows and a hint of sand yellow.
Preparation of Palette:
On your wet palette, blend all the colours together into one smear. This is because copper has a lot of subtleties in colouring. Start with Doombull Brown and mix in Black Red from Scale 75. If you don’t have Black Red, mix black and red to achieve a dark, reddish brown.
Creating the Base Colour:
For the darker areas of copper, you want something a bit more red. Along your paint smear on the palette, integrate colours that become more yellow and orange. Use Golden Yellow and Ice Yellow for this purpose. Add Salmon Pink at the very end for highlights.
Applying the Base Layer:
Before starting the video, paint the whole model (or the part you’re working on) with Doombull Brown. This creates an easier starting point for the copper effect.
Mixing on the Model:
You’ll be mixing the paint directly on the model, working quickly. This method is different but effective for creating copper NMM. Apply the colours and quickly determine where the highlights will be. The idea is to get lighter colours down first as a base to work from.
Developing the Effect:
Start blending in reflections and refining the look. Add lighter colours and work on creating smooth transitions and contrast. Remember, smooth transitions and good contrast are key in NMM painting.
Refining the Details:
As you progress, you’ll refine the copper effect by using thinner paint and increasing contrast. Use Salmon Pink for the higher highlights and blend it in for a smooth transition.
Final Touches:
Towards the end, focus on refining the paint with continual glazes until it looks smooth and metallic. You might need to make slight adjustments to the highlights and shadows. Add black, turned into a glaze, at the bottom of the shoulder pad to increase contrast.
Final Overview:
The final piece should showcase a refined copper NMM effect with smooth transitions, proper contrasts, and a realistic metallic look.
How to Paint NMM Copper Greeny Verdigris Effect
Paints and Materials
Games Workshop Sybarite Green
P3 Morrow White (or your preferred white paint)
Step-by-Step Guide
Understanding Verdigris:
Verdigris is a patina that forms on copper, brass, or bronze when exposed to air or seawater over time. This guide aims to create a more realistic effect, where verdigris covers larger areas rather than just around rivets and crevices.
Creating Verdigris Tones:
You will mix Sybarite Green with Morrow White to create three stages of verdigris tones:
First Stage: Pure Sybarite Green.
Second Stage: A mix of half Sybarite Green and half Morrow White.
Third Stage: Mostly Morrow White with a tint of Sybarite Green.
Applying the First Layer:
Start with the pure Sybarite Green. Apply it by gently dabbing it onto the model. The goal is to create a patchy texture rather than smooth streaks.
This layer should cover most of the area, but try to maintain the shades and shine of the underlying metallic paint.
Mid-tone Application:
Next, apply the second stage mix (half Sybarite Green, half Morrow White). This should be used more sparingly than the first layer.
Focus on applying this mix to darker areas and recesses. You want to maintain visibility of the copper NMM base, so apply it carefully and artistically.
Adding Highlights:
For the final layer, use the lightest mix (mostly Morrow White with a hint of Sybarite Green). This is like a reverse highlight, working best in shadows to create contrast.
Apply this very selectively, as it can quickly cover the base layers. It should go into the deepest recesses and lower curved areas where verdigris would naturally accumulate.
Final Touches:
Remember, verdigris should have an uneven, patchy appearance. It should not be smooth or uniformly applied like rust.
Check your work against reference images to ensure a natural look.
Finishing Up:
After applying all three stages, your model should exhibit a realistic verdigris effect over the copper. The underlying NMM copper should still be visible, contributing to the overall realism.
Gallery – Click to view larger
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A series of tutorials on how I painted my set of Golden Demon winning Deathguard Deathshroud Bodyguard! This includes nurgly armour, weathering, rust, metals, tentacles, freehand and more!
Quick note here – these are some of my earliest tutorial videos, so are not of the same quality as my current tutorials visually and sound-wise. My apologies for this.Richard
Scroll down to explore the tutorials in order, or quick-jump to a segment by clicking on one of the items below:
Video: Deathguard Deathshroud Bodyguard Green ArmourMaterials and Paints UsedStep by Step GuideVideo: Deathguard Deathshroud Bodyguard Armour DetailMaterials and Paints UsedStep by Step GuideVideo: Deathguard Deathshroud Bodyguard Pink TentaclesMaterials and Paints UsedStep by Step GuideVideo: Deathguard Deathshroud Bodyguard Copper CanisterMaterials and Paints UsedStep by Step GuideVideo: Deathguard Deathshroud Bodyguard Red CloakMaterials and Paints UsedStep by Step GuideVideo: Deathguard Deathshroud Bodyguard Cloak FreehandMaterials and Paints UsedStep by Step GuideVideo: Deathguard Deathshroud Bodyguard Cloak Freehand RefinementMaterials and Paints UsedStep by Step GuideMore Deathshroud TutorialsLots More Deathguard Video Tutorials!
Video: Deathguard Deathshroud Bodyguard Green Armour
All videos are recorded in HD 1080p or higher – use full screen for the full effect and let the video load completely.
Materials and Paints Used
Games Workshop: Elysian Green, Nurgling Green, Rhinox Hide
Additional paints for mixing and shading: Pine Oxide, Loden Gree
Step by Step Guide
Paint Preparation: Gather your paints – Legion Green, Pine Oxide, Loden Green, and Rhinox Hide. Mix these to create five different shades ranging from light to dark for various transitions.
Base Coat: Start with a base coat of pure Legion Green. This will be your foundation colour.
Shading: Begin shading the lower belly area and other parts where shadows naturally fall. Use a mixture of Legion Green and Rhinox Hide for this. Remember, at this stage, the transitions don’t need to be perfect.
Wet Blending: Apply the shading using a wet blending technique. This involves placing one colour and, before it dries, adding another colour to blend on the model. It’s a rough, quick blending to position the shadows and shapes.
Highlighting: For highlighting, mix Legion Green with Megan Green. Start applying highlights to areas where light naturally hits, like the upper sections of the model.
Refining Transitions: As you progress, refine your transitions and shadows for a more polished and detailed look.
Final Highlights: Use pure Nurgling Green for the final highlight stage. This adds a brighter touch to the highest points where light would be most intense.
Detailing: Add finer details, like light reflections and texture variations, as needed to enhance the realism of the armour.
Additional Techniques: If desired, use glazes or additional layers to further refine the shading and highlighting.
Video: Deathguard Deathshroud Bodyguard Armour Detail
Materials and Paints Used
Games Workshop: Elysian Green, Nurgling Green, Mournfang Brown, Rhinox Hide Forge World: Gal Vorbak Red (use Games Workshop Khorne Red with a tiny amount of blue for a similar colour)
Step by Step Guide
Initial Shading: Start by shading the lower leg using a mix of Elysian Green and Rhinox Hide. This forms the base for the subsequent layers.
Layering with Pine Oxide: Apply Pine Oxide in layers. This is a form of light layering, where the paint is applied thinly, almost like working with glazes but slightly thicker.
Blending Techniques: Employ wet blending by quickly layering the paint. This helps in merging the layers smoothly, ensuring a subtle transition of colours.
Stippling with Mournfang Brown: Use Mournfang Brown for stippling effects. This is done by applying small dots to create texture and depth.
Refining Highlights: Add highlights using a finer brush. Highlight the lower edges of the leg where light naturally catches but avoid highlighting the upper edges to maintain a natural look.
Fixing Imperfections: If any area becomes too dark, use the in-between transitions to correct it. This involves mixing paint directly on the model, which can help in hiding mistakes.
Applying Red Glazes: Use a heavily watered-down Evil Sunz Scarlet (or a similar red glaze) to add subtle tones and enhance contrast.
Streaking for Battle Damage: For bullet holes or battle-damaged areas, create streaking effects using Mournfang Brown and Rhinox Hide, depicting the gunk running down from the damage.
Final Touches: Add final details and weathering to complete the look of the armour. This includes additional stippling and refining the contrast between light and shadow areas.
Video: Deathguard Deathshroud Bodyguard Pink Tentacles
Materials and Paints Used
Games Workshop: Emperor’s Children, Rhinox Hide, Evil Sunz Scarlet
Vallejo: Model Colour Black (Alternatively, Games Workshop black can be used)
P3: Morrow White (Alternatively, Games Workshop white can be used)
Step by Step Guide
Base Colour: Start with a base of Emperor’s Children pink.
Shading: Apply Rhinox Hide for shading. Paint the tip of the tentacle black for contrast.
Blending: Blend Rhinox Hide mixed with Emperor’s Children down from the black tip to create a smooth transition.
Detailing: Using straight Emperor’s Children, add line details to the tentacle, going beyond the sculpted segments for more intricacy.
Highlighting: Focus on the middle area of the tentacle with a mix of Emperor’s Children and Morrow White. This creates a focal point and simulates light catching the tentacle.
Final Touches: For light reflections, use a lighter pink or white. Add a glaze of Evil Sunz Scarlet for depth and contrast.
Video: Deathguard Deathshroud Bodyguard Copper Canister
This technique will give you a realistic copper effect using a simplified palette.
Materials and Paints Used
Games Workshop: Doombull Brown, Cadian Fleshtone Vallejo: Ice Yellow
Step by Step Guide
Base Coat: Start with a base coat of Doombull Brown.
Mixing Colours: Create a palette with five shades by mixing Doombull Brown, Cadian Fleshtone, and Ice Yellow in different proportions.
Highlighting: Apply the mix of Doombull Brown and Cadian Fleshtone across the upper curve for initial highlights. Adjust the position of the highlight by observing the model under light.
Refining: Blend the colours for smooth transitions. Use finer brushes for detailed areas and to keep dark lines sharp.
Final Highlights: Use a mixture of Cadian Fleshtone and Ice Yellow for brighter highlights. Add small touches of pure Ice Yellow for the brightest points.
Artificial Reflections: Paint reflections and detail lines that may not naturally occur but enhance the metallic effect. Look as photographs of copper items for references to help you with this.
Finishing Touches: Adjust and refine the highlights and shadows, ensuring a balance between realism and aesthetic appeal.
Video: Deathguard Deathshroud Bodyguard Red Cloak
This process results in a textured, worn cloak suitable for a Death Shroud Terminator, using a simple but effective painting technique.
Materials and Paints Used
Gal Vorbak Red (Forge World) Cadian Fleshtone (Games Workshop) Eldandil Violet (Scalecolour Fantasy)
Step by Step Guide
Base Coat: Start with Gal Vorbak Red as the primary colour.
Detailing and Texture: Use Cadian Fleshtone for adding highlights and texture, creating a worn and mouldy appearance.
Shading: Apply Eldandil Violet for shading in the recesses, enhancing depth and wear.
Glazing with Evil Sunz Scarlet: Use it as a glaze to add warmth to the cloak.
Refining Texture: Focus on cross-hatching movements to build texture, emphasizing the worn look.
Final Touches: Add further glazes and highlights to refine the texture and depth, tailoring the effect to your desired level of detail.
Video: Deathguard Deathshroud Bodyguard Cloak Freehand
Materials and Paints Used
The following paints were used:Games Workshop: Rhinox Hide Vallejo: Heavy Brown, Cork Brown, Ice Yellow, Black P3: Battlefield Brown *Note, Morrow White was not actually used in this video, but is used in part 2.
Step by Step Guide
Preparation: I used a test model to experiment with my design concept. This approach allows you to refine the freehand pattern before applying it to the main models.
Base Colours: Apply Vallejo Heavy Brown as a foundational colour. Enhance the base with Cork Brown for a richer texture. Use Rhinox Hide to outline the design, ensuring the lines are crisp and distinct.
Detailing: Carefully mark the eye sockets with black paint, paying attention to the cloak’s folds. These details will add depth and character to the freehand design.
Highlighting: Utilize Ice Yellow for highlights. This step involves blending the highlights with the base colors to achieve a natural, integrated look. The highlights should accentuate the topography of the cloak and enhance the freehand design.
Shading: Use Battlefield Brown to deepen the shadows and add complexity to the design. This shade will create a more dynamic and realistic appearance on the cloak.
Finishing Touches: Review the entire design, making final adjustments for consistency and balance. Focus on refining the freehand artwork, ensuring it harmonizes with the cloak’s texture and the overall theme of the model.
Video: Deathguard Deathshroud Bodyguard Cloak Freehand Refinement
Materials and Paints Used
The following paints were used: Games Workshop: Cadian Fleshtone, Pallid Wych Flesh, Bugman’s Glow, Rhinox Hide, Loren Forest, Nurgling Green, Vallejo: Ice Yellow, Cork Brown, Black, Neutral Grey, Pale Grey Blue, Heavy Brown P3: Battlefield Brown, Morrow White
Step by Step Guide
Base Preparation: Start by painting a rough base of fleshy shapes using Cadian Fleshtone. This initial layer doesn’t need to be perfect or smooth.
Detailing Ears and Face: Add ears to distinguish the image from a skull, creating a more zombie-like face. Use Kadeem Flesh Tone for this step.
Sketching Flesh and Bone: Sketch out areas where flesh appears torn or missing, revealing bone underneath. This technique enhances the undead appearance and integrates the existing skull highlights.
Adding White Highlights: Use Pallid Wych Flesh to accentuate bone areas, making them stand out from the flesh tone.
Painting the Eyes: Employ Neutral Grey, followed by Pale Grey Blue for the eyes. Add white dots in the center and top left corner of each eye for a lifelike effect.
Mouth and Teeth Details: Refine the mouth and teeth using Rhinox Hide and Ice Yellow for highlights. Focus on defining the teeth shapes and adding depth to the mouth.
Adding Texture to Flesh: Use Bugman’s Glow and other flesh tones to create textured, worn skin. Apply these tones in layers, allowing the underlying skull details to peek through.
Final Touches: Finish by adding fine details and additional highlights to enhance the depth and realism of the freehand design.
The key to this process is building up the layers gradually, refining the details as you go, and ensuring the highlights and shadows work together to create a realistic, three-dimensional appearance.
More Deathshroud Tutorials
How to Paint Deathshroud ArmourDeathshroud Scythe Handle WrappingDeathshroud Terminator Cloak FreehandHorn Painting Guide
Lots More Deathguard Video Tutorials!
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This video shows how to paint the metal and weathering effects on the legs of the Adeptus Titanicus Titan. Enhancing the metalwork, particularly the armour trim and skeletal structure, to achieves a detailed and realistic finish that looks fantastic on the battlefield. We’ll be using a mix of Games Workshop, Vallejo, and Forge World paints to bring our Titan to life.
Video: How to Paint Weathering and Metal on an Adeptus Titanicus Titan
All videos are recorded in HD 1080p or higher – use full screen for the full effect and let the video load completely.
Paints
Games Workshop:
Agrax Earthshade
Wyldwood (Contrast)
Contrast Aggaros Dunes
Forge World:
Aged Rust (Weathering Powder)
Vallejo Metal Colour (Airbrush Ready):
Victorian Brass (Scale 75 for an alternative base colour)
Magnesium
Gold
Chrome
Winsor & Newton:
Water Mixable Oil Colour Burnt Umber
Brushes
A fine detail brush for applying precise highlights and for controlled application of contrast paints and weathering powders.
A medium brush for applying base coats and larger areas of colour.
A soft, large brush for applying washes and for dusting off excess weathering powders.
I use the Artis Opus range of brushes, but any good quality brush is recommended.
Step by Step – Weathering and Metal on the Adeptus Titanicus Titan
Preparing the Armour Trim
Base Coat: Begin with a base coat of Scale 75 Victorian Brass over the trim. This provides a solid foundation for subsequent layers.
Initial Shading: Apply Contrast Aggaros Dunes over the Victorian Brass to introduce depth and shading to the trim. This step should have been completed in earlier stages of the model’s painting process.
Enhancing the Trim
Adding Depth: Use Games Workshop’s Wyldwood contrast paint to darken recesses and joints in the trim. The high contrast between the dark recesses and the metallic brass creates visual interest and depth. Apply the paint selectively to areas that would naturally accumulate shadow.
Highlighting: Vallejo Metal Colour Gold is used to highlight the edges of the trim. Due to its fluidity, it provides a smooth application but be mindful of its runniness. Lightly touch the edges with a fine brush to catch the raised areas.
Painting the Skeleton
Base Layer: Vallejo Metal Colour Magnesium serves as the base layer for the Titan’s skeletal structure. Its liquidity ensures it flows well into recesses but exercise caution to prevent pooling.
Weathering: Apply Forge World’s Aged Rust weathering powder mixed with water to the skeletal structure for a grimy, rusted effect. Focus on areas that would naturally collect dirt and rust, maintaining a balance to avoid obscuring details.
Sealing the Weathering: Once dry, seal the weathering with a mix of Agrax Earthshade. This reactivates and fixes the weathering powder, giving a durable and realistic rust effect.
Detailing Pistons and Metal Accents
Chrome Pistons: Vallejo Metal Colour Chrome is applied to pistons for a bright, reflective finish. Multiple thin layers may be needed for uniform coverage.
Oily Effects: Windsor and Newton’s Water Mixable Oil Colour Burnt Umber is used to simulate oil and grime on pistons and mechanical parts. Dilute with water for a manageable consistency and apply at joints and moving parts for a realistic oily effect.
Finishing Touches
Reichland Fleshshade Glaze: Optional, but can be used to add warmth to metal parts, particularly useful on brass or gold trims to simulate reflected light or heat staining.
Highlighting and Cleaning Up: After applying weathering and shading, go back to highlight edges and clean up any overspill with your base metallic colours. This step sharpens details and enhances the overall contrast of the model.
Techniques and Tips
Trim Detailing: Use the fine detail brush with Vallejo Metal Colour Gold to highlight the edges of the trim, applying the paint carefully to avoid spillage onto other areas.
Skeleton Base Layer: Apply Vallejo Metal Colour Magnesium with a medium brush, ensuring even coverage and avoiding pooling in recesses.
Weathering Powder Application: Mix Aged Rust with water in the well palette and apply with a large brush, targeting recesses and areas where rust would naturally accumulate.
Chrome Pistons: Use Vallejo Metal Colour Chrome, applying multiple thin layers as needed for a smooth, reflective finish.
Oily Effects: Dilute Winsor & Newton Water Mixable Oil Colour Burnt Umber with water and apply at the tops of pistons and around mechanical parts to simulate oil and grime.
Watch all the tutorials for my War Griffons Warlord!
War Griffons Warlord
A series of quick videos on the different techniques used on this model. These include the marble effect, the stripes, applying decals and weathering and metal.
Watch Now
Free Video Tutorials
Free videos for logged in members – just sign up as a ‘friend’ to view and click any of the thumbs.To explore all of these, visit this page!
If you don’t have an account, please sign up here! The website currently has over 350 video tutorials, plus step by step guides and PDFs. You can explore more free videos with a free “friend” membership, or take the plunge and become a full subscriber for full access.
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A video on how I painted up this friendly little Great Unclean One Nurgling! In this comprehensive guide, we’ll learn essential techniques such as layering, blending, washing, and highlighting, all aimed at bringing the detailed Nurgling model to vivid life.
Video: How to Paint a Great Unclean One Nurgling
Paints and Materials Used
Games Workshop Paints:
Cadian Fleshtone
Rhinox Hide
Kislev Flesh
Ceramite White
Yriel Yellow
Emperor’s Children
Celestra Grey
Skavenblight Dinge
Lothern Blue
Cybarite Green
Abaddon Black
Mournfang Brown
Ushabti Bone
Zamesi Desert
Agrax Earthshade (for wash)
Scale 75 Paints:
Kalahari Orange
Mars Orange
Vallejo Paints:
Model Colour Black
Ice Yellow
Brushes:
In the tutorial I mention using a new size 1 brush with a fine point, ideal for both general painting and fine details. A good point for precision work and the brush I was using was an Artis Opus brush!
An older, rough brush is used for applying the Scale 75 paints to create a rusty texture on the chain.
Step-by-Step Guide
Step 1: Base Colours for Skin
Begin with a base of Cadian Fleshtone on the skin. Create a palette with three colour mixtures: pure Cadian Fleshtone, a 50/50 mix of Cadian Fleshtone and Rhinox Hide, and a mixture mostly of Rhinox Hide with a small amount of Cadian Fleshtone.
Step 2: Painting Shadows
Start with the darkest mixture (mostly Rhinox Hide) to paint creases, dark areas, and shadows. The approach here doesn’t need to be very neat; it’s more about laying down the dark tones.
Step 3: Mid-tone Shading
Use the mid-tone mixture for most of the shading. Avoid painting over areas that will be highlighted later, like the chest and middle of the belly.
Step 4: Blending and Refining
As you proceed, switch between mixtures for blending, often without washing the brush. This method helps create quick transitions. Focus on darkening areas around the edges where the Nurgling touches Rotigus for shadow effects.
Step 5: Teeth and Boils
For the teeth, apply a quick wash of Agrax Earthshade to outline and define them. Then, start refining the shading and blending, particularly with the mid-tone shade.
Step 6: Final Skin Highlights
The final skin highlights won’t be Cadian Fleshtone but a brighter colour. However, use Cadian Fleshtone initially to get all shadows in place, creating transitions where the darkest shadows show through beneath lighter layers.
Step 7: Eyes and Pupils
Paint the eye with Yriel Yellow for a strong, vibrant colour. Then, use Vallejo Model Colour Black to paint the pupil, ensuring it looks forward and round.
Step 8: Smoke Effect
Base the smoke with Lothern Blue, then use Cybarite Green mixed with a little Abaddon Black. Highlight the inner recesses of the smoke with a mixture of Lothern Blue and Ceramite White, getting lighter towards the start of the smoke.
Step 9: Rusty Chain
Use Scale 75 Kalahari Orange and Mars Orange for a rusty look. Apply with a rough brush for a patchy appearance. Highlight with Skavenblight Dinge, Celestra Grey, and a touch of Ushabti Bone on the raised edges to mimic worn metal.
Step 10: Copper Smoke Dispenser
Paint with Mournfang Brown, highlighting with Cadian Fleshtone mixed with Ice Yellow, focusing on raised edges facing upwards. Use Lothern Blue for the verdigris effect, concentrating on the recesses for a corroded look.
Step 11: Horns and Tentacles
Start horns with Mournfang Brown, blending into Abaddon Black towards the tip. Highlight with Skavenblight Dinge and Celestra Grey. For tentacles, use a base of Emperor’s Children mixed with a small amount of Ushabti Bone, adding horizontal lines along each tentacle. Highlight with a brighter mix of Emperor’s Children and Ceramite White, focusing on the central area.
Remember, the key to this process is layering and blending, creating smooth transitions between colours.
More Nurgle Tutorials!
If you don’t have an account, please sign up here! The website currently has over 350 video tutorials with steps and tips, plus a selection of PDFs. If you are not sure about joining, you can explore my free videos with a free membership, or take the plunge and become a full subscriber for full access.
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In this tutorial, we’ll focus on How to Paint Abaddon’s Shoulder Pad – painting the freehand eye on Abaddon the Despoiler’s shoulder armour, along with the non-metallic metal (NMM) gold trim. We will use a variety of paints from Games Workshop, Vallejo, and P3.
Video – How to Paint Abaddon’s Shoulder Pad
Step-by-Step Guide – How to Paint Abaddon’s Shoulder Pad
Paints used
Games Workshop: Flash Gitz Yellow, Temple Guard Blue, Kantor Blue, Cadian Fleshtone, Ushabti Bone, Balor Brown, Mournfang Brown, Rhinox Hide
Vallejo: Black, Pale Grey Blue, Ice Yellow
P3: Morrow White
Preparing the Surface
Surface Preparation: Start by filling in any sculpted details you don’t need, such as the V-shape on the shoulder pad, using green stuff. Make sure it’s smooth and even. Prime the entire area with black primer.
Base Coating the Eye
Base Coat: Apply a base coat of Cadian Fleshtone to the entire area where the eye will be. Thin the paint with water (about 1.5 parts water to 1 part paint) and apply 3-4 coats for a smooth, opaque finish.
Painting the Pupil
Pupil Outline: Using Vallejo Model Color Black, paint a small black circle in the center of the eye area. Gradually enlarge the circle, ensuring it stays centered and smooth. Thin the paint with water (about 1.5 parts water to 1 part paint).
Painting the Iris
Base Layer:
Paint the iris using Kantor Blue. This layer doesn’t need to be perfect; it just provides a base for the subsequent layers.
Detailing the Iris:
Use Temple Guard Blue to paint the detailed lines and shapes within the iris. These lines should radiate from the pupil outward. Vary the direction and thickness of the lines to create a natural look. Ensure the paint is thin and the brush tip is sharp for precise lines.
Adding Depth:
Apply Flash Gitz Yellow over the Temple Guard Blue lines to create a greenish tone. Then, use Pale Grey Blue to refine the details and add highlights within the iris.
Highlighting the Eye
White of the Eye:
Highlight the white of the eye using Ushabti Bone. Thin the paint (1.5 parts water to 1 part paint) and build up the highlights towards the center of the eye. Use stippling to blend the transitions smoothly.
Veins:
Paint veins in the eye using Khorne Red. Make sure the lines are thin and subtle. Draw them from the edges towards the center, and then glaze over them with heavily thinned Doombull Brown (about 6 parts water to 1 part paint) to blend them in.
Shadow and Depth:
Add shadows using Rhinox Hide. Thin the paint (about 2 parts water to 1 part paint) and apply it to the upper eyelid area to create a shadow. This adds depth and realism to the eye.
Painting the NMM Gold Trim
Base Layer:
Apply a base coat of XV-88 to the trim. Ensure smooth coverage.
Building Layers:
Layer Balor Brown over XV-88, focusing on the raised areas and edges. Use Mournfang Brown for shadows and deeper areas.
Highlights:
Add highlights with Ice Yellow. Apply them to the upper parts and edges of the trim. Use Pale Grey Blue sparingly to add cool tones to the gold.
Final Highlights:
Use Morrow White for the brightest highlights. Apply small dots and lines to the edges and points for a sharp, reflective effect.
Adding Final Details
Texture and Scratches:
Add texture to the trim with Balor Brown and Mournfang Brown. Use thin, scratchy lines to create a worn effect. Blend these with Mournfang Brown to maintain the warmth of the gold.
Rivets and Reflections:
Highlight rivets with the same colors used for the trim. Ensure they are brighter than the surrounding areas. Add additional reflection points with Ice Yellow and Morrow White to enhance the metallic effect.
Top Tips for Painting Abaddon The Despoiler’s Shoulder Armor Freehand Eye and NMM Gold Trim
Preparation is Key:
Ensure the surface is smooth and primed properly before starting. Filling in any unnecessary sculpted details with green stuff will give you a clean canvas to work on.
Thin Your Paints:
For base coating and detailed work, keep your paints thinned (about 1.5 parts water to 1 part paint). This ensures smooth application and better control.
Start Small:
When painting details like the pupil, start with a small circle and gradually enlarge it. This allows for better control and fewer mistakes.
Layering and Blending:
Build up colours gradually with multiple thin layers. This helps in achieving smooth transitions and realistic shading.
Use a Sharp Brush:
A brush with a good tip is essential for fine details. A size 00 brush works well for intricate work, ensuring precise lines and control.
Check Paint Consistency:
Always check your paint consistency on your thumb or a palette before applying it to the model. This helps prevent blobbing and ensures smooth application.
Highlighting Techniques:
Always paint towards the center of the highlight to build up opacity gradually. For a more natural look, use a stippling technique to blend transitions.
Detailing the Iris:
Create varied lines and shapes within the iris to mimic natural patterns. Overlapping lines and varied thicknesses add realism.
Veins in the Eye:
Use a darker red for veins and blend them with heavily thinned Doombull Brown to make them look subtle and natural
When painting NMM, ensure the highlights and shadows are placed accurately to mimic reflective surfaces. Use a combination of warm and cool tones to add depth and realism.
Non-Metallic Metal (NMM) Technique:
Adding Texture:
Use thin, scratchy lines to add texture and wear to the gold trim. This enhances the realism and adds character to the piece.
Small Dots and Lines:
For the brightest highlights, use small dots and lines. This creates a sharp, reflective effect, especially on edges and points.
Use Glazes for Blending:
To soften transitions and blend colors, use glazes. A heavily thinned paint (about 6 parts water to 1 part paint) can help create smooth transitions.
Patience and Practice:
Detailed freehand work and NMM techniques require patience and practice. Take your time and don’t rush the process. With each attempt, you’ll improve and achieve better results.
There are lots more tutorials for painting Abaddon! Follow the link below to watch them all, or scroll town to explore them by model part.
Abaddon the Despoiler
A series of videos on how to paint Abbadon the Despoiler to competition standard – (new step-by-step guides included!)
Watch Now
Need more Abaddon? Look no further:
If you don’t have an account here on my website, please sign up here! I have over 350 video tutorials with steps and tips, plus a selection of PDFs. If you are not sure about joining, you can explore my free videos with a free membership, or take the plunge and become a full subscriber for full access.
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A guide on creating a series of effects on the Plague God’s chosen servants, the Maggotkin of Nurgle, with rusty weapons, grimy copper armour and general Nurgle weathering techniques!
Keep scrolling to explore the tutorials in order, or click on one of the links below to quickly jump to an a specific effect!
Video – Maggotkin of Nurgle Diseased Skin Part OnePaints UsedStep by Step GuideVideo – Maggotkin of Nurgle Diseased Skin Part TwoPaints and Materials UsedStep by Step GuideVideo – Maggotkin of Nurgle Diseased Skin Part ThreePaints and Materials UsedStep by Step GuideVideo: How to Create a Nurgle Rusty SwordMaterials Needed:Step-by-Step Guide:How to Paint NMM CopperPaints and MaterialsStep-by-Step GuideHow to Paint NMM Copper Greeny Verdigris EffectPaints and MaterialsStep-by-Step GuideMore Nurgle Tutorials!
Video – Maggotkin of Nurgle Diseased Skin Part One
Paints Used
Games Workshop ‘Cadian Fleshtone’: For the base coat and blending.
Scale 75 ‘Black Leather’: Used for initial detailing and creating depth in the skin.
Games Workshop ‘Pallid Wych Flesh’: Mixed with Cadian Fleshtone for highlights.
Games Workshop ‘Rhinox Hide’: Diluted for defining skin defects and recesses.
Step by Step Guide
Base Coat: Begin by applying a base coat of Games Workshop’s ‘Cadian Fleshtone’ to your model. Make sure this coat is even and covers any black primer fully.
Adding Detail: Next, use Scale 75 ‘Black Leather’ for initial detailing. This paint has a softer finish, ideal for skin textures. Apply it more like a wash, targeting recessed areas to create depth. The goal here is to start developing a diseased skin look.
Blending Techniques: While the ‘Black Leather’ is still wet, blend in additional ‘Cadian Fleshtone’. This stage can be a bit messy; the aim is to create a base for further refinement, not perfection.
Highlight Focal Points: Consider where you want to draw the eye. Focus on areas like the centre of the chest and the top of the belly, which naturally lead the viewer’s gaze towards the head.
Wet Blending: Continue mixing ‘Cadian Fleshtone’ with ‘Black Leather’ directly on the model. This wet blending creates a smoother transition between light and dark areas.
Highlighting: Mix ‘Cadian Fleshtone’ with varying levels of ‘Pallid Wych Flesh’ on your palette. Use this mixture to introduce lighter colours for highlighting, enhancing the diseased skin effect.
Detailing Shadows and Highlights: Focus on skin creases and folds, adding highlights to create an illusion of shadow. At this stage, precise brushwork isn’t crucial.
Skin Defects: For holes in the skin, use a watered-down ‘Rhinox Hide’. It dries lighter than it appears when wet, perfect for defining recesses.
Overall Balance: Regularly step back to view the whole model, ensuring a balanced look. Work on the entire model rather than focusing on individual sections.
Refining Colours: Keep refining by alternating between shadows and highlights. Adjust as needed for the desired effect.
Final Highlights: For the final touches, use ‘Pallid Wych Flesh’ to highlight key areas and make them stand out.
Model Handling: Use a model holder to prevent oils from your skin affecting the paint job. I use Rathcore model holders.
Video – Maggotkin of Nurgle Diseased Skin Part Two
Paints and Materials Used
Games Workshop Paints:
‘Cadian Fleshtone’: Used for base coating and blending.
‘Rhinox Hide’: Applied for deeper shading and detailing.
‘Pallid Wych Flesh’: Utilised for highlighting.
‘Skavenblight Dinge’: Employed for glazing and desaturating the skin tone.
‘Balor Brown’: Added for warmth in certain areas, enhancing the diseased look.
‘Evil Sunz Scarlet’: Used after initial issues with red tones, particularly for open sores.
Scale 75 Paints:
‘Eldandil Violet’: Mentioned for specific details and effects.
Step by Step Guide
Setting the Scene: To begin with, I’ve already completed some preliminary work on the model. This includes filling in the teeth and tongue, which helps define the overall look. It’s important to get your contrasts right from the start.
Introducing Additional Colours: In this session, I’m introducing a few extra colours compared to the previous video. I’ve got a purple for bruising and decay around wounds. This adds depth and a sense of realism to the skin.
Consistency Check: A quick note on the consistency of the paints – it’s crucial for the glazes. You’ll notice I’m using Games Workshop paints like ‘Cadian Fleshtone’, ‘Rhinox Hide’, and ‘Pallid Wych Flesh’, as well as ‘Skavenblight Dinge’ and ‘Balor Brown’. I’ve also got Scale 75 ‘Eldandil Violet’ for some specific detailing.
The Painting Process: The techniques I’m employing here are very similar to what I’ve done in the past – lots of layers, plenty of back-and-forth with highlighting, adding and taking away paint to blend it all seamlessly. It’s a slow process, but it yields great results.
Focus on Glazing: A key aspect of this session is glazing. I’m using ‘Skavenblight Dinge’ quite a bit. It’s excellent on skin, helping to blend colours together and desaturate the skin tone, giving it a slightly dead look, fitting for a Nurgle warrior.
Applying Highlights: When painting the highlights, especially as they get brighter, it’s important to focus on the model’s focal points. For this model, the focal points are the top of the belly and the middle of the chest, directing the viewer’s eyes towards the head.
Addressing the Red Tones: I initially had some trouble with the red paint for the open sores, which turned out almost orange and then pink. After some trial and error, I switched to Games Workshop ‘Evil Sunz Scarlet’, which provided the consistency and colour I was looking for.
Creating Contrast with Gloss: To enhance the contrast between the skin and wounds, I’m going to apply a gloss varnish over the red areas. This not only enriches the colour but also differentiates the wounds from the matte finish of the skin.
Additional Skin Techniques: While focusing on the skin, it’s a good practice to work on other areas of the model too. This helps to show off the skin more effectively in context.
Next Steps: In the coming parts, I’ll be working on more specific areas like the custom shoulder pad and weapons. I’m planning to paint these in a rust effect for a cohesive look.
Video – Maggotkin of Nurgle Diseased Skin Part Three
Paints and Materials Used
Games Workshop Paints:
‘Cadian Fleshtone’: Used for base layers and blending.
‘Pallid Wych Flesh’: Applied for fine highlighting.
‘Rhinox Hide’: Utilised for deeper shadows and details.
‘Mournfang Brown’: Employed for additional detailing and shading.
‘Skavenblight Dinge’: Used for desaturating and blending.
‘Balor Brown’: Mixed for glazing and adding warmth.
Scale 75 Paint:
‘Eldandil Violet’: Used for specific detailing and effects.
Step by Step Guide
Palette Setup: We’re continuing with the same colours as before. The skin tones are a mix of Games Workshop’s ‘Cadian Fleshtone’ and ‘Pallid Wych Flesh’. The top colour is pure ‘Cadian Fleshtone’, and the bottom is pure ‘Pallid Wych Flesh’. The middle two are various mixtures to create smooth transitions.
Consistency and Control: For shadows and details, I’m using ‘Rhinox Hide’ and ‘Mournfang Brown’, slightly thicker than usual to make positive marks quickly. I also have Scale 75’s ‘Eldandil Violet’ for specific details.
Glazing Techniques: The glazes are made with ‘Cadian Fleshtone’ and ‘Balor Brown’. When turning ‘Cadian Fleshtone’ into a glaze, be aware the pigment separates, appearing yellow. This separation is essential to understand when glazing, as it affects how the colour appears on the model.
Desaturation with ‘Skavenblight Dinge’: To tone down the vibrancy of ‘Cadian Fleshtone’ in areas, I’m using ‘Skavenblight Dinge’. This creates a contrast between rotten and healthy-looking skin, allowing for more controlled desaturation.
Refinement through Minimal Paint: The focus here is on making tiny, precise marks. I’m using very little paint on the brush, ensuring smooth, controlled application. It’s a time-consuming process, but necessary for display-level quality.
Highlighting with ‘Pallid Wych Flesh’: Use this sparingly for the highest points of highlight. Too much can overwhelm the subtlety of the transitions. It’s almost like adding glimmers of light without using pure white.
Brush Selection: For the finer details on the belly, I’ve switched to a size 0 Broken Toad brush, allowing for even smaller, more precise marks.
Creating Shadows and Depth: I’m using ‘Rhinox Hide’ to accentuate shadows, especially in areas like the folds of flesh. This helps separate shapes and adds depth to the skin.
Balancing Colour and Contrast: I’m continually adjusting the balance between the healthy and necrotic flesh. This involves layering ‘Cadian Fleshtone’ over darker areas to create a striking contrast.
Vein Detailing: For the veins, I’m using a purple paint, thinned down for precision. This is applied over the flesh and then glazed over to create the illusion of veins beneath the skin.
Final Touches: I’m adding small details and refining the transitions. This includes highlighting around wounds and pustules to make them stand out and add to the overall diseased appearance.
Finishing the Skin: The final step involves going over the skin one last time, ensuring every detail is as sharp and refined as possible. This is crucial for achieving a high-quality finish suitable for display or competition.
Video: How to Create a Nurgle Rusty Sword
Materials Needed:
Baking Soda
Matte Varnish
Old brushes
Orange Paint (For this example, we’ll use Scale 75 Kalahari Orange, but any solid orange paint will do)
Step-by-Step Guide:
Mixing the Rust Effect:
Begin by creating your rust mixture. You’ll need to combine baking soda, matte varnish, and orange paint. The exact colour of the orange paint isn’t crucial, but a solid orange like Scale 75 Kalahari Orange is recommended for authenticity.
Mix these ingredients together. You don’t need any specialised tools for mixing; anything you have to hand will suffice.
Adjusting Consistency:
The mixture might appear a bit dry initially. If it’s too clumpy, thin it down with more varnish. Remember, the more varnish you add, the stronger and more hard-wearing the mixture becomes. This also helps to seal the baking soda against any acidic elements.
Aim for an intense, well-bound mixture. It should dry lighter in colour, so don’t be alarmed by the initial appearance.
Application on the Model:
Use an old brush for application; this mixture isn’t kind to brushes. An older, slightly worn brush is ideal.
Apply the mixture to the desired areas of your model. It’s a somewhat passive process; you don’t have to be overly precise. The mixture will be akin to a psyche in gel, so aim for an uneven surface. Too thin an application will just look like spread-out grains.
Focus on clumping the mixture slightly for a more realistic rust effect. If applied too thinly, it won’t have the desired impact.
Creating Texture:
After applying, use a stippling technique with your brush to spread out the grains at the edges. This helps to soften the transition from the rusted areas to the clean areas of the model.
Continue dabbing at the mixture to spread it and create a texture that resembles rust accumulating on the blade or other parts of the model.
Final Touches:
Once applied, the mixture might look a bit smooth, but don’t worry. As it dries, it will gain a more defined, grainy rust-like texture.
To enhance the effect, you can apply a very watered-down coat of a darker paint, like Rhinox Hide, after the rust mixture has dried.
Finishing Up:
Allow your model to dry completely. Once dry, you should see a realistic rust effect, adding depth and character to your piece.
How to Paint NMM Copper
Paints and Materials
Brush Size and Type:
Don’t use a tiny detail brush for the entire process. Instead, a slightly larger, older brush is preferred. My older brush has a worn tip, which is thicker than a new brush and allows for better paint control and blending.
An old, well-used brush is good for this type of painting. The worn tip of an older brush can make blending easier.
Paints Used
Games Workshop: Doombull Brown, Golden Yellow (old colour; find a modern equivalent if needed)
Scale 75: Ice Yellow, Salmon Pink, Black Red
Black and White paint (any preferred brand)
Step-by-Step Guide
Understanding Copper NMM:
Remember, copper NMM aims to create a metallic effect without using metallic paints. Copper is essentially pink in hue, similar to skin tones, with brown for shadows and a hint of sand yellow.
Preparation of Palette:
On your wet palette, blend all the colours together into one smear. This is because copper has a lot of subtleties in colouring. Start with Doombull Brown and mix in Black Red from Scale 75. If you don’t have Black Red, mix black and red to achieve a dark, reddish brown.
Creating the Base Colour:
For the darker areas of copper, you want something a bit more red. Along your paint smear on the palette, integrate colours that become more yellow and orange. Use Golden Yellow and Ice Yellow for this purpose. Add Salmon Pink at the very end for highlights.
Applying the Base Layer:
Before starting the video, paint the whole model (or the part you’re working on) with Doombull Brown. This creates an easier starting point for the copper effect.
Mixing on the Model:
You’ll be mixing the paint directly on the model, working quickly. This method is different but effective for creating copper NMM. Apply the colours and quickly determine where the highlights will be. The idea is to get lighter colours down first as a base to work from.
Developing the Effect:
Start blending in reflections and refining the look. Add lighter colours and work on creating smooth transitions and contrast. Remember, smooth transitions and good contrast are key in NMM painting.
Refining the Details:
As you progress, you’ll refine the copper effect by using thinner paint and increasing contrast. Use Salmon Pink for the higher highlights and blend it in for a smooth transition.
Final Touches:
Towards the end, focus on refining the paint with continual glazes until it looks smooth and metallic. You might need to make slight adjustments to the highlights and shadows. Add black, turned into a glaze, at the bottom of the shoulder pad to increase contrast.
Final Overview:
The final piece should showcase a refined copper NMM effect with smooth transitions, proper contrasts, and a realistic metallic look.
How to Paint NMM Copper Greeny Verdigris Effect
Paints and Materials
Games Workshop Sybarite Green
P3 Morrow White (or your preferred white paint)
Step-by-Step Guide
Understanding Verdigris:
Verdigris is a patina that forms on copper, brass, or bronze when exposed to air or seawater over time. This guide aims to create a more realistic effect, where verdigris covers larger areas rather than just around rivets and crevices.
Creating Verdigris Tones:
You will mix Sybarite Green with Morrow White to create three stages of verdigris tones:
First Stage: Pure Sybarite Green.
Second Stage: A mix of half Sybarite Green and half Morrow White.
Third Stage: Mostly Morrow White with a tint of Sybarite Green.
Applying the First Layer:
Start with the pure Sybarite Green. Apply it by gently dabbing it onto the model. The goal is to create a patchy texture rather than smooth streaks.
This layer should cover most of the area, but try to maintain the shades and shine of the underlying metallic paint.
Mid-tone Application:
Next, apply the second stage mix (half Sybarite Green, half Morrow White). This should be used more sparingly than the first layer.
Focus on applying this mix to darker areas and recesses. You want to maintain visibility of the copper NMM base, so apply it carefully and artistically.
Adding Highlights:
For the final layer, use the lightest mix (mostly Morrow White with a hint of Sybarite Green). This is like a reverse highlight, working best in shadows to create contrast.
Apply this very selectively, as it can quickly cover the base layers. It should go into the deepest recesses and lower curved areas where verdigris would naturally accumulate.
Final Touches:
Remember, verdigris should have an uneven, patchy appearance. It should not be smooth or uniformly applied like rust.
Check your work against reference images to ensure a natural look.
Finishing Up:
After applying all three stages, your model should exhibit a realistic verdigris effect over the copper. The underlying NMM copper should still be visible, contributing to the overall realism.
More Nurgle Tutorials!
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How to Paint a Mini Questoris Knight with all his tiny details, with tips on metal, weathering and using weathering powder.
Knights are the agile war machines of the Knightly houses, each one commanded by a single skilled scion. When the Titan Legions mass for war, they call upon their allied Knightly Houses to aid them, the Questoris Support Banners acting as scouts and skirmishers for their larger kin. Bristling with fearsome weapons and protected by shimmering shields, Imperial Knights are amongst the most terrifying military assets in the galaxy. Except these ones do seem very small when brushing the ankles of a Titan.
Read on to explore both video tutorials on How to Paint a Mini Questoris Knight, with all materials you need plus step by step guides.
Video: How to Paint a Mini Questoris Knight – Part One
This guide focuses on painting a knight from Adeptus Titanicus in the colours of House Malinax, laying the foundation with base painting and initial detailing before advancing to more complex techniques like weathering and decal application covered in the second part.
Materials Needed:
Base Paints: Games Workshop Balor Brown, Ushabti Bone, Ceramite White, Agrax Earthshade
Metallics: Vallejo Gun Metal
Additional: Fine detail brush, airbrush (optional for smoother base coats)
Steps:
Priming and Base Coating:
Priming: Start with a black primer to ensure deep shadows and a strong contrast base for metallic and armour parts.
Metallic Areas: Apply Vallejo Gun Metal over all metal areas. Once dry, wash these areas with Agrax Earthshade to add depth and shadow, providing a worn metallic look.
Armour Plates: Paint the knight’s armour panels with Balor Brown. This stage might require multiple thin coats for an even, opaque finish, especially over a black primer. Use an airbrush for quicker application on larger areas like the carapace.
Detailing:
Highlighting Armour: Gradually build up highlights on the armour using Ushabti Bone, focusing on raised edges and areas that would naturally catch the light. Ceramite White can be used for final sharp highlights or points of interest.
Cleaning Up: Use a fine detail brush to tidy up any overspill or to sharpen edges between different colours, ensuring the model’s details are crisp and clear.
Preparing for Further Detailing:
Applying Washes: To add depth and further define the armour panels, apply Agrax Earthshade strategically into recesses and around detail work. This step enhances the model’s textures and adds a realistic shadow effect.
Additional Colour Details: Decide on accent colours for smaller details such as the cockpit, weapon casings, or heraldry that will complement the knight’s primary colour scheme. This adds visual interest and character to your model.
Sealing the Model: Once satisfied with the base painting and initial detailing, consider applying a matte varnish to protect your work before moving on to advanced weathering techniques and decal application. This step is optional but recommended if you plan on handling the model frequently.
The focus at this stage is on building a solid and clean colour foundation, preparing the knight for the weathering and detailing stages that follow. Patience is key—take your time with each layer and ensure complete drying between steps to achieve the best results.
Video: How to Paint a Mini Questoris Knight – Part Two
Weathering, Decal Application, and Basing Guide
In this continuation of our painting guide, we’ll delve into the final steps to bring your House Malinax Adeptus Titanicus knight to life with vibrant colours, detailed weathering, decals application, and an engaging base.
Materials Needed:
Primary Paints: Games Workshop Mephiston Red, Evil Sunz Scarlet, Wild Rider Red, Fire Dragon Bright, Lothern Blue
Weathering Powders: Forge World Aged Rust, Orange Rust
Decal Solutions: Micro Sol, Micro Set
Additional: Winsor and Newton Burnt Umber Water Soluble Oil Paint
Base Materials: Baking Soda, Vallejo Charred Brown, and a red of your choice (e.g., Typhus Corrosion for a darker tone)
Varnishes: AKInteractive Matte and Ultra Matte
Steps:
Painting Details:
Head, Chest, and Chainsword: Paint these components with Mephiston Red for a rich, dark base. Utilize Evil Sunz Scarlet and Wild Rider Red for highlights, focusing on raised areas and edges to create depth. For the knight’s eyes, a dab of Lothern Blue accented with Fire Dragon Bright captures attention.
Black Trim: Highlight black areas with Vallejo’s German Grey, progressing towards lighter greys like Blue Grey and Pale Blue Grey towards the edges for a nuanced, realistic metal effect. This contrast against the bone-coloured armour emphasizes the knight’s details.
Applying Decals:
Preparation: Apply a gloss varnish to the areas where decals will be placed. This provides a smooth surface, minimizing air bubbles and silvering.
Decal Application: Soak your decals in water until they slide off the backing paper easily. Apply Micro Set to the model’s surface before positioning your decal. Once in place, use Micro Sol over the decal to soften it, allowing it to conform to the model’s contours. After drying, seal with a gloss varnish for protection and an even surface.
Matte Finish: Once the decals are sealed and the varnish is dry, apply an ultra matte varnish over the entire model to unify the sheen and protect your work.
Weathering:
Initial Weathering: Use a fine brush to apply tiny chips and scratches with Rhinox Hide, focusing on areas that would naturally see wear. Keep these marks extremely small to maintain the model’s scale.
Oil Weathering: Dilute Winsor and Newton Burnt Umber Water Soluble Oil Paint with water. Apply this mixture selectively around metallic parts and lower leg sections to simulate grime and wear. This step adds realism and depth to the knight.
Basing:
Texture: Mix baking soda with matte varnish and Vallejo Charred Brown (and a red of choice) to create a paste. Apply this to the base, ensuring coverage around any rocks or debris. This creates a textured ground effect.
Colouring: Airbrush Forge World Aged Rust weathering powder over the base and lightly onto the knight’s feet for cohesion between the model and its base.
Detailing: Lightly dry brush the rocks with Ushabti Bone for contrast against the rusted ground, and apply Orange Rust weathering powder in recesses for additional depth.
Final Touches:
Re-highlight metallics if needed to ensure they stand out against the weathered and mattified surfaces.
Consider adding small narrative elements to the base, like battlefield debris, to further the story of your knight’s battles.
This comprehensive guide should leave you with a beautifully detailed, weathered knight that stands out on the battlefield. Remember, the key to a great finish is patience and attention to detail, especially when working on weathering and basing to achieve a cohesive and realistic look.
Struggling with Decals?
How to Apply Forge World Decals and Weather Them
A beginners guide on how to apply Forge World decals and weather them so they look a natural part of the painting on your model. Painting and applying decals to your models adds significant details and realism, making it stand out during tabletop gaming. It’s also a lot easier than freehand! I still use decals a lot in my models, despite also enjoying freehand work.
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Two videos on how to paint weathered armour plate, complete with rust, scratches and chips and a simple freehand banner. You won’t need an airbrush for this tutorial.
Video: Part One – Armour and Weathering
Materials and Paints Needed
Games Workshop Paints: Balor Brown, Yriel Yellow, Mournfang Brown, Rhinox Hide
Vallejo Paints: Neutral Grey, Pale Grey Blue, White
Brushes: Large dry brush (or makeup brush), fine detail brush, glazing brush (size 4 or similar)
Accessories: Water for thinning paints, kitchen towel for wiping brushes, well palette
Preparing the Model
Clean and prime your Redemptor Dreadnought model. A light grey or white primer is recommended for bright colours like yellow.
Base Coating with Stippling Technique
Mix Balor Brown with water in a roughly 50/50 ratio. This will be your base layer.
Stipple Balor Brown onto the armour panels using a large, round, flat brush. Aim for gentle touches to build up the texture without creating pronounced, three-dimensional brush marks. Allow the paint to dry fully before adding more layers. This creates a worn, battlefield-ready appearance.
Glazing for Colour Depth
Create glazes in your well palette by mixing Mournfang Brown and Yriel Yellow separately with water, using about 6-7 parts water to 1 part paint.
Apply Mournfang Brown glaze to shade areas, starting from lighter areas and moving the brush towards darker regions. This adds warmth to the shadows.
Apply Yriel Yellow glaze over the entire panel, focusing more paint towards the centre for a vibrant effect. Ensure to remove excess paint from your brush to avoid pooling.
Chipping for Weathered Effect
Use Rhinox Hide with a fine detail brush to create chipping along the edges of the armour panels where wear would naturally occur. Remember, less is more; avoid overdoing it with lines and crosses.
Highlight the lower edge of each chip with Yriel Yellow to simulate the armour’s wear and tear, making the chips stand out more against the base layers.
Detailing and Finishing Touches
Rivets: Paint each rivet with a dot of Pale Grey Blue on the top left and a tiny line on the bottom right to simulate light reflection.
Metal Exposure: Use Neutral Grey to paint areas where the metal beneath the yellow paint would show through, particularly around chips and edges. This technique helps redefine the model’s shape and adds dimensionality to the weathering.
Final Highlights: Add a final touch by placing a small dot of White on the most prominent parts of the chips and rivets to enhance the reflective effect.
Video: Part Two – Freehand Banner
Materials and Paints Needed:
Games Workshop Paints: Baneblade Brown, Rhinox Hide, Morghast Bone, Screaming Skull, Balor Brown
Vallejo Paints: Model Colour Black
Brushes: A smaller brush for initial sketching and detailing, and a larger brush for smoother finishes on larger sections.
Other Supplies: Water for thinning paints, a palette for mixing, and kitchen towel for wiping off excess paint.
Preparing the Banner:
Base Layer with Morghast Bone: Begin by sketching the basic shape of the banner on the shoulder pad using Morghast Bone. This step involves creating the outline and filling in the banner. For larger sections, use a larger brush to achieve a smoother finish.
Refining Edges: Use a smaller brush to refine the edges and the trailing ends of the banner. Aim for a shape that complements the space available on the shoulder pad, keeping in mind the overall design and avoiding overly stubby ends.
Applying Shadow with Baneblade Brown and Rhinox Hide Mix: Mix approximately 50/50 Baneblade Brown and Rhinox Hide to create a shadow colour. Apply this mixture to add depth and shadow to the banner, especially along the edges and the banner’s folds.
Highlight with Screaming Skull: To highlight the main body of the banner and give it a three-dimensional appearance, apply Screaming Skull, focusing on the central and raised areas. This step brings out the details and makes the banner stand out.
Painting the Text:
Sketching Text with Vallejo Model Colour Black: Using a fine detail brush and Vallejo Model Colour Black, begin sketching the text onto the banner. Start with basic shapes for letters and focus on spacing. The chosen word for this tutorial is “MORTIS.”
Refining Letters: Once the basic spacing and shape are down, refine each letter for clarity and style. Adjust the thickness of the lines and add any stylistic flourishes to match the desired font. Consistency in line weight and style across all letters is crucial for readability.
Correcting and Sharpening Edges: Use Morghast Bone and Screaming Skull to correct any overshoots or to sharpen the edges of the letters. This step allows for cleaner lines and more precise letter shapes.
Final Touches:
Weathering: To integrate the text and banner naturally with the rest of the model, apply weathering. Use Balor Brown to simulate chipped paint and wear on the banner and text. This step adds realism and character to the model.
Applying Filters: A filter of heavily diluted Mournfang Brown and Yriel Yellow can be applied over the entire freehand work. This unifies the colours, softens the contrast, and gives the banner and text a worn look, blending them seamlessly with the model’s overall weathered appearance.
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A series of quick videos on how to paint a War Griffons Warlord Adeptus Titanicus Titan to game standard. This included marble effects, stripes, weathering and decals and more!
Scroll down to explore the videos in order, or use the quick links below to jumps to a technique or part of the model in particular:
Video – How to Paint a War Griffons Warlord : Marble EffectMaterials List:Marble Armour Step-by-Step Guide:Video – How to Paint a War Griffons Warlord : The StripesMaterials Needed:The Stripes Step by Step:Additional Tips:Video – How to Paint a War Griffons Warlord : Weathering and DecalsMaterials Needed:Steps:Preparing the Surface:How to Apply the Forge World Decals:Sealing the Decal:Weathering the Decal and Armour:Additional Tips:Video – How to Paint a War Griffons Warlord : Heat Bloom on Melta CannonMaterials Needed:Melta Cannon Step-by-Step Guide:Video – How to Paint a War Griffons Warlord : Weathering and Metal PaintsStep by Step – Weathering and Metal on the War Griffons WarlordPreparing the Armour TrimEnhancing the TrimPainting the SkeletonDetailing Pistons and Metal AccentsFinishing TouchesTechniques and TipsMore Titan Tutorials!
Video – How to Paint a War Griffons Warlord : Marble Effect
All videos are recorded in HD 1080p or higher – use full screen for the full effect and let the video load completely.
Materials List:
Airbrush: Essential for applying smooth base coats and gradients.
Hand disinfectant wipes or baby wipes: Used to create the marble effect.
Paints:
Vallejo Pale Grey Blue: For the initial base coat.
Vallejo Neutral Grey: To begin creating the marble effect.
Vallejo Dark Grey (German Grey): For adding darker veins to the marble.
Vallejo Heavy Goldbrown: Base colour for yellow armour sections.
Games Workshop Phalanx Yellow: For highlighting yellow armour sections.
Marble Armour Step-by-Step Guide:
Base Coat:
Begin by airbrushing Vallejo Pale Grey Blue onto the carapace of the Titan. This may require a few coats to achieve a smooth finish. The paint can be thinned a bit, but not excessively, to ensure good coverage without too much speckling.
Preparing the Wipe:
Take a hand disinfectant wipe or baby wipe and stretch it out so it’s slightly spread and thin. This texture will be transferred to the armour to create the marble effect.
Applying the Wipe:
Lay the stretched wipe over the armour part you’ve just painted. Ensure it’s not too densely applied; the idea is to leave some areas exposed more than others for a varied marble effect.
Adding Darker Tones:
Airbrush Vallejo Neutral Grey over the wipe-covered armour. Keep the airbrush pressure low to avoid displacing the wipe. Focus more on the edges and less on the centre to mimic natural shading.
Without completely covering the previous layer, lightly apply Vallejo Dark Grey in a few select areas to create the appearance of darker veins within the marble.
Revealing the Effect:
Carefully remove the wipe to reveal the marble effect beneath. You’ll find areas of light and dark grey creating a naturalistic marble pattern.
Cleaning Up:
After removing the wipe, there may be strands left on the model. Take your time to clean these off to avoid them becoming permanently attached in later steps.
Painting Yellow Armour Sections:
For Legio Gryphonicus’s iconic grey and yellow scheme, base coat the relevant armour sections with Vallejo Heavy Goldbrown. Highlight these areas with Games Workshop Phalanx Yellow to achieve a vibrant, contrasting look against the grey marble.
Video – How to Paint a War Griffons Warlord : The Stripes
This guide will take you through the process of painting and weathering the stripes to achieve a battle-worn effect, ensuring your titan stands out on the tabletop.
Materials Needed:
Scale 75 Victorian Brass (For the trim)
Tamiya Masking Tape (3mm strips recommended for precision)
Games Workshop Kantor Blue (For the base stripe colour)
Vallejo Ultramarine Blue (For highlighting the stripes)
Vallejo Neutral Grey (For weathering)
Vallejo Pale Grey Blue (For weathering)
Airbrush and airbrush thinner (Vallejo Airbrush Thinner recommended)
Fine detail brush for weathering
The Stripes Step by Step:
Prepare the Trim:
Begin by painting the trim of the carapace using Scale 75 Victorian Brass. This step should ideally be done after painting the stripes to avoid overspray, but if you prefer to paint it first, be prepared to touch it up later.
Masking for Stripes:
Apply Tamiya masking tape to the carapace to create the desired pattern for your stripes. Ensure the tape is firmly pressed down, especially near the edges and armour trim, to prevent paint from bleeding underneath.
Base Colour for Stripes:
Airbrush Games Workshop Kantor Blue over the masked areas. The paint should be thinned appropriately and applied in even coats to achieve an opaque finish. Be mindful of overspray on the trim.
Highlighting Stripes:
After the base colour dries, apply Vallejo Ultramarine Blue as a highlight. Focus on the raised edges and ridges to create a gradient effect, ensuring some Kantor Blue remains visible for contrast.
Removing Masking Tape:
Carefully peel off the masking tape to reveal crisp, clean stripes. This step is highly satisfying and reveals the neat lines that define the pattern.
Weathering the Stripes:
Using a fine detail brush, apply Vallejo Neutral Grey and Pale Grey Blue to simulate chips and wear on the stripes. Focus on areas that would naturally see more wear and tear, breaking up the clean edges of the stripes to create a more realistic, battle-worn look. Use the colours that match the underlying marble effect for a cohesive appearance.
Finishing Touches:
Optionally, go back over the trim with Victorian Brass to clean up any overspray from painting the stripes. This will ensure a neat and polished look.
Additional Tips:
The choice of stripe colour can vary; red or hazard striping are also effective options.
The weathering step is crucial for adding realism. Smaller, more concentrated damage marks enhance the scale effect, making the titan appear as a massive war machine.
Keep the weathering consistent with the overall wear on the rest of the titan for a unified appearance.
Video – How to Paint a War Griffons Warlord : Weathering and Decals
This step-by-step guide, designed to be beginner-friendly, will walk you through applying decals, adding a gloss finish for protection, and executing weathering techniques to give your titan a battle-worn appearance.
Materials Needed:
Vallejo Gloss Varnish
Water for softening decals
Micro Sol and Micro Set for decal application
Tamiya 3mm Masking Tape or equivalent
Games Workshop Kantor Blue
Vallejo Neutral Grey, Ultramarine Blue, and Pale Grey Blue for weathering
Games Workshop Matte Varnish
Fine detail brushes
Airbrush (optional for varnishing)
Forge World Decals for Legio Gryphonicus
Steps:
Preparing the Surface:
Apply Gloss Varnish: Begin by applying Vallejo Gloss Varnish to the areas where decals will be applied. This creates a smooth surface, reducing air pockets and imperfections. You can apply the varnish with a brush or an airbrush. If brushing, slightly dilute the varnish with water for easier application.
How to Apply the Forge World Decals:
Soften Decals in Water: Cut out your chosen decals and soak them in water until they easily slide off the backing paper. This typically takes a few minutes.
Apply Micro Sol: Place a small amount of Micro Sol on the model where the decal will be applied. This softener helps the decal conform to the model’s surface.
Position the Decal: Carefully slide the decal from the paper to the model. Use a soft brush to adjust its position accurately.
Remove Excess Water: Gently dab a soft, dry brush or a paper towel to remove any excess water and air bubbles beneath the decal.
Apply Micro Set: Once the decal is in place, apply Micro Set over it. This solution helps soften the decal further, allowing it to snuggle down into the model’s details. Let it dry thoroughly, ideally overnight. Don’t worry if the decal looks wrinkled at this stage; it will smooth out as it dries.
Sealing the Decal:
Apply Additional Gloss Varnish: After the decal has dried, apply another layer of gloss varnish over it using an airbrush for an even coat. This step helps to seal the decal and even out the surface. If necessary, apply 2-3 coats, allowing each to dry thoroughly.
Matte Varnish Finish: Once the gloss varnish is completely dry, apply a matte varnish over the entire model to give it a uniform, non-glossy finish. This also helps to further blend the edges of the decal into the model.
Weathering the Decal and Armour:
Weathering with Paint: Use Vallejo Neutral Grey and Pale Grey Blue to add weathering around the decals and on the armour. Use a fine detail brush to apply small chips and scratches, focusing on edges and areas that would naturally see more wear. This adds realism and depth to your titan.
Additional Weathering Techniques: For further realism, you can add streaks and rust effects using diluted paint or weathering powders. Apply these sparingly in areas where water and dirt would naturally accumulate and streak down the model’s surface.
Additional Tips:
Take your time with each step, especially when applying and positioning the decals.
Always allow each layer of varnish and paint to dry completely before proceeding to the next step.
Practice weathering techniques on a spare piece before applying them to your model to get a feel for the effect.
Video – How to Paint a War Griffons Warlord : Heat Bloom on Melta Cannon
Materials Needed:
Airbrush and Thinner: For applying smooth gradients of colour.
Brushes: A fine detail brush for precise application and a dry brush for highlighting.
Paints:
Vallejo Metal Colour Magnesium (for the metallic base).
Vallejo Metal Colour Chrome (for highlighting metallic areas).
Scale 75 Victorian Brass (for trim detailing).
Games Workshop Contrast Paints: Iyanden Yellow, Magos Purple, Talassar Blue (for the heat effect).
Games Workshop Contrast Aggaros Dunes (for additional trim detailing).
Melta Cannon Step-by-Step Guide:
Base Coating the Weapon:
Begin by airbrushing the Melta weapon’s recesses with Averland Sunset, ensuring the weapon’s holes face directly towards the airbrush to prevent uneven shading. Don’t worry about overspray on the weapon casing; this will be covered later.
Adding Initial Heat Glow:
Switch to Troll Slayer Orange and apply over the Averland Sunset, creating a gradient effect from the weapon’s recesses outward. Ensure even coverage without tilting the airbrush to maintain consistency across the recesses.
Masking for Overspray:
To prevent overspray on adjacent yellow armour panels, use masking tape or modelling putty. This step is crucial for maintaining clean lines and avoiding accidental paint transfer.
Metallic Base Coat:
Paint the metallic parts of the weapon with Vallejo Metal Colour Magnesium, carefully avoiding the recesses to maintain the glow effect. This creates a solid base for subsequent detailing.
Trim Detailing:
Apply Scale 75 Victorian Brass to the weapon’s trim, followed by a coat of Games Workshop Contrast Aggaros Dunes to add depth and dimension to the detailing.
Heat Bloom Effect:
Begin the heat bloom effect by airbrushing Iyanden Yellow halfway along the Melta Cannon barrel, avoiding the recesses. Layer Magos Purple over the Iyanden Yellow, leaving some yellow visible for a blended effect. Finish with Talassar Blue, applying it over the Magos Purple but not covering all the previous layers, creating a transition from yellow to deep blue.
Highlighting and Finishing Touches:
Dry brush Vallejo Metal Colour Chrome on the non-painted metallic areas to enhance the metallic sheen. Carefully highlight the lower edges of the weapon with Chrome using a normal paintbrush, accentuating the heat bloom’s impact.
Final Assembly:
Once all painting is complete, remove any masking materials and assemble any remaining parts of the Titan, paying attention to aligning the heat bloom effects correctly.
Video – How to Paint a War Griffons Warlord : Weathering and Metal
Paints
Games Workshop:
Agrax Earthshade
Wyldwood (Contrast)
Contrast Aggaros Dunes
Forge World:
Aged Rust (Weathering Powder)
Vallejo Metal Colour (Airbrush Ready):
Victorian Brass (Scale 75 for an alternative base colour)
Magnesium
Gold
Chrome
Winsor & Newton:
Water Mixable Oil Colour Burnt Umber
Step by Step – Weathering and Metal on the War Griffons Warlord
Preparing the Armour Trim
Base Coat: Begin with a base coat of Scale 75 Victorian Brass over the trim. This provides a solid foundation for subsequent layers.
Initial Shading: Apply Contrast Aggaros Dunes over the Victorian Brass to introduce depth and shading to the trim. This step should have been completed in earlier stages of the model’s painting process.
Enhancing the Trim
Adding Depth: Use Games Workshop’s Wyldwood contrast paint to darken recesses and joints in the trim. The high contrast between the dark recesses and the metallic brass creates visual interest and depth. Apply the paint selectively to areas that would naturally accumulate shadow.
Highlighting: Vallejo Metal Colour Gold is used to highlight the edges of the trim. Due to its fluidity, it provides a smooth application but be mindful of its runniness. Lightly touch the edges with a fine brush to catch the raised areas.
Painting the Skeleton
Base Layer: Vallejo Metal Colour Magnesium serves as the base layer for the Titan’s skeletal structure. Its liquidity ensures it flows well into recesses but exercise caution to prevent pooling.
Weathering: Apply Forge World’s Aged Rust weathering powder mixed with water to the skeletal structure for a grimy, rusted effect. Focus on areas that would naturally collect dirt and rust, maintaining a balance to avoid obscuring details.
Sealing the Weathering: Once dry, seal the weathering with a mix of Agrax Earthshade. This reactivates and fixes the weathering powder, giving a durable and realistic rust effect.
Detailing Pistons and Metal Accents
Chrome Pistons: Vallejo Metal Colour Chrome is applied to pistons for a bright, reflective finish. Multiple thin layers may be needed for uniform coverage.
Oily Effects: Windsor and Newton’s Water Mixable Oil Colour Burnt Umber is used to simulate oil and grime on pistons and mechanical parts. Dilute with water for a manageable consistency and apply at joints and moving parts for a realistic oily effect.
Finishing Touches
Reichland Fleshshade Glaze: Optional, but can be used to add warmth to metal parts, particularly useful on brass or gold trims to simulate reflected light or heat staining.
Highlighting and Cleaning Up: After applying weathering and shading, go back to highlight edges and clean up any overspill with your base metallic colours. This step sharpens details and enhances the overall contrast of the model.
Techniques and Tips
Trim Detailing: Use the fine detail brush with Vallejo Metal Colour Gold to highlight the edges of the trim, applying the paint carefully to avoid spillage onto other areas.
Skeleton Base Layer: Apply Vallejo Metal Colour Magnesium with a medium brush, ensuring even coverage and avoiding pooling in recesses.
Weathering Powder Application: Mix Aged Rust with water in the well palette and apply with a large brush, targeting recesses and areas where rust would naturally accumulate.
Chrome Pistons: Use Vallejo Metal Colour Chrome, applying multiple thin layers as needed for a smooth, reflective finish.
Oily Effects: Dilute Winsor & Newton Water Mixable Oil Colour Burnt Umber with water and apply at the tops of pistons and around mechanical parts to simulate oil and grime.
More Titan Tutorials!
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In this How to Paint Abaddon Trophy Rack tutorial, we’re diving into the grim and iconic details of Abaddon the Despoiler’s trophy rack, focusing on everything from weathered Space Marine helmets to wooden spikes and skulls. Using a mix of Games Workshop and Vallejo paints, we’ll cover a variety of techniques to bring out the dark, battle-hardened essence of Abaddon’s war trophies. Whether you’re after smooth transitions for non-metallic metal effects or want to add that perfect amount of battle damage to a helmet, this guide will help!
Video – How to Paint Abaddon Trophy Rack
Paints used:
Games Workshop: Balor Brown, Mournfang Brown, XV-88, Morghast Bone, Screaming Skull, Rhinox Hide, Khorne Red, Evil Sunz Scarlet, Wild Rider Red
Vallejo: Neutral Grey, Pale Grey Blue, Ice Yellow, White Grey, Heavy Black Green, Black
Space Marine Helmet
Base Coat:
Apply a base coat of Vallejo Heavy Black Green, thinned down with water (about 50/50 water to paint). Apply a couple of coats for a smooth finish.
Initial Highlights:
Mix Heavy Black Green with Ice Yellow for the first highlight. Start applying this mix to the raised areas, especially the forehead and the curves of the helmet.
Refining Highlights:
Gradually add more Ice Yellow to the mix and continue highlighting. Focus on the forehead curve, the edges, and the top of the helmet. Use controlled brush strokes towards the center of the highlight areas to build opacity and achieve a smooth transition.
Scratches and Battle Damage:
Use the same highlight mix to add scratches and battle damage. Vary the length and direction of the scratches, focusing on edges and raised areas. For deeper scratches, add Rhinox Hide to the mix and apply thin lines.
Final Highlights:
Use a mix of mostly Ice Yellow with a small amount of Heavy Black Green for the brightest highlights. Apply these to the most prominent areas, such as the center of the forehead and the edges of the helmet.
Eye Lens:
Paint the eye lens with Khorne Red, then layer Evil Sunz Scarlet and Wild Rider Red towards the front. Add a tiny dot of Ice Yellow mixed with Wild Rider Red for the final highlight. Finish with a small white dot in the back corner for a reflection.
Wooden Spikes
Base Coat:
Base coat the wooden spikes with Rhinox Hide.
Grain and Texture:
Use Mournfang Brown to paint the wood grain, following the sculpted lines on the model. Focus on the top and bottom of the spikes, leaving the middle section darker.
Layering:
Apply XV-88 to the raised areas and the grain lines, blending it into the Mournfang Brown. This creates a natural wood texture.
Highlights:
Use Morghast Bone for the final highlights, focusing on the edges and the splintered parts of the wood. Add a few thin horizontal lines to represent scratches and imperfections.
NMM Metal Spike Tips
Base Coat:
Base coat the metal tips with Neutral Grey.
Initial Highlights:
Apply Pale Grey Blue to the highlight areas, focusing on the upper parts of the tips and the edges.
Refining Highlights:
Add White Grey to Pale Grey Blue and apply smaller highlights, concentrating on the sharp edges and points.
Final Highlights:
Use pure White Grey for the brightest highlights, applying small dots and lines to the edges and points to simulate a shiny metal effect.
Consistency:
Ensure that the highlight direction is consistent with the light source. For the spikes on the left side, highlight the left edges, and for those on the right, highlight the right edges to create a natural look.
Step 4: Skulls
Base Coat:
Apply a base coat of Rhinox Hide to the skulls.
First Layer:
Apply Balor Brown in thin layers, focusing on the raised areas and leaving the deeper recesses darker.
Building Highlights:
Layer Morghast Bone over Balor Brown, concentrating on the upper sections of the skulls and the areas facing the light source.
Final Highlights:
Use Screaming Skull for the final highlights, applying it to the most prominent areas, such as the forehead, cheekbones, and edges. Use thin layers and build up the color gradually.
Details:
Paint the teeth and eye sockets carefully, using a mix of Morghast Bone and Screaming Skull for highlights. Add small dots and lines to represent cracks and imperfections.
There are lots more tutorials for painting Abaddon! Follow the link below to watch them all, or scroll town to explore them by model part.
Abaddon the Despoiler
A series of videos on how to paint Abbadon the Despoiler to competition standard – (new step-by-step guides included!)
Watch Now
Need more Abaddon? Look no further:
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The final painting Morgok video, with kill trophies, highlights, cloth, leather and just those lovely finishing touches.
Video – Kill trophies, highlights, cloth, leather and more on Morgok!
Materials and Paints
The following paints were used: Games Workshop: Cadian Fleshtone, Balor Brown, Morghast Bone, Kantor Blue, XV-88 (Or Balor Brown mixed with black), Rhinox Hide Vallejo: Neutral Grey, Pale Grey Blue P3: Morrow White
Step-by-Step Guide
To finish painting Morgok from Morgok’s Krushas, focusing on the kill trophies and final touches to the armour, here’s a step-by-step guide:
Painting the Trophy Heads:
Basecoat: Start with Vallejo Neutral Grey to outline highlight areas. This grey base helps to convey the deceased look of the heads.
Highlighting: Apply Cadian Fleshtone, which appears pinkish on the palette but turns pale when applied. Mix it with two parts water to one part paint for translucency, allowing underlying grey to show. This creates a dehydrated, mummified look. Focus on prominent features like cheekbones, forehead, upper lip, and nose.
Adding Cool Tones: Use Kantor Blue, heavily diluted (about four parts water to one paint), to add a cold, lifeless tone to the flesh. Be cautious as it’s strong and can overpower other colours. Apply sparingly and touch up with Cadian Fleshtone where needed.
Painting the Hair:
Basecoat: Use Rhinox Hide for a dark base.
Detailing: Apply a mix of Balor Brown and black (or XV-88) for the texture. Water down slightly for a smoother finish. Follow with Morghast Bone for finer details and strands. Apply these colours in thin lines to represent the texture of the hair.
Painting the Skull:
Basecoat: Apply Balor Brown over black primer. Don’t aim for a smooth finish; a bit of messiness adds to the worn look.
Highlighting: Use Morghast Bone for highlights, focusing on raised areas like the brow. This creates the effect of a weathered, unpolished skull.
Final Touches to the Armour:
Secondary Bounce Highlights: Use Neutral Grey for less bright areas, ensuring the main highlights are brighter. Apply these highlights on areas like the underside of the armour, keeping in mind the light source and overall weathered look.
Refining Highlights: Use Pale Grey Blue and Morrow White for hard edges and minor details. Apply Morrow White sparingly to maintain focus on the model’s main areas.
Adding Rust and Grime:
Base Layer: Start with Mournfang Brown for rust and grime, focusing on areas like the belt.
Secondary Layer: Apply Troll Slayer Orange for a more saturated rust effect. This colour is strong; use it carefully to avoid overpowering other elements.
Glazing for Cohesion:
Mixing the Glaze: Create a glaze with Abaddon Black, diluting it heavily (approximately five parts water to one part paint).
Application: Apply the glaze carefully to mid-tones and shadows, avoiding the brightest highlights. This unifies the armour’s look, enhancing shadows and reducing the intensity of mid-tones for a cohesive finish.
Throughout the process, maintain a balance between detail and the overall look of the model. The aim is to create a realistic, battle-worn appearance with attention to the finer details, especially on the trophy heads and armour.
Morgok from Morgok’s Krushas – All Videos
Painting Morgok from Morgoks Crushas
Morgok and his mob of Ironjawz brutes once hunted down and fought the greatest prey they could find amongst Ghur’s trackless wastes. Whether they ran down spiny nephrodiles or fought the storm-warriors of Sigmar, Morgok’s Krushas sought the mightiest trophies in the name of their bellicose deity, Gorkamorka.
Here is the full series of videos on how I painted him!
Watch Now
If you don’t have an account, please sign up here! The website currently has over 350 video tutorials with steps and tips, plus a selection of PDFs. If you are not sure about joining, you can explore my free videos with a free membership, or take the plunge and become a full subscriber for full access.
If you’d prefer to support me on Patreon, please visit: https://www.patreon.com/RichardGray [...]
Two video tutorials on how to paint the Blissful One from The Unmade – fast and brutally effective fighters with the power to turn anyone who gets in their way into particularly grimdark coleslaw.
Video: Blissful One from The Unmade – Part One
This tutorial will guide you through the initial steps of painting the Blissful One from The Unmade Warband, focusing on establishing base colours, highlighting, and creating contrast. We’ll start with a model that has been assembled and primed in black.
Materials and Paints Needed:
Primer: Black
Base Paints: Games Workshop Mephiston Red, Cadian Fleshtone, Blue Horror, Morghast Bone, Skavenblight Dinge, Ogryn Camo; Vallejo Neutral Grey, Ice Yellow; P3 Morrow White
Step-by-Step Guide to The Blissful One – Part One:
Glue and Prime: Assemble your Blissful One from The Unmade and prime it in black. Bear in mind, this model is quite fragile, so handle it with care during both assembly and painting.
Hood Painting: Start with the hood using Blue Horror. Due to the black primer, multiple layers will be needed to achieve an opaque and neat finish. The hood features intricate folds, excellent for practising highlighting and creating depth.
Skin Mask and Model’s Skin: Apply Cadian Fleshtone to the flayed skin, including the face mask on the belt and the model’s own skin. Start with a patchy application; this allows you to gradually build up texture and depth.
Red Cloth: Use Mephiston Red for the cloth parts of the model. With the dark undercoat, the red will appear quite dark initially but can be brightened through subsequent layering.
Non-Metallic Metals (NMM): For weapons and metallic details, begin with Neutral Grey. Block in areas that catch the most light, using the weapons’ curves as a guide. NMM techniques rely on creating metal illusions through strategic light and dark colour placement, not metallic paints.
Skull and Bone Details: Utilise Morghast Bone for skulls and bones on the Blissful One. This base will be lightened up to white in areas catching the most light.
Highlighting and Adding Depth:
Highlight strongly lit areas with Ice Yellow and Morrow White, such as top edges and curves.
Apply Neutral Grey and Blue Horror to build the NMM effect on weapons and the halo-like accessory.
Skavenblight Dinge and Ogryn Camo can add contrast and deepen shadows when blended into base colours.
Rust Effects: To add realism and age, mix brown and orange shades for rust effects on metallic areas.
Finishing Touches: Continually assess the model for areas needing more depth or brightness. Use glazing techniques with thinned paint to smooth transitions and enhance the look.
Additional Tips:
Layering: Gradually build up colours, especially when working from a dark undercoat for smooth transitions and rich colours.
Directional Highlighting: Maintain light source consistency across the model to reinforce its three-dimensional aspect.
Texture and Contrast: Leverage the model’s texture for your brushwork and colour placement, using the creases in cloth and skin details as guides.
Video: Blissful One from The Unmade – Part Two
We delve further into detailing and finalizing our Blissful One miniature, focusing on leather, flesh, metallics, and final touches.
Materials and Paints Required:
Base Paints: Games Workshop Mephiston Red, Cadian Fleshtone, Blue Horror, Morghast Bone, Skavenblight Dinge, Ogryn Camo, Naggaroth Night, Fire Dragon Bright, Yriel Yellow; Vallejo Neutral Grey, Ice Yellow, Black, Pale Blue Grey; P3 Morrow White, Iosen Green
Fine Detail Brush
Wet Palette
Step-by-Step Guide to the Blissful One – Part Two:
Leather Straps:
Start with Cadian Fleshtone on the leather straps across the chest. Apply sparingly over the black to maintain the dark leather look. Focus on edges and use light touches to create texture and highlight simultaneously.
For the leg leather, begin with Rhinox Hide for a base, leaving some black to show through for shadows. Layer with Cadian Fleshtone for texture and detail, similar to the chest straps, but avoid Ice Yellow to keep it less bright than the chest.
Skin and Flesh:
Layer the living skin with Cadian Fleshtone, aiming for an opaque finish. Use Wraithbone to highlight and add definition to scarring, blending with Naggaroth Night for a subtle, wounded appearance.
For dead skin areas, enhance the rotted look with Ogryn Camo and desaturate with Pale Blue Grey and Skavenblight Dinge. Glaze recesses with Naggaroth Night to deepen the rot effect without overpowering the flesh tone.
Non-Metallic Metals:
Continue with Neutral Grey, Ice Yellow, and Vallejo Black for metallic areas. Apply with a focus on the light source direction, using Ice Yellow for highlights. Add texture and variation with small, detailed brushstrokes.
For rust effects on metallics, use Fire Dragon Bright in recesses and around details for a worn look. Blend with Rhinox Hide or Mournfang Brown to adjust the saturation and achieve a realistic rust appearance.
Freehand Details:
Add simple freehand designs, such as chaos stars, on the ribbons or other appropriate areas. Use a very fine brush and thin paint, keeping the designs neat and proportional to the model’s scale.
Paint glowing eyes on skulls or masks with Iosen Green, highlighting towards the centre with Yriel Yellow for a luminous effect. Avoid overdoing the glow to keep it subtle and realistic.
Final Touches:
Revisit any areas needing refinement or additional highlights. Use the fine detail brush to ensure precision, especially on freehand details and facial features.
Seal the model with a matte varnish to protect your work and reduce any unwanted shine from glossier paints.
Additional Tips:
Detailing Leather: When painting leather, remember that less is more. Use the base black colour to your advantage for shadows and texture.
Skin Tones: For living skin, ensure a healthy glow by avoiding desaturated colours in highlight areas. For dead or rotted skin, desaturation helps convey decay.
Metallics: Non-metallic metal painting requires patience and a good understanding of light. Don’t rush these areas and use reference images if necessary.
Final Checks: Before considering the miniature complete, review it under different light sources to catch any inconsistencies or missed spots.
If you don’t have an account and can’t see the videos, please sign up here! The website currently has over 350 video tutorials with steps and tips, plus a selection of PDFs. If you are not sure about joining, you can explore my free videos with a free membership, or take the plunge and become a full subscriber for full access.
If you’d prefer to support me on Patreon, please visit: https://www.patreon.com/RichardGray [...]
Below is the latest video for Morgok from Morgok’s Krushas, this time looking at how to paint the heavily weathered Morgok NMM sword.
Video – How to Paint Morgok NMM: Sword
All videos are recorded in HD 1080p or higher – use full screen for the full effect and let the video load completely.
Materials and Paints
The following paints were used: Games Workshop: Mournfang Brown, Troll Slayer Orange Vallejo: Neutral Grey, Pale Grey Blue, Black P3: Morrow White (Any white is fine)
Step-by-Step Guide
Painting Morgok’s sword to achieve a heavily weathered, non-metallic metal (NMM) look involves creating high contrast and emphasizing sculpted details. Here’s a step-by-step guide:
Preparing Your Palette: On your wet palette, lay out Vallejo Neutral Grey, Pale Grey Blue, Black, Games Workshop Mournfang Brown, Troll Slayer Orange, and P3 Morrow White (or any suitable white).
Assessing the Sword: Observe the sword’s chunky and battered appearance, with its distinct shapes. Your goal is to emphasise these aspects rather than aiming for smooth transitions.
Basecoat Application: Begin with Vallejo Neutral Grey as your base. Bear in mind, the blade’s flatter part will be darker, while the cutting edge should be lighter, creating a striking contrast.
Layer Enhancement: Progress to Vallejo Pale Grey Blue, concentrating on the brighter sections of the blade, particularly on the curve before it flattens.
Detailing with Fine Scratches: Utilise the tip of your brush to apply tiny, scratchy marks across the blade. Vary their sizes, but keep them diminutive to accentuate the worn effect.
Highlighting with White: Employ P3 Morrow White to highlight the lower edges of these scratches. This approach lends a three-dimensional look, simulating actual dents.
Creating a Shine: Utilise a stippling technique with Neutral Grey, Pale Grey Blue, and White to form a shine spot, bridging the cutting edge with the flat part of the blade. This spot should be roughly circular, yet not perfectly so, to imitate the diffusion of light.
Rust and Grime Addition: With Mournfang Brown, stipple on rust and grime, concentrating on the crevices and recesses to add texture and augment the weathered appearance.
Altering Highlight Transitions: If necessary, reposition the main highlight towards the middle of the flat side of the blade for enhanced contrast and detail accommodation.
Scratch Enhancement: Return to the cutting edge to add more pronounced scratches, extending from the edge to the flat. Accentuate their central points with White to mimic light reflecting off imperfections.
Rust Intensification with Troll Slayer Orange: Enhance the rust hue using Troll Slayer Orange. Its superb translucency allows for the gradual build-up of vibrant, saturated highlights.
Final Adjustments: Re-examine the entire blade, adding final details and adjusting contrasts to ensure that the rust, grime, and highlights are well-balanced and realistic.
Throughout your painting, focus on maintaining the sharp contrast between light and dark areas while enhancing the textured appearance of the sword. The objective is to achieve a realistic, weathered metallic look that complements the robust, worn style of Morgok’s sword and the Morgok NMM on the rest of the model.
Morgok from Morgok’s Krushas – All Videos
Painting Morgok from Morgoks Crushas
Morgok and his mob of Ironjawz brutes once hunted down and fought the greatest prey they could find amongst Ghur’s trackless wastes. Whether they ran down spiny nephrodiles or fought the storm-warriors of Sigmar, Morgok’s Krushas sought the mightiest trophies in the name of their bellicose deity, Gorkamorka.
Here is the full series of videos on how I painted him!
Watch Now
If you don’t have an account, please sign up here! The website currently has over 350 video tutorials with steps and tips, plus a selection of PDFs. If you are not sure about joining, you can explore my free videos with a free membership, or take the plunge and become a full subscriber for full access.
If you’d prefer to support me on Patreon, please visit: https://www.patreon.com/RichardGray [...]
Taking a quick from more serious painting to have some fun with my first ever Orruk! This guy is Morgok the Orruk from Morgok’s Krushas, an Underworld warband.
I’ve gone for a slightly different colour of skin to regular orruks. This was achieved using Vallejo Heavy Black Green, Bugman’s Glow, Cadian Fleshtone, Screaming Skull!
Video – Morgok the Orruk: Face, Teeth and Armour
Materials and Paints
Paints:
Games Workshop:
Mournfang Brown
Morghast Bone
Screaming Skull
Flash Gitz Yellow
Cadian Fleshtone
Bugman’s Glow
Vallejo:
Neutral Grey
Pale Grey Blue
Heavy Black Green
P3:
Morrow White
Brushes and Tools:
Fine Detail Brushes: Essential for precise work, especially for facial details, scratches, and armour highlights.
Larger Brushes: For basecoating and applying initial layers. A medium-size brush is suitable for most areas.
Wet Palette: To keep your paints hydrated and workable, especially important for blending and layering.
Water Cup: For rinsing brushes and thinning paints.
Paper Towels or Cloth: For brush cleaning and drying.
Additional Materials:
Black Primer: To prime the model before painting.
Blue Tack by Bostik: Useful for temporarily attaching parts like the head and chest, making them easier to handle while painting.
Mixing Tray or Palette: For mixing paints and creating custom shades.
Light Source: A lamp or natural light to observe how light and shadow play on the model, which guides highlighting and shading.
Hairdryer (Optional): Can be used to speed up the drying process between layers.
Step-by-Step Guide
Priming: Start by priming Morgok the Orruk in black. Keep the head and chest separate for ease of painting.
Basecoat – Skin: Use Vallejo Heavy Black Green, thinned down (about 50% water). Apply several thin layers for a smooth, dark green base.
Basecoat – Armour: Apply Vallejo Neutral Grey, also thinned down. This sets the stage for non-metallic black iron armour.
Layering – Armour: With the same grey, build up layers, focusing on the armor’s texture and dents. Use the tip of your brush to pick out details and create a rough, worn look.
Highlighting – Skin: Switch to Bugman’s Glow from Games Workshop for the skin. Paint details like creases and scratches directly, without a transition from the green. This creates high contrast and makes highlighting easier.
Refining Highlights – Skin: Use Cadian Fleshtone for smaller, more precise highlights. Focus on the upper edges and fine details. This stage adds more depth and texture to the skin.
Eyes: Paint the eyes with Flash Gitz Yellow. A simple blob will suffice, as we’re not aiming for competition standard.
Directional Lighting: Think about how light hits the model. Highlight areas like the head and raised shoulder more to create depth.
Final Highlights – Skin: Use Screaming Skull for the final highlights on the face. Apply it sparingly and precisely, refining the detail work.
Layering – Armour: Introduce Vallejo Pale Grey Blue for further layers on the armour. Create a scratched, worn look by building up layers and focusing on edges and imperfections.
Teeth – Basecoat: Start with Mournfang Brown, applying it evenly while leaving gaps between teeth.
Teeth – Highlighting: Use Morghast Bone for highlighting. Remember, for the upper teeth, highlight near the gums, and for the lower teeth, highlight the tips.
Teeth – Final Highlights: Add final highlights with P3 Morrow White on the very tips of the bottom teeth and near the gums of the top teeth.
Additional Armour Work: Return to the armour, adding more highlights and refining the look with both Neutral Grey and Pale Grey Blue.
All videos are recorded in HD 1080p or higher – use full screen for the full effect and let the video load completely.
Morgok the Orruk from Morgok’s Krushas – All Videos
Painting Morgok from Morgoks Crushas
Morgok the Orruk and his mob of Ironjawz brutes once hunted down and fought the greatest prey they could find amongst Ghur’s trackless wastes. Whether they ran down spiny nephrodiles or fought the storm-warriors of Sigmar, Morgok’s Krushas sought the mightiest trophies in the name of their bellicose deity, Gorkamorka.
Here is the full series of videos on how I painted him!
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Here I show you how to create a Nurgle Rusty Sword in this simple but very effective way! You can use it to create a rusty effect on your Nurgle weapons, or on armour.
Video: How to Create a Nurgle Rusty Sword
Materials Needed:
Baking Soda
Matte Varnish
Old brushes
Orange Paint (For this example, we’ll use Scale 75 Kalahari Orange, but any solid orange paint will do)
Step-by-Step Guide:
Mixing the Rust Effect:
Begin by creating your rust mixture. You’ll need to combine baking soda, matte varnish, and orange paint. The exact colour of the orange paint isn’t crucial, but a solid orange like Scale 75 Kalahari Orange is recommended for authenticity.
Mix these ingredients together. You don’t need any specialised tools for mixing; anything you have to hand will suffice.
Adjusting Consistency:
The mixture might appear a bit dry initially. If it’s too clumpy, thin it down with more varnish. Remember, the more varnish you add, the stronger and more hard-wearing the mixture becomes. This also helps to seal the baking soda against any acidic elements.
Aim for an intense, well-bound mixture. It should dry lighter in colour, so don’t be alarmed by the initial appearance.
Application on the Model:
Use an old brush for application; this mixture isn’t kind to brushes. An older, slightly worn brush is ideal.
Apply the mixture to the desired areas of your model. It’s a somewhat passive process; you don’t have to be overly precise. The mixture will be akin to a psyche in gel, so aim for an uneven surface. Too thin an application will just look like spread-out grains.
Focus on clumping the mixture slightly for a more realistic rust effect. If applied too thinly, it won’t have the desired impact.
Creating Texture:
After applying, use a stippling technique with your brush to spread out the grains at the edges. This helps to soften the transition from the rusted areas to the clean areas of the model.
Continue dabbing at the mixture to spread it and create a texture that resembles rust accumulating on the blade or other parts of the model.
Final Touches:
Once applied, the mixture might look a bit smooth, but don’t worry. As it dries, it will gain a more defined, grainy rust-like texture.
To enhance the effect, you can apply a very watered-down coat of a darker paint, like Rhinox Hide, after the rust mixture has dried.
Finishing Up:
Allow your model to dry completely. Once dry, you should see a realistic rust effect, adding depth and character to your piece.
More Tutorials on Rust, Grime and Weathering
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My latest tutorials, this time on how to paint a Chaos Warrior! He is a part of my small Slaves to Darkness army, but ultimately this is a failure as it took me too long to paint him. I need something that looks good while ideally taking not much longer than an hour, but this was just over 3. Follow my tutorials below for a fast(ish) way to paint to this standard.
To start, you will need to assemble and clean up the model (for a handy guide on this, go here) then prime it black.
Video – How to Paint a Chaos Warrior – Part One
Paints Needed
Vallejo Paints: Neutral Grey, Dark Grey, Black, White, Pale Grey Blue, Ice Yellow, Heavy Sienna, and Heavy Gold Brown.
Base Coating
Primary Highlights: Start with Vallejo Dark Grey to block in the primary highlight points, taking into consideration how light naturally hits the model. This won’t be perfectly accurate due to the differences between metal and plastic, but it provides a solid starting point. Remember, areas like kneecaps that face downwards will receive less light.
Adding Depth and Highlights
Further Highlights: Using Neutral Grey, create the second “band” of highlights. These should be more confined than those highlighted with Dark Grey, allowing the undercoat to be visible.
For areas you plan to render vibrant later (such as eyes), it’s acceptable to roughly block them in now. Adjustments and definitive colours, like red for eyes, can be added subsequently.
Non-Metallic Metal (NMM) Techniques
Flat Surfaces: For the Chaos Warrior’s flat armour surfaces, like the thighs or wrist guards, avoid intricate sky-like patterns due to their complexity. Instead, focus on simple yet effective highlighting to suggest metallicity.
Refining Highlights
With Pale Grey Blue, apply it to areas like the helmet for more pronounced non-metallic metal effects. Adjustments, especially around the face mask for glow effects or additional detailing, can be made as needed.
Detailing and Texturing
Use a mix of the greys and white to highlight edges and create texture across the armour. For cylindrical surfaces, such as the forearm guard, ensure the highlight mirrors the shape’s curvature. This step is crucial for adding realism and depth to your model.
Shield and Back Details
Although the back of the model may not be the focal point, it’s important to maintain consistency in quality. Apply similar highlighting techniques to the shield, adjusting for the light source being from the front. Use Corvus Black (or a similar dark grey) for glazing and smoothing transitions.
The Eight-Pointed Star of Chaos
Begin with a base of Heavy Sienna, accenting edges with Heavy Gold Brown and Ice Yellow for a rich, golden tone. Exercise restraint with Ice Yellow to preserve the gold’s richness. For added authenticity, make the edges irregular to suggest wear.
This guide covers the essentials for achieving a tabletop standard Chaos Warrior. The second part of this series (below) will explore further detailing and final touches to bring your Chaos Warrior to life.
Video – How to Paint a Chaos Warrior – Part Two
Having previously focused on non-metallic metal (NMM) armour, we will now delve into painting the more colourful aspects of the miniature. Unfortunately, due to technical difficulties, some early steps won’t be visually documented, but I’ll guide you through the process!
Paints Needed
Games Workshop Paints: Doombull Brown, Evil Sunz Scarlet, Wild Rider Red, Mephiston Red, Baharroth Blue, Corvus Black, Deathworld Forest, Ushabti Bone, Rhinox Hide.
Vallejo Paints: Heavy Sienna, Neutral Grey. Use Cadian Fleshtone as an alternative to Natural Flesh.
Painting the Cloak
Base Coat: Begin with Deathworld Forest for the cloak, aiming for a forest green shade. The paint may need to be thicker due to its poor coverage, so adjust the consistency to about 1:1 paint to water ratio for better application.
Highlighting: Utilize Heavy Gold Brown to pick out edges and folds in the cloak, remembering the light direction must match the rest of the model. Aim for a textured look by not being overly neat with your highlights.
Enhancing Details
Further Highlights: Apply Ice Yellow sparingly to the most raised parts of the cloak for maximum light exposure, concentrating on creating focal points that draw the eye towards the head.
Texturing: For texture and detail on parts like the cloak’s scales, a combination of the base and highlight paints, applied in a stippling fashion, can add visual interest without overwhelming the miniature.
Painting the Elf Trophy
Skin Tones: Vallejo Natural Flesh (or Cadian Fleshtone) works well for the elf’s skin, focusing on lighter applications on raised areas like cheeks and forehead. Add a wash of Neutral Grey for shadows to give the skin an unhealthy pallor fitting for a trophy.
Hair Detail: Heavy Gold Brown is perfect for the elf’s hair, creating a vibrant contrast. Apply in streaks to simulate hair texture, focusing on lighter touches towards the roots where the Chaos Warrior grips the hair.
Leather and Cloth
Loincloth and Boots: Start with Rhinox Hide as a base for both the loincloth and boots, adding layers of Doombull Brown and Heavy Sienna for depth and highlighting. Keep the boots darker to draw less attention, focusing brightness and detail higher up on the model.
Texture and Highlights: Apply Neutral Grey and Ushabti Bone for final highlights on leather parts, using a technique similar to dry brushing but with a slightly wet brush for more control and subtlety.
Final Touches
Eyes Glow: For the glowing eyes effect, start with a base of Evil Sunz Scarlet, adding Wild Rider Red for brightness in the centre, followed by a glaze of Mephiston Red around the sockets to suggest glow.
Unified Lighting: To unify the model under a consistent light source, glaze Baharroth Blue and Corvus Black strategically across the model. Blue glazes on highlights simulate a cool light source, while black glazes enhance shadows and recesses.
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Tips and a video on how to weather a banner – or anything, really! For my Loonboss Knight on a Giant Cave Squig, I originally created a banner pennant from scratch, which I freehanded then weathered to look a bit more grimy and in-keeping with the model. Here is how!
Video: How to Weather a Banner
Materials and Paints:
Black Primer: For initial model preparation.
Weathering Paints:
Rhinox Hide
XV-88
Zandri Dust
Morghast Bone
Screaming Skull
Fine Detail Brushes: For precise application of weathering.
Matte Varnish: Optional, if paint adherence is an issue on previously primed areas.
Step-by-Step Guide:
Note any areas where the paint hasn’t stuck well to your surface, potentially due to oils or prolonged primer exposure. Apply a matte varnish coat if necessary to improve paint stickiness.
Start with Rhinox Hide to apply the initial, broad weathering strokes. This layer sets the stage for depth and adds a first layer of grime. Apply in a seemingly haphazard manner, focusing on areas that would naturally accumulate dirt and wear.
Building Up Weathering:Progressively use lighter browns, starting from XV-88 to Zandri Dust, then Morghast Bone, and finally Screaming Skull. Each successive layer should cover a smaller area than the last, creating a gradual transition from the darkest weathered areas to the lightest. The key is to create a detailed and layered effect that adds realism to the banner.
Technique for Application:Use the tip of your brush for controlled application, keeping your strokes small and deliberate. As you move to lighter colours, your marks should become finer, simulating the detailed texture of weathered fabric.
Highlight and Define:With Morghast Bone and Screaming Skull, focus on edges and high points where wear and tear would naturally highlight the banner. These colours also help to desaturate and blend the weathering with the rest of the banner, softening the overall effect.
Glazing for Cohesion:Mix Screaming Skull with water to create a thin glaze. This step unifies the weathered effect, blending the layers together and ensuring that the weathering doesn’t overpower the underlying details of the banner. Apply sparingly over the weathered areas, paying attention not to obscure the detailed freehand work beneath.
Final Adjustments:Revisit any areas that may require additional definition or where the weathering may have obscured too much detail. Use a fine brush to reapply base colours or add final highlights where necessary.
Assessment:Step back and assess the overall effect. The weathering should add character and age to the banner without diminishing the vibrancy of the underlying colours or the clarity of the freehand details.
Protect Your Work:Consider applying a protective varnish to seal the model and protect the weathering from handling and transport, especially important for competition pieces!
Additional Tips:
Subtlety is Key: Weathering should enhance, not detract. Aim for a realistic look that suggests wear rather than overwhelming the piece.
Consistency in Lighting: Ensure the highlighted areas of weathering are consistent with the light source affecting the entire model for a cohesive look.
Patience and Layers: Build up the weathering gradually and allow each layer to dry. Rushing can lead to a muddled effect that lacks depth.
More tips on weathering, rust and grime!
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Discover the techniques to paint Adeptus Titanicus knights of House Malinax with this detailed guide. The PDF will walk you through the steps to achieve the stunning results as shown in the accompanying photographs.
What’s Covered in the How to Paint Adeptus Titanicus Knights Guide:
Materials and Paints: Learn about the specific paints and materials used in this project, including products from Games Workshop, Vallejo, Scale 75, and Forge World. This section provides a comprehensive list to ensure you have everything you need.
Model Preparation: Step-by-step instructions on cleaning the model, removing mould lines, drilling barrels, and priming. The guide emphasizes the importance of allowing the primer to set properly for at least 24 hours.
Airbrushing Techniques: Tips on using an airbrush to achieve smooth and even coverage with Balor Brown and Ushabti Bone, creating transitions and highlights that set the foundation for the detailed painting work.
Black Trim and Metal Areas: Detailed steps to paint the black trim and skeleton areas using Vallejo Black and Gunmetal Grey. The guide includes the use of Agrax Earthshade to add contrast and definition to the bone armour.
Highlighting and Blending: Techniques for highlighting the black trim with a series of greys and white, using a palette of carefully mixed colours. Learn how to blend transitions smoothly to achieve a professional finish.
Painting Details: Instructions for painting smaller details like windows, golden domes, and red areas using specific colours and highlights. This section includes methods to achieve a high-contrast, detailed appearance.
Applying Decals: A thorough walkthrough on applying decals, using Micro Set and Micro Sol for better adhesion and finish. The guide also covers the use of gloss varnish to prepare surfaces for decals and matte varnish to seal them.
Weathering Techniques: Tips on adding realistic weathering effects with Rhinox Hide, Forge World weathering powders, and Winsor & Newton Burnt Umber oil paint. Learn how to create a convincing look of wear and grime.
Basing the Model: Instructions for creating a detailed base using baking soda, matte varnish, paints, and weathering powders. The guide emphasizes creating a realistic ground effect and integrates the model with the base seamlessly.
Additional Features:
High-Quality Images: The guide includes high-resolution images to illustrate each step, providing clear visual references to help you achieve the best results.
Professional Tips: Benefit from Richard Gray’s expert tips and tricks to enhance your painting skills and improve your techniques.
Efficient Techniques: Learn faster methods to achieve professional results, such as using an airbrush for base layers and detailed highlighting techniques.
Transform your Adeptus Titanicus knights with this detailed guide. Each step is designed to help you achieve high-quality results, making your models stand out. Whether you’re preparing for tabletop gaming or creating display pieces, this guide will enhance your painting techniques and bring your knights to life.
Download the full guide on my website and start painting your Adeptus Titanicus knights today!
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More Adeptus Titanicus Knights Tutorials!
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Skin
All of the video tutorials for how to paint Abraxia from the Slaves to Darkness army. We have how to paint her head, with tips on skin and horns, her cloak and the NMM (non-metallic-metal) armour on her fearsome mount! Scroll to the bottom for links to how to assemble the model, too.
Video: How to Paint Abraxias HeadPaints UsedBrushesOther MaterialsHow to Paint Abraxias HeadVideo: How to Paint the Cloak for AbraxiaPaints UsedBrushesOther MaterialsHow to Paint the Cloak StepsVideo: How to Paint the Abraxia Mount NMM Armour PanelMaterialsSteps to FollowHow to Build Abraxia! PDF and Video Guide!
Video: How to Paint Abraxias Head
Paints Used
Games Workshop:
Rhinox Hide
Mournfang Brown
Balor Brown (Alternative to Tuskgor Fur)
Evil Sunz Scarlet
XV-88
Morghast Bone
Ushabti Bone
Screaming Skull
Vallejo:
Model Colour Black
Model Colour Ice Yellow
P3:
Morrow White
Brushes
Artis Opus:
Series M or S, Size 00 (for details and glazing)
Other Materials
Sprue glue
Tamiya Extra Thin Cement
Wet palette
Lamp (for highlighting)
Blue Tac (for holding the miniature)
How to Paint Abraxias Head
Step 1: Prep Work and Eye Basecoat
Forehead Conversion: If desired, remove the protruding spike and fill it in for a smoother look. Use sprue glue and a touch of Tamiya Extra Thin to blend it seamlessly.
Eye Basecoat: For the whites of the eyes, use a light yellow colour like Citadel’s Ice Yellow. Avoid pure white, as it won’t make the white dot “pop” later.
Eye Challenges: Note the sculpted dots on the eyes, intended for glowing demon eyes. We’ll work around these to create a more human look. Scars running through the lower eyes will be addressed throughout the painting process.
Step 2: Skin Basecoat and Highlight Placement
Skin Basecoat: Apply a generous coat of Mournfang Brown. Use a 1:1 ratio of paint to water for a smooth application.
Over-Highlighting: Don’t just highlight the shiny spots under a lamp. Cover the majority of the head with Mournfang Brown to avoid high contrasts later.
Light Direction: Consider the direction of the light source for your highlights. I’m working with a top-left angle, focusing highlights there but ensuring ample coverage on the right side as well.
Step 3: Skin Highlights
Highlight Colours: Use a mix of Mournfang Brown with a tiny bit of Tuskgor Fur (or Ushabti Bone if you find Tuskgor Fur too grainy), gradually increasing the amount of Tuskgor Fur for lighter highlights.
Blending: Carefully blend the highlight colours together, using a size z00 Artis Opus brush with a tiny amount of paint.
Glazing: After highlighting, use watered-down Mournfang Brown (3-4 parts water to 1 part paint) and Rhinox Hide for glazing. This will smooth the transitions and enhance the shadows.
Step 4: Horns
Horn Basecoat: Apply Mournfang Brown to the horns.
Horn Highlight Colours: Use XV-88, Morghast Bone, Screaming Skull, and white to highlight the horns.
Horn Gradient: Aim for a light-to-dark gradient, with the base of the horns being the lightest and the tips the darkest. You can achieve this through wet blending, applying the colours while the paint is still wet.
Horn Texture: Use the tip of your brush to create a stippling or scratching effect for a textured look. Vary the strokes and avoid uniform patterns.
Step 5: Eyes and Lips
Eye Refinement: Gradually fill in the scars on the lower eyes with the same light yellow used for the basecoat. Be patient and build up the layers for a smooth finish.
Pupil: Paint a small white dot in the centre of each eye. Aim for similar size and shape for both eyes.
Lip Colour: Leave the upper lip black, but paint the lower lip with a mix of Evil Sunz Scarlet and white. Use the lightest mix for the brightest highlights.
Lip Details: Carefully define the shape of the lips with black paint, adding a slight highlight to the ridge below the nose. Add tiny lines on the sides of the mouth for added expression.
Step 6: Final Touches
Makeup: Extend the black around the eyes to create a “tick” that goes up towards the temple on both sides.
Refinement: Keep refining the highlights, shadows, and textures until you’re happy with the result.
Video: How to Paint the Cloak for Abraxia
Paints Used
Games Workshop Paints: Khorne Red, Evil Sunz Scarlet, Barak-Nar BurgundyVallejo Paints: Old Rose, Ice Yellow
Brushes
Artis Opus: Various sizes including a size 1 and larger for blending, but any high-quality brush of a similar size is great.
Other Materials
Tamiya sanding pads (for smoothing out any imperfections or rough patches in the paint)
Wet palette
Airbrush (optional)
Scalpel (for cleanup of the miniature before painting)
How to Paint the Cloak Steps
Step 1: Airbrushing the Base Coat (Optional):
Prime: Start with a white primer.
Base Coat: Apply a few thin coats of Khorne Red using your airbrush.
Highlight: Lightly dust the raised areas with white from a top-down angle.
Midtone: Airbrush Evil Sunz Scarlet, adding subtle tonal variation.
Shadow: Tilt the model back and airbrush Barak-Nar Burgundy on downward-facing areas.
Note: This airbrushing step is optional. If you prefer, you can achieve a similar base by painting Khorne Red directly onto a black undercoat.
Step 2: Hand-Painting Highlights and Shadows:
Wet Palette: Prepare a wet palette with the following colours:
Evil Sunz Scarlet
Evil Sunz Scarlet mixed with Old Rose
Old Rose
Old Rose mixed with Ice Yellow
Ice Yellow
Evil Sunz Scarlet mixed with Barak-Nar Burgundy (various ratios)
Barak-Nar Burgundy
Highlighting: Use a size 1 brush (or larger) to apply highlights with Evil Sunz Scarlet mixed with a small amount of Old Rose. Follow the natural curves and contours of the cloak, focusing on areas where light would naturally fall.
Blocking in Shadows: Use Khorne Red (or a mix of Khorne Red and Barak-Nar Burgundy) to block in shadow areas. Don’t worry about perfect blending at this stage; focus on establishing tonal contrast.
Refining Transitions: Switch to a larger brush (size 2 or 3) for smoother blending. Use a pulling motion, dragging the paint from the highlights into the shadows.
Glazing: Thin your paints with water (4-5 parts water to 1 part paint) and apply glazes to smooth out transitions and unify the colours.
Step 3: Adding Weathering and Texture:
Thinned Paints: Use a 1:1 ratio of paint to water for texture.
Fraying: With a fine brush, apply short, feathery strokes of a slightly lighter, desaturated red (e.g., Barak-Nar Burgundy mixed with Khorne Red and Old Rose) to the edges of the cloak to simulate fraying.
Scratches: Create fine scratches using the same desaturated red. Vary the direction and length of the scratches for a natural look.
Refinement: Glazing can be used to soften harsh lines and create subtle variations in colour and texture.
Additional Tips:
Use a lamp to identify natural highlights and shadows on the cloak.
Don’t be afraid to experiment and personalise your weathering effects! Make her cloak unique to you and have fun.
Video: How to Paint the Abraxia Mount NMM Armour Panel
Materials
Games Workshop paints: Rhinox Hide, Mournfang Brown, XV-88, Abaddon Black, Sons of Horus Green, Barak-Nar Burgundy
Vallejo paints: Ice Yellow, Neutral Grey, Heavy Grey
Two Thin Coats paint: Dark Sun Yellow
P3 paint: Morrow White
Various Artist Opus brushes, including size 1 and size 2
Steps to Follow
Step 1: Block in the Colours
Begin by roughly blocking in the colours on the entire model using a size 1 brush. This helps to establish the overall colour scheme and provides a base for the highlights.
Use Neutral Grey for the armour plates and XV-88 for the gold trim.
Apply Sons of Horus Green and Barak-Nar Burgundy to the skin areas.
Step 2: Refine the Armour Plates
Choose an armour panel to focus on and begin refining the NMM effect.
Start with Neutral Grey and gradually add Ice Yellow to create a series of increasingly lighter highlights.
Use a variety of brush strokes to create texture and variation in the reflections, ensuring a “micro texture” that is smooth and detailed.
Consider the overall lighting of the model and place the highlights accordingly.
Glaze with Mournfang Brown and Rhinox Hide to add depth and warmth to the shadows.
Use P3 Morrow White for the final highlights, creating smooth transitions and a bright, opaque finish.
Step 3: Add Weathering and Details
Use a smaller brush to add scratches, dents, and other details to the armour plates, turning the marks from the initial blocking in into realistic battle damage.
Vary the colours of the weathering based on the surrounding area, using darker greys or black in shadowed areas and lighter greys or white in highlighted areas.
Glaze with white to create a smooth, opaque finish on the brightest highlights, enhancing the illusion of reflected light.
Step 4: Repeat for Additional Panels
Repeat the process for the remaining armour panels, adjusting the placement and intensity of the highlights to match the overall lighting scheme.
Remember that the highlights should become smaller and darker as you move away from the main focal point of the model.
How to Build Abraxia! PDF and Video Guide!
How to Build Abraxia, With Tips!
This video and step by step guide shows the whole process how to build Abraxia, building and cleaning in preparation for painting. I go over lots of little tips and tricks, too!
Watch Now
Read PDF Guide
If you don’t have an account here on my website, please sign up here! I have over 350 video tutorials with steps and tips, plus a selection of PDFs. If you are not sure about joining, you can explore my free videos with a free membership, or take the plunge and become a full subscriber for full access.
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The latest video for Abraxia, this time looking at how to paint her head/skin, eyes and horns. The video also goes over some of the difficulties with this sculpt and the fact that I modified it.
Video: How to Paint the Abraxia Head
Paints Used
Games Workshop:
Rhinox Hide
Mournfang Brown
Balor Brown (Alternative to Tuskgor Fur)
Evil Sunz Scarlet
XV-88
Morghast Bone
Ushabti Bone
Screaming Skull
Vallejo:
Model Colour Black
Model Colour Ice Yellow
P3:
Morrow White
Brushes
Artis Opus:
Series M or S, Size 00 (for details and glazing)
Other Materials
Sprue glue
Tamiya Extra Thin Cement
Wet palette
Lamp (for highlighting)
Blue Tac (for holding the miniature)
How to Paint the Abraxia Head
Step 1: Prep Work and Eye Basecoat
Forehead Conversion: If desired, remove the protruding spike and fill it in for a smoother look. Use sprue glue and a touch of Tamiya Extra Thin to blend it seamlessly.
Eye Basecoat: For the whites of the eyes, use a light yellow colour like Citadel’s Ice Yellow. Avoid pure white, as it won’t make the white dot “pop” later.
Eye Challenges: Note the sculpted dots on the eyes, intended for glowing demon eyes. We’ll work around these to create a more human look. Scars running through the lower eyes will be addressed throughout the painting process.
Step 2: Skin Basecoat and Highlight Placement
Skin Basecoat: Apply a generous coat of Mournfang Brown. Use a 1:1 ratio of paint to water for a smooth application.
Over-Highlighting: Don’t just highlight the shiny spots under a lamp. Cover the majority of the head with Mournfang Brown to avoid high contrasts later.
Light Direction: Consider the direction of the light source for your highlights. I’m working with a top-left angle, focusing highlights there but ensuring ample coverage on the right side as well.
Step 3: Skin Highlights
Highlight Colours: Use a mix of Mournfang Brown with a tiny bit of Tuskgor Fur (or Ushabti Bone if you find Tuskgor Fur too grainy), gradually increasing the amount of Tuskgor Fur for lighter highlights.
Blending: Carefully blend the highlight colours together, using a size z00 Artis Opus brush with a tiny amount of paint.
Glazing: After highlighting, use watered-down Mournfang Brown (3-4 parts water to 1 part paint) and Rhinox Hide for glazing. This will smooth the transitions and enhance the shadows.
Step 4: Horns
Horn Basecoat: Apply Mournfang Brown to the horns.
Horn Highlight Colours: Use XV-88, Morghast Bone, Screaming Skull, and white to highlight the horns.
Horn Gradient: Aim for a light-to-dark gradient, with the base of the horns being the lightest and the tips the darkest. You can achieve this through wet blending, applying the colours while the paint is still wet.
Horn Texture: Use the tip of your brush to create a stippling or scratching effect for a textured look. Vary the strokes and avoid uniform patterns.
Step 5: Eyes and Lips
Eye Refinement: Gradually fill in the scars on the lower eyes with the same light yellow used for the basecoat. Be patient and build up the layers for a smooth finish.
Pupil: Paint a small white dot in the centre of each eye. Aim for similar size and shape for both eyes.
Lip Colour: Leave the upper lip black, but paint the lower lip with a mix of Evil Sunz Scarlet and white. Use the lightest mix for the brightest highlights.
Lip Details: Carefully define the shape of the lips with black paint, adding a slight highlight to the ridge below the nose. Add tiny lines on the sides of the mouth for added expression.
Step 6: Final Touches
Makeup: Extend the black around the eyes to create a “tick” that goes up towards the temple on both sides.
Refinement: Keep refining the highlights, shadows, and textures until you’re happy with the result.
This is a meticulous process, so take your time and enjoy it! If you have any questions or run into any trouble, don’t hesitate to ask in the comments below. Happy painting!
More Abraxia Tutorials
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Today I’m going to focus on mastering the non-metallic metal (NMM) effect on the necklace portion of the WIlderfiend using both Games Workshop and AMMO paints. Read on to get started with a detailed video tutorial, paints list and step-by-step tips and guide.
Video: How to Paint a Wilderfiend Necklace with NMM Metal and Skulls
How to Paint a Wilderfiend Necklace with NMM Metal and Skulls Guide
Materials Needed:
Paints: AMMO by Mig Jimenez (White, Yellow, Brown, Basic Skin, Red), Games Workshop (Rhinox Hide, Balor Brown, Mournfang Brown, Morghast Bone, Screaming Skull)
Brushes: Size 2 Artist Opus Brush, finer detail brushes as necessary
Other: Water for thinning paints, wet palette, palette for mixing
Step-by-Step Guide:
1. Base Coating
Colour Used: Mournfang Brown
Start by applying a solid base coat of Mournfang Brown to the top section of the necklace. This initial layer is not about perfection but establishing a solid foundation for further details. Ensure even coverage to avoid patchiness that can complicate later stages.
2. Adding Highlights
Colours Used: Gradually add Dark Sun Yellow to Mournfang Brown
Begin to introduce highlights by slowly mixing in Dark Sun Yellow into the Mournfang Brown to create a gradient effect. Concentrate this lighter mixture on areas that would naturally catch light, such as the uppermost ridges and prominent features of the necklace. This method helps to simulate the reflective properties of metal without using metallic paints.
3. Integrating Scratches and Weathering
Enhance the realism of the piece by introducing fine scratches and signs of wear. Using a finer brush, alternate between the original base mix and a lighter mix with more Dark Sun Yellow. Apply these marks strategically to suggest age and use, enhancing the textured look of a battle-worn artefact.
4. Refining Highlights
Colours Used: Primarily Dark Sun Yellow, mixed progressively with AMMO White for brighter highlights
As you refine your highlights, shift towards using lighter mixes, culminating in nearly pure Dark Sun Yellow with touches of white. Focus these brightest highlights on the most prominent areas where light would be strongest. This step is crucial for pushing the NMM effect, giving the illusion of metallic shine.
5. Adjusting Shadows and Midtones
Colours Used: Glazes of Mournfang Brown and Rhinox Hide
Apply glazes of Mournfang Brown to smooth the transitions between the mid-tones and shadows, ensuring there are no harsh lines between colours. Use Rhinox Hide to deepen shadows in the undercuts and less exposed areas of the necklace, which helps to enhance the three-dimensional feel and adds depth to the piece.
6. Final Details and Touch-ups
Revisit all previously worked areas to add final details such as sharper lines and more refined scratches. This stage is about perfecting the look, making sure every feature stands out as intended, and the overall effect is cohesive. Sometimes, this might include toning down overdone highlights or reinforcing the shadows for better contrast.
7. Painting Skulls and Additional Elements
Base Coat: Start with Balor Brown for skulls and bone elements.
Highlights and Texturing: Build up highlights using Morghast Bone, gradually adding Screaming Skull to the mix for the highest points. Pay special attention to textural details like teeth and eye sockets, using lighter colours to bring these features forward. The contrast between the bone and the metallic effect of the necklace should be stark, with bones appearing more matte and subdued.
Techniques to Note:
Glazing: This involves mixing a small amount of paint with a large portion of water to create a transparent layer that subtly shifts the tone beneath it.
Stippling: Use the tip of your brush to apply small dots of paint, creating a textured effect that mimics the irregular surface of metals and worn materials.
Dry Brushing: Gently drag a dry brush with minimal paint over raised textures to highlight edges and details quickly.
All the Wilderfiend Tutorials:
This is just a part of my set of tutorials on how to paint a Wilderfiend from Games Workshop. To watch them all in order, follow the link below:
How to Paint a Darkoath Wilderfiend
A series for how to paint the Wilderfiend from the Darkoath army, which Games Workshop sent me. The first video looks at the skin, lips, teeth, eyes and horns. We’ll focus on creating a heavily textured look, while the second moves on to the NMM of his necklace and his skulls!
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This is part 1 in a series for how to paint the Wilderfiend from the Darkoath army, which Games Workshop sent me. The first video looks at the skin, lips, teeth, eyes and horns. We’ll focus on creating a heavily textured look!
Video: How to Paint a Wilderfiend – Skin, teeth, eyes and horns
Paints
Vallejo Neutral Grey – Used for base coating and initial layers.Vallejo Heavy Grey – Applied for shading and adding depth.Citadel XV-88 – Used for stippling detailed textures.Citadel Balor Brown – For additional layering over XV-88.Corvus Black (Games Workshop) – Used thinned down for shading and deepening recesses.Citadel Pink Horror – For specific details like the inner mouth and gums.Mephiston Red (Games Workshop) – Used for glazing and enhancing red areas.Balor Brown (Games Workshop) – Applied on horns and spikes.Morghast Bone (Games Workshop) – For highlighting teeth and bone-like structures.Screaming Skull (Games Workshop) – Additional highlighting, especially on bones and teeth.Two Thin Coats Dark Sun Yellow – For eyes and specific bright details.Kimera Colours White – Used to lighten other colours for highlighting.
Brushes
Artis Opus (small size) – Mainly used for stippling the base coat.Modified Old Brush – Cut to half-size for fine stippling and detailed texture work.Standard Size 1 Brush – Used for general painting and finer details.Size 0 Brush – For very fine details, especially on smaller areas like teeth and eyes.Large Dry Brush – For broad strokes and quick coverage on larger areas.
How to Paint a Wilderfiend Step 1: Preparation
Before you start painting, ensure that all gaps and line gaps on the model, particularly between the muscles, are filled to prevent visible lines. Use sprue glue or putty as detailed in my other videos (you can watch one, here). This step is crucial for a clean finish once painted
Objective: Prepare the model by filling any gaps to ensure a smooth surface.
Materials: Sprue glue or sculpting putty.
Method:
Identify gaps, particularly between muscle joints or overlapping armor.
Apply sprue glue or putty to fill these gaps. Use a small tool or toothpick for precision.
Smooth the putty or glue with a moistened finger or tool to ensure it blends seamlessly into the surrounding area.
Allow it to dry completely before proceeding to painting.
Step 2: Base Coating
Objective: Establish a uniform base layer and start building texture.
Materials: Vallejo Neutral Grey, Artist Opus small brush.
Method:
Thin the Neutral Grey slightly with water for a workable consistency.
Use the brush to stipple the paint onto the model, creating a textured base. This method helps the paint adhere better and provides a base for subsequent layers.
Ensure complete coverage, avoiding pooling of the paint.
Step 3: Adding Shades
Objective: Add depth and dimension by shading recesses.
Materials: Vallejo Heavy Grey.
Method:
Apply Heavy Grey into recesses and shadow-prone areas such as under limbs, behind equipment, and between muscles.
Use a detail brush for precise application, avoiding over-application to maintain the integrity of the base texture.
This step is not for detailed shading but to provide a variation in base tones.
Step 4: Detailing with Stippling
Objective: Enhance texture and prepare for detailed painting.
Materials: Citadel XV-88, modified old brush.
Method:
Stipple XV-88 on areas where additional texture is desired, like spikes, horns, or heavily detailed armor.
The modified brush allows for finer, more controlled stippling, which is crucial for building up texture on smaller, detailed areas.
Focus on achieving a random, natural-looking texture rather than uniform coverage.
Step 5: Additional Colour Layers
Objective: Build up colour intensity and prepare for highlights.
Materials: Citadel Bor Brown.
Method:
Apply Bor Brown over areas previously worked with XV-88, using the same stippling technique but with slightly thicker paint.
This layer enhances the texture by adding a darker tone, which will add depth beneath the highlights.
Ensure that this layer complements the textures and shadows already established.
Step 6: Corrections and Enhancements
Objective: Clean up any imperfections and refine the model’s details.
Materials: Scalpel.
Method:
Inspect the model closely under good lighting.
Use the scalpel to gently remove any stray bristles, dust particles, or excess putty that may have been overlooked.
Make any necessary corrections to ensure the smoothest and most detailed surface possible before proceeding.
Step 7: Highlighting
Objective: Highlight to emphasize raised areas and textures.
Materials: Mix of Heavy Grey, Neutral Grey, and white.
Method:
Gradually mix in white with the base grey mixture to create various stages of lighter shades for highlighting.
Use a fine brush to apply highlights along edges, ridges, and on top of textured areas to simulate light reflection and enhance detail.
This step requires a steady hand and a good eye for light placement, focusing on areas that would naturally catch light.
Step 8: Deepening Shadows
Objective: Deepen the shadows to enhance the 3D effect.
Materials: Watered-down Corvus Black.
Method:
Apply this dark grey mixture into the deepest recesses and around the base of raised textures to create an illusion of depth.
Use a fine brush for control and avoid flooding the details. The paint should flow into recesses but not cover the raised textures.
This step enhances the contrast between the highlighted areas and the shadows, adding to the realism of the model.
Step 9: Final Details
Objective: Address small, fine details such as eyes, teeth, and intricate decorations.
Materials: Specific colours for details like Pink Horror, Mephiston Red, etc.
Method:
Use the smallest brushes to carefully paint eyes, teeth, and other minute details.
These details require precision and should be handled patiently to avoid errors that can detract from the overall appearance.
Step 10: Finishing Touches
Objective: Protect the paint job and adjust the finish according to preference.
Materials: Matte or satin varnish.
Method:
Choose a varnish based on the desired finish (matte for less shine, satin for a slight sheen).
Apply the varnish evenly to protect the paint from wear and tear and to unify the appearance of the model.
Maintenance Tips:
Always keep your brushes clean and well-shaped.
Regularly check and mix your paints on a wet palette to maintain consistency.
Adjust paint thickness based on the detail and texture desired.
Video: How to Paint a Wilderfiend Necklace with NMM Metal and Skulls
How to Paint a Wilderfiend Necklace with NMM Metal and Skulls Guide
Materials Needed:
Paints: AMMO by Mig Jimenez (White, Yellow, Brown, Basic Skin, Red), Games Workshop (Rhinox Hide, Balor Brown, Mournfang Brown, Morghast Bone, Screaming Skull)
Brushes: Size 2 Artist Opus Brush, finer detail brushes as necessary
Other: Water for thinning paints, wet palette, palette for mixing
Step-by-Step Guide:
1. Base Coating
Colour Used: Mournfang Brown
Start by applying a solid base coat of Mournfang Brown to the top section of the necklace. This initial layer is not about perfection but establishing a solid foundation for further details. Ensure even coverage to avoid patchiness that can complicate later stages.
2. Adding Highlights
Colours Used: Gradually add Dark Sun Yellow to Mournfang Brown
Begin to introduce highlights by slowly mixing in Dark Sun Yellow into the Mournfang Brown to create a gradient effect. Concentrate this lighter mixture on areas that would naturally catch light, such as the uppermost ridges and prominent features of the necklace. This method helps to simulate the reflective properties of metal without using metallic paints.
3. Integrating Scratches and Weathering
Enhance the realism of the piece by introducing fine scratches and signs of wear. Using a finer brush, alternate between the original base mix and a lighter mix with more Dark Sun Yellow. Apply these marks strategically to suggest age and use, enhancing the textured look of a battle-worn artefact.
4. Refining Highlights
Colours Used: Primarily Dark Sun Yellow, mixed progressively with AMMO White for brighter highlights
As you refine your highlights, shift towards using lighter mixes, culminating in nearly pure Dark Sun Yellow with touches of white. Focus these brightest highlights on the most prominent areas where light would be strongest. This step is crucial for pushing the NMM effect, giving the illusion of metallic shine.
5. Adjusting Shadows and Midtones
Colours Used: Glazes of Mournfang Brown and Rhinox Hide
Apply glazes of Mournfang Brown to smooth the transitions between the mid-tones and shadows, ensuring there are no harsh lines between colours. Use Rhinox Hide to deepen shadows in the undercuts and less exposed areas of the necklace, which helps to enhance the three-dimensional feel and adds depth to the piece.
6. Final Details and Touch-ups
Revisit all previously worked areas to add final details such as sharper lines and more refined scratches. This stage is about perfecting the look, making sure every feature stands out as intended, and the overall effect is cohesive. Sometimes, this might include toning down overdone highlights or reinforcing the shadows for better contrast.
7. Painting Skulls and Additional Elements
Base Coat: Start with Balor Brown for skulls and bone elements.
Highlights and Texturing: Build up highlights using Morghast Bone, gradually adding Screaming Skull to the mix for the highest points. Pay special attention to textural details like teeth and eye sockets, using lighter colours to bring these features forward. The contrast between the bone and the metallic effect of the necklace should be stark, with bones appearing more matte and subdued.
Techniques to Note:
Glazing: This involves mixing a small amount of paint with a large portion of water to create a transparent layer that subtly shifts the tone beneath it.
Stippling: Use the tip of your brush to apply small dots of paint, creating a textured effect that mimics the irregular surface of metals and worn materials.
Dry Brushing: Gently drag a dry brush with minimal paint over raised textures to highlight edges and details quickly.
If you don’t have an account here on my website, please sign up here! I have over 350 video tutorials aside from my How to Paint a Wilderfiend with steps and tips, plus a selection of PDFs. If you are not sure about joining, you can explore my free videos with a free membership, or take the plunge and become a full subscriber for full access.
If you’d prefer to support me on Patreon, please visit: https://www.patreon.com/RichardGray [...]
Learn how to paint Melusai Blood Sisters (the Daughters of Khaine!) in my step by step video guides.
The Melusai Blood Sister are formidable warriors in service to Morathi, the High Oracle of Khaine. Born from a concoction of enchantments, shadow magic, and Morathi’s own blood, these serpentine beings are the trusted handmaidens and guardians of the goddess herself. Clad in terrifying kragath war-masks resembling the visage of Khaine, the Melusai Blood Sisters possess a deadly prowess on the battlefield.
With their intricate details, dynamic poses, and rich lore, the Melusai Blood Sisters were great fun to paint, with lots of techniques to explore (the gore dripping heart was a favourite!). Click the headers below to explore by part of technique, or scroll to watch in order.
Video Part One – How to Paint Melusai Blood Sisters (Gold NMM Armour)
Materials needed
Paints
Step by Step and Tips How to Paint Melusai Blood Sisters Gold NMM Armour
Video Part Two – How to Paint Melusai Blood Sisters (Shiny Scales)
Paints
Step by Step and Tips How to Paint Melusai Blood Sisters Shiny Scales
Video Part Three – How to Paint Melusai Blood Sisters (Hair and Skin)
Paints
Step by Step and Tips How to Paint Melusai Blood Sisters Hair and Skin
Video Part Four – How to Paint Melusai Blood Sisters (Blood Drops, Heart and Halberd Staff)
Paints and Materials Needed
Step by Step and Tips on How to Paint Melusai Blood Sisters Dripping Heart and Halberd
Preparing the Heart
Creating Realistic Blood Drips
Painting the Halberd Staff
Video Part One – How to Paint Melusai Blood Sisters (Gold NMM Armour)
Materials needed
Fine detail brush (suitable for precise painting) – I use the Artist Opus range of brushes.Medium-sized brush (for larger areas and blending)Wet palette (for mixing and thinning paints)
Paints
Games Workshop:Moot GreenBalor BrownMournfang BrownXV-88Firedragon Bright
P3 (Privateer Press):Morrow White (or Ceramite White)
Vallejo:Ice Yellow (or Dorn Yellow)
Step by Step and Tips How to Paint Melusai Blood Sisters Gold NMM Armour
Prime the Model – Apply a primer – I used black for this model.Allow the primer to dry completely before proceeding.
Base Coat – Start by applying a base coat of XV-88 or a similar brown colour to the armour areas of the model. Use thin layers of paint to achieve smooth coverage, allowing each layer to dry before applying the next.
Establish Highlights – Begin adding highlights using Balor Brown, focusing on raised areas and edges of the armour. Build up the highlights gradually, using the tip of your brush and thin layers of paint for precision.
Add Secondary Reflections – Apply secondary reflections using Mournfang Brown or a darker shade of brown, focusing on areas where light would not directly hit. Keep these reflections subtle to avoid overpowering the main highlights.
Refine the Highlights – Continue refining the highlights by adding brighter shades like Firedragon Bright or Ice Yellow to create a more metallic appearance. Concentrate these brighter highlights on the most reflective areas, such as the tops of curves and edges.
Blend Colours – Use a wet palette to blend colours seamlessly and achieve smooth transitions between different shades. Adjust the intensity and placement of highlights as needed to maintain realism and visual interest.
Detail Work– For gemstones or intricate patterns, use contrasting colours like red or green to really stand out!!
Video Part Two – How to Paint Melusai Blood Sisters (Shiny Scales)
This video shows how to paint the shiny scales with realistic lighting on the Gorgai Blood Sister from Games Workshop
Paints
Games Workshop: Stegadon Scale Green, Ahriman Blue, Temple Guard Blue, Squig Orange, Ratskin Flesh, Lugganath Orange
P3 (Privateer Press): Morrow White (Ceramite White)
Step by Step and Tips How to Paint Melusai Blood Sisters Shiny Scales
Base Coating – Begin by applying a base coat of Stegadon Scale Green to the scales on the belly area of the miniature. Use thin layers to ensure smooth coverage over the black primer.
Adding Highlights – With Ahriman Blue, start picking out the lighter areas of the scales facing upward. These areas will catch more light, so focus on the top edges and curves. Build up the highlights gradually with thin layers.
Blending Transitions – Mix Ahriman Blue with Temple Guard Blue to create a lighter shade. Use this mixture to blend the transitions between the darker and lighter areas of the scales. Work quickly while the paint is still wet to achieve smooth transitions.
Introducing Warmth – Incorporate warm tones by applying Squig Orange to small dots on the scales. Vary the size and placement of the dots for visual interest. These dots will add a contrasting element to the cool blue tones.
Adjusting the Approach – Evaluate the effect of the orange dots and consider the overall look. If desired, use Ratskin Flesh to glaze over the orange dots and adjust their intensity. This step adds depth to the scales without overpowering the blue tones.
Enhancing Highlights – Create a glaze by mixing Morrow White with a small amount of water. Apply this glaze to the scales, focusing on the areas where light would hit most directly. Use thin layers and build up the intensity gradually to achieve a shiny effect.
Final Touches – Use Lugganath Orange to accentuate the orange dots on the scales, ensuring they remain visible but subtle. This step adds a final layer of detail to enhance the overall appearance of your Melusai Blood Sister!
Video Part Three – How to Paint Melusai Blood Sisters (Hair and Skin)
This video shows how to paint the hair and skin of the Gorgai Sister of Blood.
All videos are recorded in HD 1080p or higher – use full screen for the full effect and let the video load completely.
Paints
Citadel Paints: Naggaroth Night, Daemonette Hide, Dechala Lilac, Ceramite White, Slaanesh Grey
P3 Paints: Mauro White (or any preferred white paint)
Citadel Contrast Paint: Magos Purple
Step by Step and Tips How to Paint Melusai Blood Sisters Hair and Skin
Painting the HairBegin by applying Naggaroth Night, a base colour from Citadel, to the hair of the model using a medium brush.Apply multiple thin layers of Naggaroth Night to achieve good coverage, as it may initially appear translucent.Leave the recesses black to create shading effects.Next, mix Daemonette Hide with some water to thin it down and apply it to the highlighted areas of the hair to create depth and dimension.Use Dechala Lilac to highlight specific strands of hair, ensuring that the brush strokes follow the natural flow of the hair.Mix Ceramite White with water to create a thin glaze and apply it to the highest points of the hair for additional highlights.Finally, use Magos Purple Contrast Paint, thinned down with water, to glaze over the highlighted areas of the hair to enhance its vibrancy and depth.
Painting the SkinFor the skin, start by using Slaanesh Grey to paint the base coat onto the model’s skin.Apply multiple thin coats of Slaanesh Grey to achieve solid coverage, as black primer may cause the paint to appear patchy.Mix Kislev Flesh with Ceramite White to create a lighter tone, approximately a 50/50 mixture, and thin it down with water to create a glaze-like consistency.Carefully apply the thinned Kislev Flesh mixture to the raised areas of the skin to create highlights, paying close attention to the direction of light.Ensure that the highlights are consistent with the overall lighting scheme of the model.Pay attention to details such as elbow creases, where highlights may naturally occur due to light reflection.Use watered-down Magos Purple Contrast Paint to glaze over the highlighted areas of the skin to enhance vibrancy and depth, similar to the technique used for the hair.
Video Part Four – How to Paint Melusai Blood Sisters (Blood Drops, Heart and Halberd Staff)
This video shows how to paint the heat and create the blood drip effect. It also shows how to paint the NMM staff.
Paints and Materials Needed
Games Workshop paints: Mephiston Red, Wraithbone, XV-88, Balor Brown, Dorn Yellow, Ceramite White, Blood For The Blood God, Ahriman Blue, Rhinox Hide
Vallejo paint: Neutral Grey (alternatively, Mechanicus Standard Grey)
Superglue
Fine hair (preferably from your own head)
Gloss varnish (pink lab coat or any gloss varnish)
Paintbrushes
Water and palette for mixing paints
Step by Step and Tips on How to Paint Melusai Blood Sisters Dripping Heart and Halberd
Preparing the Heart
Start by applying a base coat of Mephiston Red to the heart held by the Melusai Blood Sister. Ensure thorough coverage and allow it to dry completely before proceeding.
Once the red base coat is dry, apply a coat of Wraithbone or bone-coloured paint to certain areas of the heart. Leave some areas of red in the recesses to create depth and realism.
Use a fine detail brush to pick out specific details on the heart, such as striations and tubing. These details will add texture and visual interest to the finished piece.
Creating Realistic Blood Drips
After applying gloss varnish to the hair, allow it to dry completely between coats to ensure stability and durability.
When painting the heart with Wraithbone or bone-coloured paint, focus on leaving some areas of red in the recesses to create depth and realism.
Utilize the Blood For The Blood God paint to add the blood drips. This paint has a translucent quality, mimicking the appearance of real blood.
Start by applying small droplets of the Blood For The Blood God paint at the bottom of the heart, where the hair strands meet the surface. This will simulate the blood dripping effect realistically.
Gradually build up the size of the blood drips by applying additional layers of the paint. This will create the illusion of thicker blood droplets as they descend from the heart.
As you add more layers of the paint, focus on varying the size and shape of the drips to achieve a natural and organic appearance. Remember that blood doesn’t flow in uniform lines, so irregular shapes and sizes are key to realism.
Allow each layer of paint to dry completely before adding the next layer. This will prevent smudging and ensure a clean and crisp finish to your blood drips.
Once satisfied with the appearance of the blood drips, allow the entire model to dry thoroughly before handling or applying any additional layers of paint. This will ensure that the blood drips remain intact and vibrant on your miniature model.
Painting the Halberd Staff
Start by determining the primary light source and angle on the model. This will dictate where the highlights and shadows should be placed on the halberd staff.
Use XV-88 to establish the main highlight line on the staff, focusing on the areas that would catch the most light.
Apply multiple layers of XV-88 to gradually build up the highlights, ensuring smooth transitions and depth.
Use Ice Yellow or Dorn Yellow to add secondary highlights to the staff, focusing on areas that would catch reflected light or have a slightly warmer tone.
Blend the highlights together using thin layers of paint and subtle transitions, ensuring a natural and cohesive appearance.
Use Balor Brown to add darker tones and shadows to the staff, focusing on areas that would be in shadow or less exposed to light.
Apply Neutral Grey or Mechanicus Standard Grey to create additional contrast and definition on the staff, paying attention to details and textures.
Use Ahriman Blue to add accents and details to the staff, such as rivets or embellishments, to enhance its overall appearance.
Finish by adding highlights with Ceramite White or another white paint, focusing on sharp edges and raised details to create a sense of depth and dimension.
Allow the paint to dry completely before handling or applying any additional layers, ensuring a clean and professional finish.
If you don’t have an account here on my website, please sign up here! I have over 350 video tutorials with steps and tips, plus a selection of PDFs. If you are not sure about joining, you can explore my free videos with a free membership, or take the plunge and become a full subscriber for full access.
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Creating a Non-Metallic Metal (NMM) texture on a sword for a miniature model requires patience, precision, and a good understanding of light and shadow. This guide is designed to walk you through the process of painting the weapon blade of Sekhar The Vampire, focusing on achieving a weathered, high-contrast, NMM effect.
Video: Non Metallic Metal Texture Sword
Materials Required
Paints: Vallejo Neutral Grey, Ice Yellow; Games Workshop Mournfang Brown, Rhinox Hide; P3 Morrow White; Two Thin Coats Dark Sun Yellow.
Brushes: Fine detail brushes capable of making very thin lines.
Palette: A wet palette to ensure your paints remain workable.
Water or Thinner: For diluting your paints to the desired consistency.
Step-by-Step Guide to the Non Metallic Metal Texture Sword
Preparing the Blade: Begin with a clean, primed miniature. Ensure Sekhar’s blade is smooth and free from any debris or fingerprints.
Base Coating: Apply a base coat of Neutral Grey on the blade. This serves as your midpoint for building up highlights and deepening shadows.
Establishing Light Points: Identify the main light points on the blade using a lamp. Typically, the flat back section of the blade and the curved edges will catch the most light. Mark these areas mentally as points where the highest highlights will be placed.
Initial Highlights and Shadows: Create a gradient on your palette ranging from Neutral Grey to Ice Yellow, progressively adding Ice Yellow to lighten the mixture. Include a separate mix with Mournfang Brown and Neutral Grey for warmer tones, and pure white for the brightest highlights.
Begin adding these mixtures to the blade, focusing on the predetermined light points. Use a scratchy, controlled technique with the very tip of your brush for texture.
Refining the Texture: As the paint on your palette dries slightly, it will naturally become thicker. Use this to your advantage to add textured highlights and shadows, adjusting the water content as necessary for softer transitions or more pronounced scratches.
Correcting and Sharpening Details: Utilise black to correct any oversteps or to sharpen the divisions between different sections of the blade. This step is crucial for defining the shape and enhancing the contrast of your NMM effect.
Adding Depth with Glazes: Mix highly diluted glazes of Mournfang Brown (and variations with Neutral Grey) to apply to the lower sections of the blade. This creates a sense of depth and simulates a subtle reflection from the environment.
Final Highlights: Use the brightest mixtures, including pure white, to add the final highlights to the top light points. This step might require going back to reinforce the contrast between the brightest highlights and the adjacent shadows.
Weathering Effects: To add a weathered look, incorporate fine scratches across the blade’s surface with a very thin brush and lighter paint mixes. These should traverse both the light and dark areas to create a unified texture across the blade.
Bounce Light: For a more advanced NMM effect, paint a bounce light on the cutting edge of the blade. This is a subtle highlight that simulates light reflecting off the ground, adding to the realism of your metal effect.
Finishing Touches: Reassess the overall effect from multiple angles, ensuring that the blade looks good from all perspectives.
Additional Tips
Patience is Key: Achieving a convincing NMM effect is time-consuming. Work slowly and carefully.
Lighting: Understanding how light interacts with metal is crucial for NMM. Study real-life examples if possible.
More Soulblight, Undead and Vampire Tutorials!
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How to paint the skin, face, and eyes of Sekhar the Blood Queen, highlighting common pitfalls when painting tiny faces like hers, and how to rectify them. We’ll use a specific set of paints from Games Workshop, Vallejo, and P3 to achieve our desired effects.
Video Part Three: Sekhar the Blood Queen Face with Eyes, and Skin
Paints Needed
Games Workshop: Bugman’s Glow, Sotek Green, Yriel Yellow, Evil Sunz Scarlet, Morghast Bone
Vallejo: Ice Yellow, Neutral Grey, Black
P3: Morrow White (or any white paint)
Step-by-Step Guide to Sekhar the Blood Queen Face, Eyes and Skin
Preparing the Base Mixture for Skin: Mix a 50/50 blend of Sotek Green and Bugman’s Glow to create the base skin tone. This unique combination provides a natural, yet distinctly fantastical, skin colour for our vampire queen.
Adding Highlights to the Skin: Gradually incorporate Ice Yellow into the base mixture for highlights. Start with small quantities and increase the Ice Yellow for each successive highlight layer. This technique helps achieve a smooth gradient in the skin tone, offering a more lifelike appearance.
Advanced Skin Highlights: For a creamy and realistic skin tone, mix Bugman’s Glow with Ice Yellow, carefully adjusting the blend to prevent the colours from becoming overly vibrant. Add a tiny amount of white to this mixture for the lightest highlights, aiming for an off-white shade that retains a hint of the base tones.
Painting Contrast and Metallic Elements: Apply a grey base to the collar, preparing it for a metallic silver finish. This step is crucial for setting up the contrast between the metallic textures and the skin, ensuring that both elements stand out without competing for attention.
Achieving Skin Texture and Smooth Transitions: Use thin layers for the skin, starting with a mix of approximately 1.5 parts water to 1 part paint, and adjust as necessary for smoother finishes. Ensure each layer is completely dry before applying the next to avoid any unwanted textures.
Highlighting Techniques: Focus on painting towards the highlights, lifting the brush at the brightest points for precise application. This method ensures that the highlights are sharp and well-defined, enhancing the model’s dimensional details.
Painting Facial Features: Pay particular attention to the face, adjusting features like the nose with shading and highlighting to ensure it fits naturally under any headgear. Avoid relying solely on box art for colour references, as this can mislead your perception of how facial features should be represented.
Painting the Eyes: Start with a solid base colour for the eyes, using black or a deep brown. Paint the iris in a striking colour, adding a small dot of white to each eye to simulate light reflection. This detail adds life and intensity to the figure’s gaze.
Enhancing the Lips: Choose a vibrant red for the lips, applying it carefully to add depth and dimension. This colour choice should complement the vampire theme, adding an element of allure and danger to the figure.
Overall Facial Harmony: Revisit the entire face to ensure all elements work together harmoniously. Adjust shadows, highlights, and colour intensity to achieve a balanced and realistic facial expression that suits the character’s persona.
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This video shows how to paint Horus Ascended from the Horus Heresy. The video looks at his skin, the red osl glow around his head, the armour and the NMM armour trim.
Video: How to Paint Horus – Part One
All videos are recorded in HD 1080p or higher – use full screen for the full effect and let the video load completely. You can also click the little “cog” and change the speed of the video, if I am going too fast (or slow!).
The following paints were used:
Games Workshop: Bugman’s Glow, Cadian Fleshtone, Mephiston Red, Wild Rider Red, Troll Slayer Orange, Yriel Yellow, Sons of Horus Green, XV-88, Mournfang Brown, Rhinox Hide, Balor BrownVallejo: Ice Yellow, Black, Neutral Grey P3: Morrow White
Steps and Tips
Assembly and Preparation:Assemble the model but leave the wolf pelt, cloak, and head unattached for ease of painting.Carefully address any mould lines on the mace, ensuring a clean finish.Utilise a heat gun to reshape the wolf pelt for an accurate fit on the model.
Priming:Prime the model thoroughly and allow it to set overnight.
Base Painting:Begin with a base coat of Mephiston Red, particularly on areas destined for the red glow (Object Source Lighting, OSL). Apply this in a brisk and relaxed style, without focusing on blending.
Building the Glow:Layer Wild Rider Red and Troll Slayer Orange, concentrating on recesses to enhance the glow effect.Incorporate Yriel Yellow for added brightness in the OSL areas.
Head Details:For the head, apply Cadian Fleshtone as a base to simulate natural lighting.Layer with Bugman’s Glow to establish depth and realistic skin tones.Highlight the forehead and areas receiving the main light with a mixture of Cadian Fleshtone and Vallejo’s Ice Yellow for a pronounced highlight.
Armour Details:Start the armour with a base of Sons of Horus Green.For depth, mix Sons of Horus Green with black for shadowed areas, and with Ice Yellow for highlighted regions.
Metallic Effects:For non-metallic metal effects on trims and details, commence with XV-88 as a base.Progressively apply layers using Mournfang Brown, Rhinox Hide, and Balor Brown, accentuating edges and raised details to mimic a metallic sheen.Employ Vallejo’s Neutral Grey for areas resembling steel or iron.
Finishing Touches:For ultimate highlights and refinement, use P3’s Morrow White.
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This video and guide shows how to paint an Ogroid head, (an Ogriod Theridon) which includes skin, horns, eyes, fur and other details.
Video: How to Paint an Ogroid Theridon Head
Materials Used
Paints from Games Workshop:
Bugman’s Glow
Screaming Skull
Ushabti Bone
Morghast Bone
Hobgrot Hide
XV-88
Mournfang Brown
Rhinox Hide
Death Korps Drab
Evil Sunz Scarlet
Nuln Oil
Balor Brown
Paints from Vallejo:
Ice Yellow
Black
P3:
Morrow White
Step-by-Step Guide
Base Coating:
Begin with a base coat of Bugman’s Glow, applied with an airbrush for efficiency, though hand painting is also acceptable.
Painting Horns:
Start with Screaming Skull, transitioning through Ushabti Bone, Morghast Bone, Hobgrot Hide, XV-88, Mournfang Brown, and finish with Rhinox Hide.
Remember to use multiple coats for a smoother finish.
Apply a thick glaze of watered-down Mournfang Brown for deeper colour in recesses and blending.
Highlighting Horns:
Use a lighter shade such as Morghast Bone, Ushabti Bone, or Screaming Skull for highlighting.
Gradually increase the brightness, moving towards smaller areas.
Add a final touch of white (e.g., Morrow White) for the brightest spots.
Painting the Face:
Start with a base of Bugman’s Glow.
Highlight using a mix of Bugman’s Glow and Ice Yellow, increasing Ice Yellow content for brighter highlights.
Use a mix of Bugman’s Glow and a small amount of Rhinox Hide for shadows.
Painting Eyes:
Base the whites of the eyes with an off-white colour.
Paint the irises with Evil Sunz Scarlet.
Use Vallejo Black for pupils, ensuring they’re higher up in the eye.
Add a tiny white dot for reflection.
Spots on the Forehead:
Start with Rhinox Hide, gradually mixing in Bugman’s Glow for lighter spots lower down the face.
Ensure the paint is thick enough to create a solid, opaque mark.
Teeth:
Base coat with Bugman’s Glow, washed with Nuln Oil.
Edge highlight with Hobgrot Hide.
Apply a glaze of thinned Evil Sunz Scarlet at the gum line.
Further highlight with a lighter bone colour (e.g., Ushabti Bone).
Beard:
Base coat with Death Korps Drab.
Apply successive highlights, adding Ice Yellow to the base colour for each stage.
Focus on creating a smooth, flowing texture.
Metallic Clasp on Beard:
Start with a base of XV-88.
Apply progressive highlights using lighter shades and Ice Yellow.
Add a touch of Mournfang Brown for warmth.
Finish with a bright dot of white for shine.
Notes:
For smoother paint applications, use a wet palette.
Consistently thin your paints, particularly for glazes and highlights.
Brush choice can vary based on preference; smaller brushes offer more control for fine details.
Ensure a consistent light source for realistic highlights and shadows.
Adjust the paint consistency and application technique based on the texture you’re painting (e.g., smooth for horns, diffused for fur).
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This video and step-by-step guide for Cado Ezechiar from Games Workshop shows how to paint a vampire head in detail.
Video: How to Paint a Vampire Head
All videos are recorded in HD 1080p or higher – use full screen for the full effect and let the video load completely. You can also click the little “cog” and change the speed of the video, if I am going too fast (or slow!).
Materials List
Paints:
Games Workshop: Cadian Fleshtone, Mephiston Red, Evil Sunz Scarlet
Vallejo: Neutral Grey, German Grey
P3: Morrow White (or any white paint)
Brushes:
Size 2 Round Brush (for broad applications)
Size 00 Round Brush (for detailed work)
Other Materials:
Wet Palette (to keep paints moist and workable)
Water Pot (for cleaning brushes)
Mixing Palette (for mixing custom paint shades)
Blue Tack (for temporarily attaching components)
Metal Rod (for holding the model while painting)
Super Glue (for assembly adjustments)
How to Paint a Vampire Head Painting Guide
Preparation
Modify and Assemble: Modify the hair of the model to prevent it from touching the face, allowing for easier access when painting. This involves careful cutting, reattaching, and positioning of the hair components.
Priming: Prime the model with a neutral primer to ensure paint adhesion and colour accuracy.
Base Coating
Apply Base Colours: Begin with a base coat of Cadian Fleshtone for the skin, applying it thinly (around a 1.5:1 ratio of water to paint) using a size 2 brush for a smooth layer. For the hair, use Neutral Grey as the base.
Layering and Detailing
Layering: Employ both a size 2 brush for general work and a 00 brush for fine details. Gradually build up the skin tones, focusing on creating dramatic lighting by highlighting facial features and leaving recesses darker. Mix Cadian Fleshtone with white for various highlight shades.
Eyes and Teeth Detailing: For the eyes, utilise Mephiston Red and Evil Sunz Scarlet for a glowing effect. For the teeth, mix Cadian Fleshtone with white to achieve a natural bone colour, steering clear of pure white to maintain realism.
Hair: Paint the hair in layers, starting with Neutral Grey, then adding white for highlights. Adjust shading and highlighting to reflect texture and colour accurately.
Shadows and Highlights: Use German Grey for deep shadows to add depth, especially around the eyes and under facial features. Use mixtures of Cadian Fleshtone with white and grey to refine the face’s appearance, enhancing the transition from light to shadow.
Final Touches: Add fine highlights with a mix of the lightest skin tone and a bit of white, focusing on areas where light naturally hits. Use a fine brush for precision, ensuring smooth transitions between light and dark areas.
Additional Tips
Brush Care: Always wet your brush before starting to paint, even if it appears clean, to ensure smooth paint flow.
Lighting Effects: When painting, consider how light interacts with the model’s features. This helps in achieving a more natural and realistic appearance, even with dramatic lighting.
Colour Mixing: Don’t be limited by paint names. Understand that all paints are just colours, and creative mixing can achieve the desired effect, such as using skin tone mixes for teeth to avoid too stark a contrast.
Explore all of my tutorials for Cado Ezechiar
Cado Ezechiar
Golden Demon Entry – These videos show how to paint the vampire model, Cado Ezechiar, from Games Workshop.
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In this tutorial, we’re diving into the wonderfully grim world of Nurgle as we explore how to bring the Rotbringer Sorcerer from Age of Sigmar to life with vivid detail. Whether you’re a seasoned painter or just starting out, this step-by-step guide will equip you with techniques and tips to get going.
Video: How to Paint a Rotbringer Sorcerer – Part One:
All videos are recorded in HD 1080p or higher – use full screen for the full effect and let the video load completely. You can also click the little “cog” and change the speed of the video, if I am going too fast (or slow!).
Video: How to Paint a Rotbringer Sorcerer – Part Two
Materials and Paints
Primer: Badger’s Ultimate Primer Black
Games Workshop Paints: Mephiston Red, Balor Brown, Yriel Yellow, Mournfang Brown, Corvus Black, Bugman’s Glow, Cadian Fleshtone, Morghast Bone, Screaming Skull, Trollslayer Orange, Rhinox Hide, Skeleton Horde Contrast
Vallejo Paints: Basalt Grey, Ice Yellow, Neutral Grey, Pale Grey Blue (optional)
P3 Paints: Morrow White
Step-by-Step Guide to the Rotbringer Sorceror:
Preparation and Priming: Fully assemble your Rotbringer Sorcerer and prime it with a black primer. For easier access to intricate areas, consider leaving the arm that holds the scythe detached during priming.
Base Coating: Apply base coats using Mournfang Brown for wooden elements and Basalt Grey for the cloak and scythe blade. Bugman’s Glow is ideal for flesh areas. Apply these base coats roughly, aiming for coverage rather than precision.
Skin Tones: Enhance skin areas with Bugman’s Glow, providing a rosy, dark flesh tone. Progress with Cadian Fleshtone for highlights, ensuring to thin your paints for a smooth finish.
Wood and Metal Detailing: Utilise Balor Brown for initial wood highlights, transitioning to Mournfang Brown for added depth. For metallic areas like the scythe blade, start with Rhinox Hide, building up to Neutral Grey mixed with white for higher highlights. Create rust effects using Trollslayer Orange.
Shading: Employ Corvus Black, adequately thinned, to add depth through shading across the model, focusing on recesses and shadowed areas.
Detail Enhancement: Use Screaming Skull for edge highlights and detail work on scrolls and similar features. Maintain thin paint layers for refinement.
Textures and Freehand Elements: Incorporate freehand elements like Nurgle symbols using Mephiston Red. Apply textures such as rust and wood grain using stippling techniques with Trollslayer Orange for rust and Morghast Bone for wood grain.
Verdigris Effect: On copper elements, create a verdigris effect with Sotek Green mixed with white. Apply this judiciously to areas that would naturally show oxidation, steering clear of bright highlights.
Candle Flames: Paint candle flames using Yriel Yellow, adding Trollslayer Orange to the tips. Blend these colours for a realistic flame appearance.
Model Basing: Prepare a base that complements the model, using a mix of sand, poly filler, and paint it with XV-88, Morghast Bone, and weathering powder. Introduce grass patches for added realism.
Final Adjustments: Revisit the Rotbringer Sorcerer for any last highlights or corrections. Use a precise brush for fine details, ensuring the paint consistency is suitable.
Model Sealing: Once satisfied with the painting, apply a matte varnish to protect your work.
Tips:
Thin your paints for smoother layers and better control.
Utilise an older brush for base coating and a newer, finer brush for detailed work.
Regularly assess your work from a distance for adjustments.
Experiment with light placement for dynamic highlighting and shadowing effects on your Rotbringer Sorceror.
Initial layers don’t need perfection as they will be layered over with more detail.
Show it off!
As you progress, feel free to adapt and tweak techniques to suit your style. Good luck! When you’ve finished, why not pop into our Discord and show it off to other website members? 🙂
More Nurgle Tutorials
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This video and step by step guide shows how to paint the abdominal muscles on Be’lakor, The Dark Master.
Video: How to Paint Be’lakor Abdominals
All videos are recorded in HD 1080p or higher – use full screen for the full effect and let the video load completely. You can also click the little “cog” and change the speed of the video, if I am going too fast (or slow!).
Paints and Materials Used:
Games Workshop: Pink Horror Vallejo: Black (Abaddon Black is fine) P3: Morrow White (Any white will do)
Step-by-Step Guide on How to Paint Be’lakor Abdominals:
Initial Colour Mixing:
Start by blending your primary colours. Use Games Workshop’s Pink Horror, Vallejo’s Black (Abaddon Black will suffice), and P3’s Morrow White (any white is suitable).
Create a range of shades on your palette. Remember, never use pure Pink Horror; always mix it with black or white for varied tones.
Base Layers and Texturing:
Begin with a dark base. Combine a bit of Pink Horror with Vallejo Black to form your starting dark shade.
Apply this mix to the abdominals using a scratchy technique. This stage is about establishing texture and base tones rather than precision.
Gradually add more Pink Horror to the mix for lighter tones, ensuring even the lightest shade contains a touch of black.
Detailing Muscle Structure:
Focus on painting the muscle lines and shapes. Avoid using straight lines; follow the natural muscle flow and curves.
Vary the direction and weight of your brushstrokes to replicate muscle striations and textures.
Pay special attention to the upper abs and lower sections where muscle groups intersect, adding subtle lines to suggest skin over muscles.
Adding Depth with Highlights and Shadows:
Progressively lighten your colour mix by incorporating more white into Pink Horror for highlights.
Apply highlights consistent with the light source and muscle contours for a natural effect.
Use a darker glaze (Pink Horror and black mix) for enhancing shadows, adding depth and contrast.
Final Adjustments and Corrections:
Use a fine-tip brush for detailed work. Adjust brush pressure to vary line thickness while maintaining precision.
If some areas seem too stark or transitions between shades are abrupt, employ glazing techniques.
Mix a very light glaze (predominantly water) of your lightest colour and softly apply over highlighted areas to soften. Similarly, darken shadow areas with a darker glaze.
Reviewing Your Work:
Regularly review your model under a lamp or through a photograph to check for consistency and realism.
Make necessary adjustments, ensuring the overall appearance is visually appealing and coherent.
Keep in mind that whilst striving for realism, there’s leeway for artistic interpretation, particularly considering Be’lakor’s demonic nature!
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The first in a series on How to Paint an Ork Squigosaur (shark squig)! This video contains How to Paint an Ork Squigosaur skin, teeth and his eyes.
All videos are recorded in HD 1080p or higher – use full screen for the full effect and let the video load completely. You can also click the little “cog” and change the speed of the video, if I am going too fast (or slow!).
The following paints were used: Games Workshop: Warboss Green, Moot Green, Khorne Red, Mephiston Red, Mournfang Brown, XV-88, Balor Brown, Morghast Bone, Screaming Skull, Pink Horror Vallejo: Black, Basalt Grey, Neutral Grey, Dark Sea Grey, Pale Grey Blue P3: Morrow White (Any White will do)
How to Paint an Ork Squigosaur Skin Tips!
Inside the Mouth: Utilise an airbrush to paint the inside of the mouth for a clean and efficient finish.Opt for dark grey shades, ensuring subtle highlights.Adding Spot Colours: Introduce spot colours on the shark squig to break up the desaturated black and grey appearance.Consider using Dark Sea Grey for added interest.Matte Varnish: Apply matte varnish to areas with overspray to reduce shine and enhance focus during highlighting.Choosing Greys: Experiment with greys like Neutral Grey, Black, and Basalt Grey for various effects.Create your own versions of greys using Black and White if needed.Texture Marks: Add scratches and texture marks to simulate battle damage and wear on the model.Follow the shape of organic surfaces for a more natural look.Squiggly Lines: Create squiggly lines and scratches quickly for a battle-worn effect.Vary the length and direction of the lines for a more authentic appearance.Control brush pressure for varying line thickness.Use a thinner brush for more intricate details.Glazing: Thin down Basalt Grey for glazing to correct areas that need additional highlights.Achieve a smooth blend with thin layers of glaze.Teeth Painting: Paint teeth bone-coloured for high contrast.Darken the tips of upper row teeth and lighten the tips of the lower row teeth for realism.Eye Detailing: Paint the eyeball with Dark Sea Grey or similar colours.Gradually transition from dark to bright greens for a realistic eye effect.Add a touch of white at the bottom of the eye for a shiny appearance.Layering and Highlights: Layer highlights on scars and skin texture to add depth.Adjust opacity by making the highlighted area smaller for a realistic effect.
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This video shows how to paint the skin on the chest and the eight pointed star of Chaos for Be’Lakor.
Video: How to Paint Be’lakor Chest and Chaos Star
All videos are recorded in HD 1080p or higher – use full screen for the full effect and let the video load completely. You can also click the little “cog” and change the speed of the video, if I am going too fast (or slow!).
The following paints were used:
Games Workshop: Pink Horror, Mephiston Red, Evil Sunz Scarlet, Trollslayer Orange, Yriel YellowVallejo: Black P3: Morrow White
Step-by-Step Guide:
1. Preparing the Palette:
Begin with a wet palette containing a range of colours primarily based around Pink Horror, mixed with either black or white. Avoid using pure Pink Horror to prevent excessive saturation. Having a variety of mixes allows for smoother transitions between shades.
2. Establishing the Base:
Start by blocking in highlight points on the chest. It’s important to consider the model’s orientation – ensure the body is slightly turned left, aligning with the head’s direction, to correctly place highlights.
3. Focusing on the Golden Angle:
Paint with a focus on the model’s ‘golden angle’, the most aesthetically pleasing view, but ensure all angles are addressed, especially for competition entries like Golden Demon.
4. Using Bodybuilder References:
Employ references of bodybuilders to understand muscle structure and highlight placement. This will aid in achieving realistic light volumes and muscle definition.
5. Adding Muscle Textures:
Begin texturing the muscles, especially on the chest, with long, simple lines that will later be turned into muscle striations. Adjust the texture’s visibility based on the muscle’s exposure to light.
6. Preparing the Chaos Star:
If desired, apply a base layer of Mephiston Red to the Chaos star before detailing the chest, as this might affect the surrounding areas.
7. Detailing the Chest:
Continue refining the chest, enhancing the muscle textures and striations. Use lighter paint for visible lines and ensure the chest is brighter than other body parts to draw focus.
8. Painting the Chaos Star:
Start with a base of Mephiston Red, followed by layers of Evil Sunz Scarlet and Trollslayer Orange, each layer being more focused towards the centre of the star for an Object Source Lighting (OSL) effect.
Finish with a central dot of Yriel Yellow, mixed with a bit of white, for the brightest point.
9. Applying OSL Effect:
Add a glow effect around the Chaos star, using red shades to highlight edges of the pectoral muscles closest to the star. The glow should decrease in intensity further from the star.
10. Final Adjustments:
Revisit the chest and Chaos star for final tweaks. This includes refining edge highlights and adjusting the balance between the red glow of the star and the natural skin highlights.
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Part of a series for how to paint Be’lakor, the Dark Master. These two videos look how to paint Be’Lakor Face and Horns
Video: Be’Lakor Face and Horns Part One
All videos are recorded in HD 1080p or higher – use full screen for the full effect and let the video load completely. You can also click the little “cog” and change the speed of the video, if I am going too fast (or slow!).
The following paints were used:
Games Workshop: Pink Horror (mixed with black and white), Balor Brown, Morghast Bone, Ushabti Bone, Screaming Skull, Mephiston Red, Wild Rider Red (Yriel Yellow for eye dot) Vallejo: Black (and black is fine) P3: Morrow White (any white is fine)
Step by Step Guide
1. Priming:
Start with a black-primed model. (The first and greatest of the Daemon Princes)
2. Skin Base and Highlights:
Mix Vallejo Black with a small amount of Games Workshop’s Pink Horror for the base skin colour.
Gradually add more Pink Horror to the mix, creating several shades up to a majority of Pink Horror.
For lighter shades, mix Pink Horror with P3’s Morrow White (or any white). Start with a small amount of white, increasing up to about 50/50 or more for the brightest highlights.
Note: Avoid using Pink Horror alone, as it can become overly saturated.
3. Lighting and Shadowing:
Ensure the model is painted evenly, focusing on high-quality shadow and light contrast.
Paint the details on both the lit and shadow sides, maintaining visible details throughout.
4. Textured Skin Effect:
Create texture on the skin, simulating muscle grain. Use bodybuilder images for reference, and exaggerate for effect.
Apply this texture across the entire body.
5. Horns:
Initially paint the horns uniformly, and later apply glazing for shadowed areas.
Use a stippling method for texture. Start with Balor Brown for the base of the horns.
Highlight the horns progressively using Morghast Bone, Ushabti Bone, and Screaming Skull, leading up to white for the brightest points.
6. Eyes:
Paint the eyes starting with Mephiston Red, followed by Wild Rider Red.
Highlight with Balor Brown, and for the brightest points, use Yriel Yellow for a glowing effect.
Correct any mistakes by repainting the area with black, then reapplying the colours as needed.
7. Teeth:
Paint the teeth using the same colors as the horns, ensuring they appear distinct from the bony parts of the model.
8. Final Touches and Glazing:
Use glazing to soften the overall texture and colours on the horns. Mechanical Standard Grey from Games Workshop or Vallejo Neutral Grey can be used for this purpose.
Remember, the key to this paint job is to build up layers gradually and focus on creating contrast and texture.
Video: Be’Lakor Face and Horns Part Two
All videos are recorded in HD 1080p or higher – use full screen for the full effect and let the video load completely. You can also click the little “cog” and change the speed of the video, if I am going too fast (or slow!).
The following paints were used:
Games Workshop: Pink Horror (mixed with black and white), Balor Brown, Morghast Bone, Ushabti Bone, Screaming Skull, Mephiston Red, Wild Rider Red (Yriel Yellow for eye dot) Vallejo: Black (and black is fine) P3: Morrow White (any white is fine)
Step by Step Guide
1. Texturising the Horns:
Begin with Balor Brown from Games Workshop to create a base layer of texture. Apply vertical strokes across the horns, but avoid being overly precise.
Focus on the area where the horns intersect, creating an overlap of lines. This not only makes the area more interesting but also serves as a natural highlight, accentuating the joint.
2. Highlighting Techniques:
Utilise Ushabti Bone for the initial highlights. For a gradual transition, you might consider starting with Morghast Bone and then refining with Ushabti Bone. However, given that subsequent glazing will soften these transitions, a stark contrast is not paramount.
3. Get Glazing:
Employ a glazing method using diluted Mournfang Brown, Rhinox Hide, and Vallejo Black (or alternatively Abaddon Black from Games Workshop).
Begin with Mournfang Brown, applied lightly over the textures. Start from the horn tips and work downwards, ensuring the glaze remains semi-transparent and does not obscure the underlying textures.
Progress to Rhinox Hide, but don’t cover the Mournfang Brown entirely. Aim for a gradient effect.
Culminate with black, focusing predominantly on the horn tips to create a striking contrast.
4. Finalising the Highlights:
Apply the concluding highlights on the horn tips using the same colour palette (Balor Brown, Ushabti Bone, and possibly Morghast Bone). Exercise caution with these transitions to maintain a natural appearance.
5. Painting the Horn Rings:
For the rings, opt for Neutral Grey, Pale Grey Blue, and white, aiming for a non-metallic, desaturated effect.
Start with Neutral Grey to outline the highlights, ensuring a ridge is painted down the middle of the rings.
Add secondary highlights with Pale Grey Blue, defining the ring’s contours.
For maximum contrast, apply white highlights in a small blob or dot to simulate a reflective glare.
6. The Finishing Touches:
Use a larger brush for broader coverage but be careful to prevent obscuring the hard-earned details.
Reapply glazes as necessary, taking care not to excessively diminish the textures.
Strive for smooth transitions and ensure the highlights match the rest of the model.
Continue Painting Be’Lakor!
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The most powerful model from the Age of Sigmar Dominion box!
I thought it was time that I painted the most powerful model from the new Age of Sigmar Dominion box! It’s the mighty Stab-Grot!
Materials Required:
Stab Grot miniature, fully assembled and primed with Scale 75 Surface Black Primer
Paints: Games Workshop (Mournfang Brown, Rhinox Hide, Cadian Fleshtone, Ushabti Bone, Firedragon Bright, Daemonette Hide, Sotek Green, XV-88, Moot Green, Mephiston Red, Evil Sunz Scarlet), Vallejo (Ice Yellow, Black, Neutral Grey, White, German Grey, Pale Grey Blue)
Brushes, including a fine detail brush (size 00 recommended)
Painting Process:
Base Layers: Begin with Vallejo German Grey, applying it to the armoured parts using a scratchy technique. Concentrate on lighter points where light naturally falls (shoulder, forearm), but ensure even coverage.
Adding Tones: Apply Daemonette Hide for a subtle hint of colour. Use the same method as with German Grey but in smaller areas, allowing the underlying grey to show through for texture.
Highlights and Shading: Combine Pale Grey Blue and Daemonette Hide for highlights. Aim for a grimy, non-polished metal appearance. Use white sparingly to highlight edges and dents.
Skin Tones: Start with Sotek Green, progressively adding Moot Green and white for highlights. Focus on creating soft transitions with diluted paint for a realistic skin effect.
Leather Details: Base with Rhinox Hide, then layer with XV-88 and Cadian Fleshtone, concentrating on edges and scratches. Use watered-down Mournfang Brown for a glazing effect, softening the highlights.
Red Cloth: Base with Mephiston Red, layering for opacity. Highlight with Evil Sunz Scarlet, careful not to overdo it to preserve the red’s vibrancy.
Final Touches: Add final details such as rust on the blade with Mournfang Brown and scratches with Ice Yellow. Remember, moderation is key for a realistic weathered look.
Tips for Success:
Pay attention to natural light fall for realistic highlights and shadows.
Use a scratchy technique for armour to create texture and a weathered appearance.
Thin your paints for smoother transitions, especially on the skin.
Avoid over-highlighting reds to prevent a pink or orange shade.
Patience and attention to detail are vital for a small, detailed model like Stab Grot.
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This video shows how to paint the mask of horror (and some of the difficulties I had!) for Lady Annika.
Video: Lady Annika Mask
Materials Needed:
Games Workshop Paints: Cadian Fleshtone, Rhinox Hide, Ushabti Bone, Mephiston Red, Dark Reaper (later changed to Corvus Black)
Vallejo Paint: Model Color Air White
Fine detail brushes
Wet palette
Water (for thinning paints)
Base Coat
Prime the Mask: Begin with a black primer to ensure the colours that follow stand out.
Apply Cadian Fleshtone: Cover the mask with Cadian Fleshtone. This will likely take three to four coats due to the poor coverage over the black primer. The aim is to achieve a base that resembles a realistic skin tone, though the mask itself is quite small, making this task more challenging.
Creating the Skin Tones
Mix Shades: Prepare a range of shades on your wet palette by mixing Cadian Fleshtone with varying amounts of white for highlights and Rhinox Hide for shadows. For deeper shadows, use a 50/50 mix of Cadian Fleshtone and Rhinox Hide, and for pure shadow areas, use Rhinox Hide alone.
Block in Highlights and Shadows: Considering the light source is from the top left, start blocking in highlights and shadows to define the mask’s features. This initial stage doesn’t require perfect blending, as the translucent nature of the watered-down paints (approximately two parts water to one part paint) allows for underlying layers to show through, contributing to a more natural look.
Refining Details
Enhance the Highlights: Use the lighter mixes (Cadian Fleshtone with white and Ushabti Bone with white) to highlight areas like the bridge of the nose, cheekbones, and forehead. These areas may need even more watered-down paint to avoid a chalky texture.
Detailing the Eyes and Mouth: With Corvus Black, add definition around the eyes and mouth. Initially, Dark Reaper was used, but Corvus Black provided a more suitable shade for creating a horror effect without being overly saturated.
Adding Horror Elements
Mascara Tears: Using Corvus Black, paint streaks running down from the eyes to simulate mascara tears, ensuring they thin out towards the bottom. This effect should look distressed and slightly uneven to enhance the horror aesthetic.
Red Lips: Paint the lips with Mephiston Red, carefully defining them to stand out against the paler skin tones. The open mouth adds to the mask’s gormless, horrific expression.
Finishing Touches
Softening and Blending: Go back over the mask to soften any harsh lines or transitions, especially around the streaks and shadowed areas, to ensure a coherent and lifelike (yet horrific) appearance.
Detailing and Corrections: If necessary, use the skin tone mixes to correct any mistakes or overly bold lines, particularly around the eyes and eyebrows, to maintain the desired look.
For all my Tutorials on Lady Annika, follow the link below:
Lady Annika
Golden Demon Entry – Lady Annika’s thirst for blood is legendary, even amongst the Soulblight vampires! I really enjoyed painting her and made a few tweaks to the model.
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This is the first video in a series of how to paint undead vampire skin onLady Annika. This video looks at painting the face and hair to display level.
All videos are recorded in HD 1080p or higher – use full screen for the full effect and let the video load completely.
Materials Needed for her Undead Vampire Skin and Hair
Games Workshop Paints: Kislev Flesh, Dark Reaper, Ushabti Bone, Flayed One Flesh, Moot Green, Yriel Yellow
Vallejo Paints: Black, Basalt Grey, Dark Sea Grey
P3 Paint: Morrow White
Fine detail brushes
Wet palette
Water (for thinning paints)
Preparation
Prime and Prepare: Prime the whole model and build it, leaving the head separate for easier painting. This approach allows better access to the head, especially around areas obstructed by accessories like masks.
Painting the Undead Vampire Skin
Base Coat with Kislev Flesh: Thin Kislev Flesh with water at a ratio of approximately 2:1 (water:paint). Apply the thinned paint to the head, aiming for a very translucent effect. This will take around 3-4 layers to achieve a good, but not opaque, coverage.
Shading: Mix Kislev Flesh with Dark Reaper to create various shades for skin shadows. Start with a small amount of Dark Reaper to slightly darken the Kislev Flesh and incrementally increase the amount of Dark Reaper for deeper shadows. Apply these mixes carefully to areas like under the eyes, around the nose, and under the chin to simulate natural shadows.
Adding Depth with Ushabti Bone and Flayed One Flesh: Introduce Ushabti Bone and Flayed One Flesh for highlights and to add depth to the skin. These should also be thinned and applied sparingly to areas that would naturally catch the light.
Refining Details: Use pure Dark Reaper to define the eyes and deeper shadows. Then, carefully increase the intensity of highlights and shadows by adding more layers, paying close attention to the light source (coming from the left in this case) to ensure a realistic appearance.
Painting the Hair
Base with Moot Green: Apply Moot Green as the base colour for the hair. If necessary, mix Moot Green with a little black to adjust the shade. Ensure to cover all strands, aiming for a uniform base layer.
Add Highlights and Shadows: Create a gradient effect by mixing Moot Green with white for highlights and pure black for deeper shadows. Apply these mixes strategically to mimic natural hair highlights and to give the impression of volume and movement.
Detailing with Fine Strands: Use a fine brush to add delicate strands of hair in lighter green shades towards the tips and darker shades near the roots to simulate depth and texture.
Roots Detailing: For an added touch of realism, use Basalt Grey and Dark Sea Grey near the roots to suggest regrowth or a transition of colour. This technique adds complexity and depth to the hair.
Finishing Touches
Glazing for Smoothness: Once satisfied with the skin and hair, use glazing techniques to smooth out transitions and blend the colours more seamlessly. This step involves thin layers of paint applied over dry areas to subtly adjust tones and shades.
Eyes and Teeth: Paint the eyes using Yriel Yellow for the whites and Vallejo Black for the pupils. For the teeth, use Ushabti Bone for a natural look, and carefully define each tooth for clarity.
Lips: Paint the lower lip with a mixture of red (e.g., Mephiston Red from Games Workshop) and add highlights with a mix of Shabti Bone and the red base colour to create a natural gradient.
Watch all of my Lady Annika tutorials by clicking the link below! :
Lady Annika
Golden Demon Entry – Lady Annika’s thirst for blood is legendary, even amongst the Soulblight vampires! I really enjoyed painting her and made a few tweaks to the model.
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This video shows how to paint the Vampire Lord face and hair from the Soulblight Gravelords army by Games Workshop.
Video – Vampire Lord Face and Hair
Paints and Materials
Games Workshop: Calgar Blue, Cadian Fleshtone, Ushabti Bone, Yriel Yellow, Khorne Red, Mephiston RedVallejo: Neutral Grey, Black
Step-by-Step Guide and Tips Vampire Lord Face and Hair
Painting the Vampire Lord Face:Base Coat: Start with a base coat of Calgar Blue over the black primer. Expect poor coverage initially. Thin the paint with approximately 1.5 parts water to 1 part paint. Apply 3-4 layers to achieve an opaque finish.
Highlighting: Create a mix of 50/50 Calgar Blue and Cadian Fleshtone. Apply this mix to specific areas of the face, considering the natural light fall. Key areas include the forehead, cheekbones, and areas between the eyes and nose. This mix will start to give a flesh tone, retaining a hint of blue for the undead look.
Further Detailing: Use Cadian Fleshtone and a mix of 50/50 Ushabti Bone and Cadian Fleshtone for additional highlighting. Focus on raised areas and consider how light interacts with facial features. Apply highlights gradually, using a heavily diluted mix for soft transitions.
Eyes and Mouth: Paint the eyes and the inside of the mouth in black. This step ensures these areas are defined and helps balance the highlights on the face.
Painting the Vampire Lord Hair:Base Coat: Apply Neutral Grey from Vallejo over the black primer. Switch to Khorne Red for a vibrant, contrasting colour to the skin. Thin the paint slightly and apply multiple coats for an even, opaque finish.
Highlighting: Use Ushabti Bone to highlight the hair. Mix it with Khorne Red in varying proportions, increasing the Ushabti Bone content for brighter highlights. Focus on areas where light would naturally hit, creating a shiny, luxurious look.
Glazing for Colour Depth: After highlighting, the hair may appear too desaturated. To bring back the richness of the red, glaze over the hair with a heavily diluted Mephiston Red. This step enhances the red colour while maintaining the shine.
Final Touches on Hair: Optionally, add Abaddon Black to the corn red to create darker shades in the hair, increasing the depth and contrast.
Watch more of my Vampire Lord tutorials by clicking the link below:
Vampire Lord
Golden Demon Entry – All the videos on how to paint the Vampire Lord from the Soulblight Gravelord Armies! This includes NMM shiny steel armour, face and hair, skeleton base tutorial plus a dripping gore-covered mace!
Watch Now
Watch all my latest Undead Tutorials, below:
If you don’t have an account, please sign up here! The website currently has over 350 video tutorials with steps and tips, plus a selection of PDFs. If you are not sure about joining, you can explore my free videos with a free membership, or take the plunge and become a full subscriber for full access.
If you’d prefer to support me on Patreon, please visit: https://www.patreon.com/RichardGray [...]
Tips, video and full step by step guide on how to paint Sigvald Sword Hilt in NMM Silver. The mighty Sigvald the Magnificent needs an equally impressive sword and silver provides good contrast to his gleaming golden armour.
Video – How to Paint Sigvald Sword Hilt in NMM Silver
Full Materials List
Brushes:Fine Detail Brush: A size 00 Artist Opus brush is recommended for precision in applying fine details and highlights.Paints:Vallejo Neutral Grey: The primary colour used for mapping out light points and creating the base layer of highlights.Vallejo Pale Grey Blue: Employed for refining and emphasizing highlight points.Vallejo Ice Yellow: Added to introduce a subtle warm tone to the highlights.P3 Morrow White: Mixed with Neutral Grey for lighter shades and used for bright reflective points.Games Workshop XV-88: Applied for adding coloured reflections, simulating the interaction of the hilt with surrounding elements.
Step-by-Step Guide for Painting Sigvald’s Sword Hilt in NMM Silver
Initial Setup and Paints: On your wet palette, prepare the following colours: Vallejo Neutral Grey (top right in the video), Vallejo Pale Grey Blue (top left), Vallejo Ice Yellow (bottom right), and P3 Morrow White (bottom left).
Applying Neutral Grey: Start with Vallejo Neutral Grey. Despite appearing dark on the palette, it looks lighter against the black primed background of the sword hilt. This contrast is key. Begin by mapping out the light points on the hilt, focusing on top-down highlights. Remember, curves on the hilt, whether upward or downward-facing, will catch more light.
Adding Bounce Highlights: Still using Neutral Grey, paint in some bounce highlights. These are reflective lights, such as light bouncing off the floor or nearby surfaces. Towards the end of your painting session, add colour to these bounce highlights to reflect adjacent colours like armour.
Building Up Highlights: Move to the mixed paint of Neutral Grey and White on your palette. Apply this mixture over the same areas as before, maintaining a scratchy texture to simulate the metallic surface. Be cautious in placing highlights, as the complex shape of the hilt requires careful attention to where light naturally hits.
Refining with Pale Grey Blue: Next, use Vallejo Pale Grey Blue to pick out more pronounced highlight points. This step enhances the contrast and adds to the illusion of a shiny surface.
Incorporating Ice Yellow: Apply Vallejo Ice Yellow to add a subtle warm tone to the highlights. This step is not about creating a stark contrast but about adding warmth to tie the hilt’s lighting to the rest of the model.
Detailing Bounce Highlights: Focus on areas where the light might reflect from one part of the hilt to another. These subtle details help in selling the realism of the metallic effect.
Adding Coloured Reflections: Near the end, use Games Workshop XV-88 to add coloured reflections to the silver. Apply this especially around areas where the hilt’s metal would reflect the colour of Sigvald’s armour. Thin this paint slightly (about two parts water to one part paint) for a translucent effect.
Final Touches and Review: After completing the painting, review your work. Make sure the balance of light and dark is maintained, and the silver retains its metallic look, not overshadowing the non-metallic gold of other armour parts.
Continue painting Sigvald the Magnificent with my full tutorials…
How to Paint Sigvald the Magnificent with NMM
All of the tutorials for Sigvald the Magnificent, including how to paint NMM (gold) armour, face and horns, freehand shield, NMM silver sword and hilt and more!
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If you’d prefer to support me on Patreon, please visit: https://www.patreon.com/RichardGray [...]
Part of a new series focusing on the new Mega Gargant (Giant) from Games Workshop. Here is how I painted the Warstomper Mega-Gargant Skin.
Video Tutorial Part One – Mega-Gargant Skin and Body
All videos are recorded in HD 1080p or higher – use full screen for the full effect and let the video load completely
Paints and Materials
Brushes:
A worn-down size 00 Artis Opus brush for soft blending and detailed work.
Various other brushes for different techniques (specific sizes and brands not mentioned).
Paints:
Vallejo:
Heavy Grey (base colour for skin)
Ice Yellow (for highlights and skin tone adjustment)
Golden Olive (for subtle skin colour variation)
Games Workshop:
Mournfang Brown (for hair)
Cadian Fleshtone (for skin highlights and texture)
Daemonette Hide (for desaturation and adding depth to skin)
Rhinox Hide (for freckles)
XV-88 (for beard highlights)
Evil Sunz Scarlet (for nose colouring)
P3:
Morrow White (not used in this part, but generally useful for mixing and highlights)
Primer:
Scale75 Primer (for a matte finish)
Other Materials:
Water for thinning paints.
A palette for mixing paints.
Kitchen roll or a similar material for wiping and adjusting brush moisture.
Lighting:
A well-lit workspace, preferably with a directional light source to understand how light falls on the model.
Step-by-Step Guide
Primer and Base Coat:
Prime the model with Scale75 Primer for a matte finish.
Begin the skin base with Vallejo’s Heavy Grey. Despite its name, it has a greenish tint and is perfect for creating a unique skin tone. Thin it down for a more translucent look.
Initial Detailing:
Apply Vallejo’s Mournfang Brown for the hair, keeping strokes vertical and allowing some black primer to show through for natural variation.
Use a worn-down size 00 brush for soft blending, avoiding sharp marks at this stage.
Building Skin Tones:
Introduce Vallejo’s Fleshtone, which is significantly lighter than Heavy Grey, to start building up highlights. Apply thinly and gradually to avoid stark contrasts.
Add Games Workshop’s Daemonette Hide, a greyish-purple colour, for desaturation and adding depth to the skin.
Use Vallejo’s Golden Olive to inject subtle colour into the skin. This won’t make the giant look Nurgle-like but adds vibrancy to the skin.
Creating Texture and Contrast:
Continuously build up texture and contrast by alternating between the skin colours. Keep the paint consistency thin (about 50:50 with water) for subtlety.
Focus on one side of the face for detailing, keeping in mind the light source direction (top left in this case).
Refining Highlights:
Gradually refine the highlights with thin glazes of Cadian Fleshtone and Ice Yellow from Vallejo, focusing towards the highlight areas.
Ensure the transitions from mid-tones to highlights are smooth and natural.
Adding Freckles:
Introduce freckles using Games Workshop’s Rhinox Hide. Apply them sparingly and glaze over them with the skin tones to soften their appearance.
Beard Detailing:
Paint the beard starting with Mournfang Brown, then add highlights with XV-88 from Games Workshop. Ensure the beard blends softly into the skin.
Avoid overly bright highlights on the beard; XV-88 should remain the brightest highlight.
Nose Colouring:
Add a touch of colour to the nose with Games Workshop’s Evil Sunz Scarlet, heavily thinned for a glaze-like consistency.
Stipple this on and blend with Daemonette Hide for a subtle, natural look.
Final Adjustments:
Continuously review the model, adding layers and refining details. The goal is to create a balanced, realistic skin tone with a moody, dark atmosphere.
Remember to paint from multiple angles, ensuring the model looks good from all sides.
More Gargant and Giant Tutorials
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This video and step by step guide shows how to paint the face and horns on Sigvald the Magnificent from the Hedonites of Slaanesh by Games Workshop.
Video – Sigvald Face and Horns
All videos are recorded in HD 1080p or higher – use full screen for the full effect and let the video load completely.
Paints and Materials
Games Workshop Paints:
Cadian Fleshtone
Kislev Flesh (optional)
Ushabti Bone (optional)
Daemonette Hide
Temple Guard Blue
Mephiston Red
Balor Brown
Morghast Bone
Screaming Skull
Rhinox Hide
Vallejo Paints:
Pale Grey Blue
Black
P3 Paints:
Morrow White
Brushes
A fine detail brush, such as the Artist Opus 00, for intricate work such as eyes and smaller details.
A slightly larger brush for broader skin areas.
Other Materials
A wet palette to keep the paints hydrated and workable.
Water for thinning paints, as the tutorial emphasizes a thin paint consistency.
Matte varnish for finishing the face, reducing shine, and enhancing the shadows.
Airbrush for the base coat application (Dark Sea Grey over black primer).
Painting Sigvald’s Face and Horns: A Step-by-Step Guide
1. Preparation
Basecoat: Start by airbrushing a coat of Dark Sea Grey over black primer. This is to accommodate the white hair on the model.
Skin Base: Hand-paint the skin using a very watered-down Cadian Fleshtone. This base allows the grey to show through, creating a natural shadow effect.
2. Eyes
Start with the eyes using Pearl Grey Blue for the whites.
Add a large black dot for the iris and pupil, using Black paint.
Later, adjust the eyes with Light Blue for the iris.
Refine the pupil with a tiny black dot in the centre.
3. Skin
Apply multiple layers of Cadian Fleshtone to build opacity gradually.
Mix Cadian Fleshtone with P3 Morrow White to create various stages of highlights.
Use Daemonette Hide for shadowed areas, especially under cheekbones and on one side of the face. Be careful not to make the shadow too dark.
Maintain smooth transitions and a soft painting style to accentuate Sigvald’s exaggerated features.
4. Horns
Begin with Rhinox Hide as a base for the horns.
Progress through a series of browns and bone colours, such as Balor Brown, Morghast Bone, Ushabti Bone, and Screaming Skull.
Apply the paint in a rough, textured manner, focusing on the texture and curvature of the horns.
Lighten the horns towards the base (near the head) and darken towards the tips.
Create a reflective shine on the horns to match the light direction of the rest of the model.
5. Final Touches
Add lip colour by mixing Mephiston Red with flesh tones.
Apply a matte varnish to the face to reduce shine and enhance the painted shadows.
Continually refine details, ensuring the consistency of paint is thin and controlled.
Continue painting Sigvald the Magnificent with my full tutorials…
How to Paint Sigvald the Magnificent with NMM
All of the tutorials for Sigvald the Magnificent, including how to paint NMM (gold) armour, face and horns, freehand shield, NMM silver sword and hilt and more!
Watch Now
If you don’t have an account, please sign up here! The website currently has over 350 video tutorials with steps and tips, plus a selection of PDFs. If you are not sure about joining, you can explore my free videos with a free membership, or take the plunge and become a full subscriber for full access.
If you’d prefer to support me on Patreon, please visit: https://www.patreon.com/RichardGray [...]
A new series focusing on How to Paint a Mega Gargant (Giant) from Games Workshop. I can show you lots of different techniques in a relatively small space (he is a huge model!)
Scroll down to explore the videos in order, or quick jump to a technique or part of him by clicking on the below:
Video – How to Paint a Warstomper Mega-Gargant – Head Part OnePaints and MaterialsStep-by-Step Guide for Painting Mega Gargant (Giant) Head: SkinVideo – How to Paint a Warstomper Mega-Gargant – Head Part TwoPaints and MaterialsPainting the Metal PlatePainting the EyesVideo – Mega-Gargant Skin and BodyPaints and MaterialsStep-by-Step GuideAdditional Tips
Video – How to Paint a Warstomper Mega-Gargant – Head Part One
All videos are recorded in HD 1080p or higher – use full screen for the full effect and let the video load completely.
Paints and Materials
Artist Opus Brush, Size 00: An older, worn brush is preferable for blending, as the softened tip allows for softer marks.Vallejo Heavy Grey: Used for the base layer, providing a greenish-grey foundation.Games Workshop Mournfang Brown: Applied for the base of the hair.Games Workshop Cadian Fleshtone: Employed for highlighting the skin.Vallejo Golden Olive: Adds subtle colour variation to the skin.Games Workshop Daemonette Hide: A purplish tinted paint enhancing the dark, moody theme.Games Workshop Rhinox Hide: Used for adding freckles and finer details.Games Workshop XV-88: Applied to the beard and hair for highlights and consistency.P3 Morrow White: Mixed with Cadian Fleshtone for warmth in highlights.Games Workshop Evil Sunz Scarlet: Diluted heavily for subtle red tones, especially on the nose.
Step-by-Step Guide for Painting Mega Gargant (Giant) Head: Skin
Priming: Begin by using Scale 75 primer for a matte finish. The matte texture helps in subsequent paint layers.
Base Layer: Start with Vallejo Heavy Grey, which is an extra opaque paint, ideal for base coating. Although named ‘Heavy Grey’, this paint has a greenish tint, providing an excellent foundation for the skin tones.
Adding Hair Base: Apply Games Workshop Mournfang Brown for the hair. The strokes should be vertical to mimic hair texture. Let the black primer show through for natural depth.
Blending with an Old Brush: Utilize a worn-out size 00 Arty Cypress brush for blending. The worn tip is beneficial for achieving soft blends without sharp edges.
Adding Highlights: Use Games Workshop Cadian Fleshtone for highlighting. Initially, it appears quite light, but layers will reveal its true color.
Working on Creases and Recesses: Focus on both the raised areas and the recesses. Avoid stark contrasts between the creases and highlighted parts to maintain a realistic appearance.
Introducing Subtle Color Variations: Apply Vallejo Golden Olive sparingly. It adds a hint of color, enriching the skin tone without overpowering.
Thin Layer Application: Maintain a paint-to-water ratio of about 50/50 for a translucent effect. This allows for texture building without creating a thick, uneven surface.
Utilizing Daemonette Hide: Add Games Workshop Daemonette Hide, which has a purplish tint, to enhance the moody, dark theme.
Focusing on Light Direction: Paint with the light source in mind (top-left in this case). Pay attention to how light naturally interacts with the contours of the face.
Layering and Blending: Alternate between Vallejo Golden Olive and Cadian Fleshtone, continuously building up layers and blending them to achieve a subtle, natural transition.
Detailing with Rhinox Hide: Add small freckles using Games Workshop Rhinox Hide. This color creates a strong contrast, so you will need to glaze over it later to soften the effect.
Adding Warmth: Mix a bit of P3 Morrow White with Cadian Fleshtone to add warmth to the highlights, which will contrast nicely with the cooler, darker tones.
Refining Beard and Hair: Apply XV-88 for the beard and hair, ensuring consistency with the skin’s highlight tones.
Adjusting Highlights: If needed, modify the highlights on the beard to ensure they don’t compete with the skin tone. Knock back any overly bright highlights.
Adding Subtle Red Tones: For areas like the nose, use a heavily diluted Evil Sunz Scarlet for a subtle reddish hue.
Video – How to Paint a Warstomper Mega-Gargant – Head Part Two
This video looks at the metal plates on the head and the eyes.
Paints and Materials
Fine Detail Brush: Used for intricate work, especially necessary for the eyes and smaller details on the metal plate.Vallejo Neutral Grey: Utilised for base layers and detail work on the metal plate.P3 Morrow White: Mixed with Vallejo Neutral Grey for lighter shades on the metal and for the eye highlights.Games Workshop Kantor Blue: Used for the iris of the eye.Games Workshop Temple Guard Blue: Applied for the lower edge of the iris to create depth and realism.Games Workshop Mournfang Brown: Added for rust or dirt effects in the recesses of the metal plate.Games Workshop Black (e.g., Abaddon Black): Employed for the pupil and the base of the iris.Scale 75 Surface Primer Black: Used for the initial priming of the metal plate.
Painting the Metal Plate
Starting with the Base: Begin with the metal plate, which is already primed black using Scale 75 Surface Primer Black. This primer gives a nice matte finish.
Applying Vallejo Neutral Grey: Focus on the raised areas and details of the metal plate, making scratchy marks. For areas that catch more light, add more scratches, while fewer marks are needed in shadowed areas. This creates a sense of texture and wear on the metal.
Adding White: Mix roughly 50/50 Vallejo Neutral Grey and P3 Morrow White. You don’t have to be precise, just aim for a mid-tone between pure white and neutral grey. Apply this mix over the same areas, maintaining the scratchy texture. This layer should be fairly opaque, using a mix of about one and a half parts paint to one part water.
Incorporating Mournfang Brown: Use this colour to add a hint of dirt or rust in the recessed areas. Be careful not to cover the brightest highlights to maintain the illusion of rust and grime.
Detailing and Shadow Work: Go back and define a few more details, especially in the shadowed areas on the right. Focus on edges that would catch light rather than the flat surfaces.
Painting the Eyes
Base for the Normal Eye: Mix 50/50 Vallejo Neutral Grey and P3 Morrow White. Apply this as the base colour for the eye. This off-white base sets the stage for the highlight detail later.
Adding the Black Iris: Paint the iris black, ensuring it’s not a perfect circle but slightly hidden under the top eyelid and just touching the bottom eyelid.
Blue Iris Detail: Use Kantor Blue over the black, leaving some black visible to keep the eye dark but still coloured. Follow with Temple Guard Blue on the lower edge of the iris, leaving a dark dot in the centre.
Pupil and Reflection: Add the pupil with Vallejo Model Colour Black. Then, for the reflection, use the Neutral Grey and P3 Morrow White mix for a line on the top left edge of the eye, followed by a dot of pure Morrow White in the middle of this line for a pop of brightness.
Blind Eye: Start with the same base as the normal eye. Gradually build up to lighter shades, but do not go as bright as pure white. Add a small dot of Morrow White in the top left corner for consistency in lighting.
Video – Mega-Gargant Skin and Body
All videos are recorded in HD 1080p or higher – use full screen for the full effect and let the video load completely
Paints and Materials
Brushes:
A worn-down size 00 Artis Opus brush for soft blending and detailed work.
Various other brushes for different techniques (specific sizes and brands not mentioned).
Paints:
Vallejo:
Heavy Grey (base colour for skin)
Ice Yellow (for highlights and skin tone adjustment)
Golden Olive (for subtle skin colour variation)
Games Workshop:
Mournfang Brown (for hair)
Cadian Fleshtone (for skin highlights and texture)
Daemonette Hide (for desaturation and adding depth to skin)
Rhinox Hide (for freckles)
XV-88 (for beard highlights)
Evil Sunz Scarlet (for nose colouring)
P3:
Morrow White (not used in this part, but generally useful for mixing and highlights)
Primer:
Scale75 Primer (for a matte finish)
Other Materials:
Water for thinning paints.
A palette for mixing paints.
Kitchen roll or a similar material for wiping and adjusting brush moisture.
Lighting:
A well-lit workspace, preferably with a directional light source to understand how light falls on the model.
Step-by-Step Guide
Primer and Base Coat:
Prime the model with Scale75 Primer for a matte finish.
Begin the skin base with Vallejo’s Heavy Grey. Despite its name, it has a greenish tint and is perfect for creating a unique skin tone. Thin it down for a more translucent look.
Initial Detailing:
Apply Vallejo’s Mournfang Brown for the hair, keeping strokes vertical and allowing some black primer to show through for natural variation.
Use a worn-down size 00 brush for soft blending, avoiding sharp marks at this stage.
Building Skin Tones:
Introduce Vallejo’s Fleshtone, which is significantly lighter than Heavy Grey, to start building up highlights. Apply thinly and gradually to avoid stark contrasts.
Add Games Workshop’s Daemonette Hide, a greyish-purple colour, for desaturation and adding depth to the skin.
Use Vallejo’s Golden Olive to inject subtle colour into the skin. This won’t make the giant look Nurgle-like but adds vibrancy to the skin.
Creating Texture and Contrast:
Continuously build up texture and contrast by alternating between the skin colours. Keep the paint consistency thin (about 50:50 with water) for subtlety.
Focus on one side of the face for detailing, keeping in mind the light source direction (top left in this case).
Refining Highlights:
Gradually refine the highlights with thin glazes of Cadian Fleshtone and Ice Yellow from Vallejo, focusing towards the highlight areas.
Ensure the transitions from mid-tones to highlights are smooth and natural.
Adding Freckles:
Introduce freckles using Games Workshop’s Rhinox Hide. Apply them sparingly and glaze over them with the skin tones to soften their appearance.
Beard Detailing:
Paint the beard starting with Mournfang Brown, then add highlights with XV-88 from Games Workshop. Ensure the beard blends softly into the skin.
Avoid overly bright highlights on the beard; XV-88 should remain the brightest highlight.
Nose Colouring:
Add a touch of colour to the nose with Games Workshop’s Evil Sunz Scarlet, heavily thinned for a glaze-like consistency.
Stipple this on and blend with Daemonette Hide for a subtle, natural look.
Final Adjustments:
Continuously review the model, adding layers and refining details. The goal is to create a balanced, realistic skin tone with a moody, dark atmosphere.
Remember to paint from multiple angles, ensuring the model looks good from all sides.
Additional Tips
Layering Technique: Focus on building thin, translucent layers, allowing each layer to dry before applying the next.
Brush Care: Maintain the shape and cleanliness of your brush for precise application.
Paint Consistency: The key to achieving the right skin texture is in the consistency of the paint. Thinner paints allow for more subtle transitions and texture.
Highlighting: When adding highlights, work towards the lightest points, stopping at the peak to create a natural transition.
Observing Light Direction: Consistently consider the light source direction for a realistic portrayal of light and shadow on the model.
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Taking a quick from more serious painting to have some fun with my first ever Orruk! This guy is Morgok the Orruk from Morgok’s Krushas, an Underworld warband.
I’ve gone for a slightly different colour of skin to regular orruks. This was achieved using Vallejo Heavy Black Green, Bugman’s Glow, Cadian Fleshtone, Screaming Skull!
Video – Morgok the Orruk: Face, Teeth and Armour
Materials and Paints
Paints:
Games Workshop:
Mournfang Brown
Morghast Bone
Screaming Skull
Flash Gitz Yellow
Cadian Fleshtone
Bugman’s Glow
Vallejo:
Neutral Grey
Pale Grey Blue
Heavy Black Green
P3:
Morrow White
Brushes and Tools:
Fine Detail Brushes: Essential for precise work, especially for facial details, scratches, and armour highlights.
Larger Brushes: For basecoating and applying initial layers. A medium-size brush is suitable for most areas.
Wet Palette: To keep your paints hydrated and workable, especially important for blending and layering.
Water Cup: For rinsing brushes and thinning paints.
Paper Towels or Cloth: For brush cleaning and drying.
Additional Materials:
Black Primer: To prime the model before painting.
Blue Tack by Bostik: Useful for temporarily attaching parts like the head and chest, making them easier to handle while painting.
Mixing Tray or Palette: For mixing paints and creating custom shades.
Light Source: A lamp or natural light to observe how light and shadow play on the model, which guides highlighting and shading.
Hairdryer (Optional): Can be used to speed up the drying process between layers.
Step-by-Step Guide
Priming: Start by priming Morgok the Orruk in black. Keep the head and chest separate for ease of painting.
Basecoat – Skin: Use Vallejo Heavy Black Green, thinned down (about 50% water). Apply several thin layers for a smooth, dark green base.
Basecoat – Armour: Apply Vallejo Neutral Grey, also thinned down. This sets the stage for non-metallic black iron armour.
Layering – Armour: With the same grey, build up layers, focusing on the armor’s texture and dents. Use the tip of your brush to pick out details and create a rough, worn look.
Highlighting – Skin: Switch to Bugman’s Glow from Games Workshop for the skin. Paint details like creases and scratches directly, without a transition from the green. This creates high contrast and makes highlighting easier.
Refining Highlights – Skin: Use Cadian Fleshtone for smaller, more precise highlights. Focus on the upper edges and fine details. This stage adds more depth and texture to the skin.
Eyes: Paint the eyes with Flash Gitz Yellow. A simple blob will suffice, as we’re not aiming for competition standard.
Directional Lighting: Think about how light hits the model. Highlight areas like the head and raised shoulder more to create depth.
Final Highlights – Skin: Use Screaming Skull for the final highlights on the face. Apply it sparingly and precisely, refining the detail work.
Layering – Armour: Introduce Vallejo Pale Grey Blue for further layers on the armour. Create a scratched, worn look by building up layers and focusing on edges and imperfections.
Teeth – Basecoat: Start with Mournfang Brown, applying it evenly while leaving gaps between teeth.
Teeth – Highlighting: Use Morghast Bone for highlighting. Remember, for the upper teeth, highlight near the gums, and for the lower teeth, highlight the tips.
Teeth – Final Highlights: Add final highlights with P3 Morrow White on the very tips of the bottom teeth and near the gums of the top teeth.
Additional Armour Work: Return to the armour, adding more highlights and refining the look with both Neutral Grey and Pale Grey Blue.
All videos are recorded in HD 1080p or higher – use full screen for the full effect and let the video load completely.
Morgok the Orruk from Morgok’s Krushas – All Videos
Painting Morgok from Morgoks Crushas
Morgok the Orruk and his mob of Ironjawz brutes once hunted down and fought the greatest prey they could find amongst Ghur’s trackless wastes. Whether they ran down spiny nephrodiles or fought the storm-warriors of Sigmar, Morgok’s Krushas sought the mightiest trophies in the name of their bellicose deity, Gorkamorka.
Here is the full series of videos on how I painted him!
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This tutorial video and step-by-step guide shows how to paint the textured ogroid skin and red glow of the Ogroid Myrmidon from Games Workshop.
Video: How to Paint Ogroid Skin
This guide will focus on achieving a textured ogroid skin effect with top-down highlights and red underlighting, alongside a detailed approach to creating a realistic muscle definition. We’ll be using a mix of Vallejo and Games Workshop paints to achieve this effect.
Materials Needed:
Vallejo Paints: Black, Dark Grey, Neutral Grey, Pale Grey Blue
Games Workshop Paints: Mephiston Red, Evil Sunz Scarlet, Wild Rider Red, Troll Slayer Orange, Fire Dragon Bright
Size 0 Artist Opus Brush (preferably a newer one for fine stippling)
A wet palette
Water for thinning paints
Step-by-Step Guide to Ogroid Skin
Step 1: Base Coating
Begin by base coating the skin of your Ogroid Myrmidon with Mephiston Red to prepare for the red underlighting. This will serve as the base for our stippling technique later on.
Step 2: Stippling Technique Introduction
For the skin’s texture, we’re going to use a stippling technique. This involves applying tiny dots of paint to create a textured appearance. Start with Vallejo Dark Grey and a touch of Neutral Grey, using a fairly new brush for precise dot application. The goal is to create very fine dots, so remember to apply very light pressure to avoid creating larger, triangular marks.
Step 3: Adding Red Underlighting
Switch to Games Workshop’s Evil Sunz Scarlet, stippling over the red base layer to begin creating the underlighting effect. This will initially appear very bright but will dull down as it dries. Layer over with Mephiston Red to help blend and soften the transition.
Step 4: Top-Down Highlights
For the top-down highlights, use a gradient from Dark Grey to Pale Grey Blue, progressing from darkest to lightest as you move up the model. This mimics natural lighting, emphasizing the muscle contours and giving the skin a realistic depth. Remember, the highlights should reflect where natural light would hit the model, focusing on the tops of curves and muscle peaks.
Step 5: Fine-Tuning Highlights and Shadows
As you apply your highlights, consider the model’s anatomy. Paint sharp lines of Pale Grey Blue in the recesses between muscles, such as between the pectorals and deltoids, to accentuate the definition. Use the light from your lamp as a guide to ensure consistency in your highlighting.
Step 6: Red and Orange Highlights
For the lower parts of the muscles, closer to the model’s base, switch to the warmer tones on your palette: Wild Rider Red, Troll Slayer Orange, and Fire Dragon Bright. Apply these colors opposite to the top-down lighting, focusing on areas that would be illuminated from below. This step may require patience due to the translucency of reds and oranges, necessitating multiple layers for a solid appearance.
Step 7: Blending and Correcting
If any areas stand out too much or the transitions between colors are too stark, revisit them with intermediary shades to blend them more naturally. Stippling allows for easy correction; simply overlay with the appropriate color to soften and integrate any harsh lines or spots.
Step 8: Final Touches
After completing the stippling, examine the model for any areas that may need additional work. Adjust the intensity of the highlights and shadows as necessary, ensuring that the focal points, such as the face and upper torso, are the brightest and most detailed areas.
This painting technique, while time-consuming, results in a strikingly realistic and textured skin effect for your Ogroid Myrmidon, emphasizing the muscular definition and adding depth with the red underlighting. The key to this method is patience and layering, allowing each layer to dry and building up the texture gradually. Good luck!
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There are lots of textures and fine details on the feet and face of Mortarion – here’s how to paint Mortarions Face, Feet and Hood!
Quick Jump to:
Video: Face and footStep-by-step: How to Paint Mortarions Face and footVideo: Hood Part 1Step-by-step: How to Paint Mortarions Hood – Part OneVideo: Head and Hood Part 2Step-by-step: How to Paint Mortarions Head and Hood – Part TwoVideos Not Showing?
Video: Face and foot
This video shows how to lighten the face of Mortarion and also how to paint the weathering on his armour.
The following paints were used:Games Workshop: Ceramite White, Flayed One Flesh, Pallid Wych Flesh, Ushabti Bone, Rhinox Hide.
Step-by-step: How to Paint Mortarions Face and foot
Glazing for Face Lightening: Prepare a glaze using Games Workshop’s Flayed One Flesh paint and water (about 5 parts water to 1 part paint).Load the brush with the glaze and remove excess paint on kitchen roll.Apply thin layers of glaze to the face, focusing on central areas like the forehead, bridge of the nose, and cheeks.Be careful not to let the glaze pool in the recesses. Keep adjusting to maintain control over the layering.Pallid Wych Flesh Detailing: Use Games Workshop’s Pallid Wych Flesh, a thicker paint, to highlight the top of creases on the face.Build up contrast between creases and highlights gradually to create a natural look.Ensure that the creases are lightened, but maintain a balance with the overall lighting on the face.Final Highlight with Games Workshop’s Ceramite White: Apply Games Workshop’s Ceramite White to the highest points of the face, focusing on central areas.Use a controlled technique to avoid overdoing the highlights.Maintain subtlety and control over the white highlights for a natural effect.Chip-Weathering on Armor: Choose Games Workshop’s Rhinox Hide for chipping on the armor.Apply the paint with a brush, creating small marks on the model.Leave some patches of white paint between the chipped areas for added interest.Consider the positioning of chips, focusing on areas that would naturally experience wear and tear.Use a colour-coded brush to keep track of the tool’s usage and maintain control.Refining the Chipping: Adjust the thickness of the chipping lines to control the visual impact.Ensure that the chipping looks natural and not too high in contrast.Pay attention to the bottom of the foot, adjusting the highlighting based on the foot’s position.Add more chips on areas that would naturally experience more damage, like the front side of the leg.
Video: Hood Part 1
The following paints were used: Games Workshop: Abaddon Black, Temple Guard Blue, Xereus Purple, Balor Brown Vallejo: Black (Abaddon Black), Heavy Blue Grey (Celestra Grey), German Grey (Abaddon Black with a touch of white) P3: Morrow White (Ceramite White)
Step-by-step: How to Paint Mortarions Hood – Part One
Prepare the Model: Ensure that the Mortarion model’s hood has been properly primed in black. Fill in any gaps resulting from assembling the model using polystyrene cement. Sand down the gaps to create a smoother surface.
Gather Paints and Tools:On your wet palette, prepare the following paints:
Abaddon Black (Games Workshop)Temple Guard Blue (Games Workshop)Xereus Purple (Games Workshop)Balor Brown (Games Workshop)German Grey (Vallejo) – Mix Abaddon Black with a touch of whiteHeavy Blue Grey (Vallejo) – Celestra Grey (Games Workshop)Morrow White (P3) – Ceramite White (Games Workshop)Tools:Older paintbrush (to avoid quick wear)Size zero artist brush (for finer details)Palette for mixing paintsAbaddon black for glazingBase Coat with Blue: Take the older paintbrush and apply Temple Guard Blue onto the model’s hood. Alternate between German Grey and Temple Guard Blue for a quick blended look. Focus on the edges and tendrils, applying more blue to create a weathered effect.
Refine with Finer Brush: Switch to the size zero artist brush and refine the texture. Pay attention to the spikes on top of Mortarion’s head, making them stand out against the dark color. Apply both German Grey and Temple Guard Blue in a more controlled manner.
Add Black for Shading: Introduce deeper shading by mixing Abaddon Black with a small amount of water. Use the finer brush to apply this mixture to specific areas, enhancing the three-dimensional effect.
Glaze with Red: Create a glaze using Abaddon Black and Xereus Purple (or any purple paint). Start near the highlights and work into the shadows, allowing the glaze to enhance the color variance. Repeat this process to build up the desired tone.
How to paint Mortarions Face: Once the hood is painted, focus on the face. Be cautious around the details, such as the eyes and eyelids. Use Balor Brown for shadows and then apply Morrow White to pick out fine details. Pay attention to the eyes, painting them with a brighter yellow for contrast.
Fine-Tune and Experiment: Continue fine-tuning the paintwork, experimenting with glazes and additional details. Remember to test the paint consistency on a spare surface before applying it to the model.
Glaze and Highlight: Keep glazing over the areas, especially the highlights, to add depth. Use minimal amounts of paint to pick out final highlights, enhancing the overall texture and making it look three-dimensional.
Video: Head and Hood Part 2
Vallejo: Neutral Grey : Skavenblight Dinge German Grey (Abaddon Black with a touch of white) English Uniform (XV-88) Japanese Uniform (Balor Brown) Ice Yellow (Ushabti Bone with a touch of yellow) Heavy Blue Grey (Celestra Grey) Black (Abaddon Black) Games Workshop: Emperor’s Children Rhinox Hide P3: P3: Morrow White (Ceramite White)
Step-by-step: How to Paint Mortarions Head and Hood – Part Two
How to paint Mortarions Face and Eyes: Start with a black paint (Vallejo: Black) to paint the pupils and cover the iris.Use Vallejo: Heavy Blue Grey (Celestra Grey) to paint the eyes themselves, avoiding pure white to create a more natural look.Consider painting cataracts initially but feel free to change to red and blue eyes for a magical effect.Highlighting the Eyes: Use Vallejo: White to highlight the lower edge of the eyes, creating a subtle, realistic contrast.Paint the iris around the black dots to add depth and detail to the eyes.Painting the Metal Halo: Apply a base coat of Vallejo: English Uniform (XV-88) on the metal halo, ensuring it’s less saturated than other gold areas on the model.Use Vallejo: Neutral Grey to blend into crevices and scratches, creating a reverse shading effect.Add Vallejo: Morrow White (Ceramite White) to blend in some warmth and detail.Rebreather Cylinders: Highlight the cylinders with a mix of Vallejo: Ice Yellow (Ushabti Bone with a touch of yellow) and Vallejo: Black.Blend in some of the previous colours to add more detail and scratches.Use Games Workshop: Emperor’s Children for the tubing, and highlight with Vallejo: English Uniform (XV-88).Cabling and Tubes: Highlight cabling with a mix of Vallejo: White and Vallejo: English Uniform (XV-88).Pay attention to angles and details, painting from one angle along the length to maintain consistency.Add final highlights sparingly using Vallejo: Ice Yellow (Ushabti Bone with a touch of yellow).Fleshy Details: Paint the stringy flesh between canisters with Vallejo: Rhinox Hide for an organic look.Use Vallejo: Evil Sunz Scarlet as a glaze to transition light hitting the piping while maintaining details.Final Touches: Paint black ribbing on the inside of the lower tube with Vallejo: Neutral Grey and highlight with Vallejo: Heavy Blue Grey (Celestra Grey).Ensure all details are well-defined and consistent.
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I had to make the Nurgling companions of Mortarion have wings to match their master! Here is How to Paint Freehand Tiny Nurgle Wings, with two videos, paints and a step-by-step guide.
How to Paint Freehand Tiny Nurgle Wings : Part One
The following paints were used: Games Workshop: Ushabti Bone, Kislev Flesh, Cadian Fleshtone, Bugmans Glow, Rhinox Hide Vallejo: Model Colour Black (Abaddon Black)
Step by Step: How to Paint Freehand Tiny Nurgle Wings
Preparation Before you begin painting the cherub wings on your Mortarion model, ensure you have the necessary paints and tools. The paints used in this tutorial are Rhinox Hide, Bugmans Glow, Ushabti Bone, Kislev Flesh, Cadian Fleshtone, and Vallejo Model Colour Black (equivalent to Abaddon Black). Additionally, you’ll need a wet palette, a size double zero artist opus brush, and a scalpel.
Wing Preparation Prepare the cherub wings by carefully removing any sculpted veins with a scalpel. Sand down the wings, apply glue to smooth the details, and then give them a black prime. Use an airbrush to apply a quick layer of Ushabti Bone to create a base.
Base Layer Start with a 50/50 mix of Rhinox Hide and Bugmans Glow. Using the tip of your size double zero brush, apply this mixture to the wings, building up layers to achieve a translucent effect. This darker base will allow for easier highlighting later.
Painting Details Using the tip of your brush, paint the lines and details on the wings with Rhinox Hide. Be mindful of the small scale, adapting the details as needed. Focus on creating flowing lines that follow the contours of the wings.
Adding Depth Mix Kislev Flesh and Cadian Fleshtone on the wet palette. Apply this mixture to highlight the lines painted with Rhinox Hide. This glazing technique adds depth without excessive layering, providing a smooth transition.
Eyes and Black Details Using Vallejo Model Colour Black, paint the eyes on the wings. Don’t worry about the size; you’ll refine them later. This step helps balance tones on the model. Use the tip of the brush to paint black details, such as spikes or dots, around the wings.
Veins and Highlights Switch to Kislev Flesh and paint in the veins on the wings. Ensure they are clear and defined. Gradually build up highlights using Cadian Fleshtone and Ushabti Bone, focusing on edges and details. Soften transitions for a more natural look.
Refining and Tweaking Continuously refine and tweak the details as you go along. Adjust the size and position of the eyes, ensuring they complement the overall composition. Use the wet palette for any necessary paint mixing.
Final Touches Highlight imperfections in the wings, emphasizing dimensional details. Pay attention to areas underneath the eyes, adapting details to fit the small scale. Continue refining until you achieve the desired depth and clarity.
All videos are recorded in HD 1080p or higher – use full screen for the full effect and let the video load completely.
How to Paint Freehand Tiny Nurgle Wings: Part Two
The following paints were used: Games Workshop: Kislev Flesh, Cadian Fleshtone, Rhinox Hide, Bugman’s Glow, Ushabti Bone, Ceramite White, Moot Green, Warpstone Glow, Sotek Green, Mephiston Red, Fire Dragon Bright, Waaagh! FleshVallejo: Black, Pale Blue Grey
Step by Step: How to Paint Freehand Tiny Nurgle Wings
Softening Previous Details Commence by gently blending and softening the details on the wings painted in the previous video. Utilize a glaze mixture of approximately five parts water to one part paint, specifically using Rhinox Hide, to seamlessly merge and soften the fleshing marks on the wings.
Painting the Whites of the Eyes Proceed to paint the whites of the eyes with Kislev Flesh. Ensure to leave a small gap at the top of the eye to introduce a subtle shadow effect. Apply clean and flesh tones, directing your strokes towards you for a polished finish.
Building Up Highlights on the Eyes Employ a slightly thicker paint to build up highlights on the whites of the eyes. Introduce a pale blue-gray colour later for a desaturated effect. Apply highlights by initiating strokes on the left-hand side, moving towards the centre, and then returning to the right-hand side, drawing towards the centre again for more pronounced highlights at the bottom.
Adding Organic Details Apply Ryza Oxide to paint small dots around the eyes, creating an organic and three-dimensional appearance. Exercise caution to avoid disrupting existing lines, maintaining the realism of veins.
Green Dots and Highlights Use Waaagh! Flesh and Moot Green to paint green dots around the tear duct area. Enhance the green dots by applying a line along the bottom right edge and a dot on the top left for a glossy bubble effect.
Painting the Iris and Pupil For the blue eye, use Sotek Green and Mint Green to paint a ring around the lower section of the eye to represent the iris. The actual grey doesn’t matter; choose a light grey for painting reflections, ensuring a realistic and shiny appearance. Start with Vallejo Pale Blue Grey to paint a ring around the lower section of the eye to represent the iris. The actual grey doesn’t matter; choose a light grey for painting reflections, ensuring a realistic and shiny appearance. Highlight the iris with Ceramite White, adding a few strokes to enhance the glossy effect.
Complete the red eye by applying Mephiston Red to the entire iris and pupil area. Use Fire Dragon Bright to add small lines separating the circles on the iris. Apply a highlight using Vallejo Pale Blue Grey, ensuring to maintain the same technique as with the blue eye.
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Video and step by step guide on how to paint an Ogroid Head, with the distinctive lighting effects, horns and NMM (non metallic metal.
I have done more than how to paint an Ogroid head, however! To watch all of my tutorials for him on one page, follow the link below:
Ogroid Myrmidon
A selection of detailed videos including red OSL, NMM, fur effect, horns and freehand on his shield.
Watch Now
Video Tutorial: How to Paint an Ogroid Head with Horns and NMM
Materials Needed to Paint the Ogroid Head, Horns and NMM:
Primer: Black
Base Colours: Mephiston Red (GW), Zandri Dust (GW), English Uniform (Vallejo)
Highlights and Shadows: Wild Rider Red (GW), Troll Slayer Orange (GW), Firedragon Bright (GW), Neutral Grey (Vallejo), Pale Grey Blue (Vallejo), Japanese Uniform (Vallejo), Ice Yellow (Vallejo), White (Vallejo), Heavy Warm Grey (Vallejo), Heavy Skintone (Vallejo)
Glazes and Details: Mournfang Brown (GW), Corvus Black (GW)
Airbrush (optional for underside glow effect)
Preparation
Priming: Begin with a black primer for deep shadows and to prepare the model for painting.
Underglow Effect: Optionally, apply Mephiston Red thinned down with an airbrush (or manually) for an underside glow. This step is not essential but helps to establish the mood and lighting direction for the model.
Painting the Horns
Base Layer: Apply a base coat of Rhinox Hide (Games Workshop) on the horns, focusing on a rough texture to highlight the weathered appearance.
Adding Texture: Use Zandri Dust (Games Workshop) to build the texture on the horns, applying it unevenly to create a worn look.
Highlighting: Mix Zandri Dust with lighter shades such as Heavy Warm Grey and Heavy Skintone (Vallejo) for highlights, concentrating lighter colours towards the centre of the horns and darker shades towards the tips.
Refining Texture: Return with Rhinox Hide to deepen the shadows in textured areas, using a fine brush to emphasise details and the rough texture.
Glazing: Employ thin glazes of Mournfang Brown and Corvus Black sparingly to blend and soften transitions.
Painting the NMM Gold Tips
Base Colours: Start with English Uniform (Vallejo) for the metallic areas’ base.
Building up Metallics: Progress from Japanese Uniform to Ice Yellow (Vallejo), highlighting edges and raised areas to simulate gold reflection.
Final Highlights: Use White (Vallejo) for the sharpest highlights on edges and high points to mimic metal shine.
Glazing for Depth: Apply glazes of Mournfang Brown to deepen and enrich the gold, being careful not to cover the brightest highlights.
Painting the Face
Base Layer for Skin: Use Neutral Grey (Vallejo) for the skin, avoiding areas catching the underglow.
Adding Shadows and Highlights: Apply Pale Grey Blue (Vallejo) for highlights on raised areas like the brow, nose, and cheeks, maintaining the glowing effect in recesses.
Detailing and Refining: Deepen shadows and define features with Corvus Black (GW), enhancing skin texture and facial details with fine highlights of Pale Grey Blue and White (Vallejo).
Adjusting the Underglow: Touch up the underglow with Mephiston Red, Wild Rider Red, and Troll Slayer Orange (GW) to ensure it complements the overall painting, adjusting intensity accordingly.
Finishing Touches
Adjusting Highlights: Reassess highlights and shadows, ensuring they align with the desired atmosphere and light source.
Details: Focus on small details like teeth and eyes, applying light and shadow principles for emphasis.
Glazing: Use glazes to smooth transitions and adjust colour saturation where needed, particularly on the horns and face to unify the piece.
More Ogroid Videos can be viewed below:
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For something a bit quicker than Master Lazarus, I’ve been working on how to paint Fabius Bile, Aka ‘The Spider’. I love the model and think it’s a great update to the original. For my version I’ve added a bit more hair and thinned his nose a little.Read on for a series of tutorials for him, from head and hair, his grisly skin cloak, to glass vials!
Quick Jump to:
How to Paint Fabius Bile Part 1: Head and HairPaints And Materials Used:Step by Step – How to Paint Fabius Bile Head and HairHow to Paint Fabius Bile Part 2: Skin CloakPaints UsedStep by Step – How to Paint Fabius Skin CloakHow to Paint Fabius Bile Part 3 – Non-metallic metal (NMM) trim, skin cloak.Paints UsedStep by Step – How to Paint NMM Trim and CloakHow to Paint Fabius Bile Part 4 : Glass and VialsPaints UsedStep by Step – How to Paint Glass Vials and Torture ToolsTorture ToolsGlass Canisters with LiquidVideos Not Showing?
How to Paint Fabius Bile Part 1: Head and Hair
This video is part 1 in a series of how to paint Fabius Bile and focuses on his head and hair.
All videos are recorded in HD 1080p or higher – use full screen for the full effect and let the video load completely.
Paints And Materials Used:
Brushes:
Size 00 Artis Opus Brush
Size 1 Artis Opus Brush
(Any additional sizes used for specific details)
Paints:
Games Workshop: Cadian Fleshtone, Screaming Skull, Naggaroth Night, Mephiston Red, Rhinox Hide Vallejo: Neutral Grey P3: Morrow White
Airbrush Supplies (If Used):
Airbrush and Compressor
Airbrush Thinner
Vallejo White Ink (for priming if mentioned)
Other Materials:
Wet Palette (for mixing and thinning paints)
Water Container (for rinsing brushes)
Paper Towels or Cloth (for brush cleaning and drying)
Scalpel or Hobby Knife (for model preparation)
Green Stuff or Modelling Putty (for any sculpting or modifications mentioned)
Fine Sandpaper or Files (for model cleaning and preparation)
Primer (Black, if airbrush not used for priming)
Step by Step – How to Paint Fabius Bile Head and Hair
Preparing the Model
The model is primed in black.
Airbrush a base coat of Buckman’s Glow on the skin.
Hair Base Coat
Paint the hair with Neutral Grey (Vallejo) to cover any overspray and provide a good base for subsequent layers.
Skin Tones
Create a palette with various mixtures of Cadian Fleshtone and Screaming Skull (both Games Workshop), with small amounts of Naggaroth Night for darker shades.
Apply the darkest mix (about 50/50 Cadian Fleshtone and Naggaroth Night) to the face’s shaded areas, such as temples and eye sockets.
Gradually build up lighter tones, focusing on the left side of the face where the light naturally falls.
Eyes
Paint the whites of the eyes with Pale Grey.
Add a black dot for the pupil. Optionally, you can add a smaller coloured dot and then a smaller black dot within it for iris details.
Blending and Highlighting
Continuously blend and reapply highlights as the paint dries and its true colour and translucency become apparent.
Use thin layers and ensure the brush is not overloaded with paint.
Hair Detailing
Start adding hair details with Pale Grey Blue (P3), followed by Morrow White.
Keep the brush strokes vertical and follow the hair’s natural flow.
Concentrate more white towards the top of the head and edges of the hair for highlights.
Lips:
Paint the lips with Mephiston Red (Games Workshop) for a base.
Lightly overlay with flesh tones, leaving some red visible for natural variation.
Finishing Touches:
Add liver spots using Rhinox Hide (Games Workshop), then soften them with flesh tones.
How to Paint Fabius Bile Part 2: Skin Cloak
Paints Used
Games Workshop: Bugman’s Glow, Cadian Fleshtone, Kislev Flesh, Ushabti Bone, Mournfang Brown Vallejo: Ice Yellow
Step by Step – How to Paint Fabius Skin Cloak
Base Coat for Skin Cloak:
Prime the skin cloak with Bugman’s Glow using an airbrush or by hand.
Paint all the small areas in black for clear distinction.
Applying Cadian Fleshtone:
Use Cadian Fleshtone for the base layer.
Focus on creating skin stretches and creases, rather than a smooth finish.
Utilize the paint’s opacity to create natural highlights and detailed creases.
Adding Kislev Flesh:
Apply Kislev Flesh for lighter tones, adding more detail and refinement to the skin cloak.
Pay attention to the lighting direction and highlight the creases accordingly, focusing more towards the front of the model for depth.
Ushabti Bone Highlights:
Use Ushabti Bone for the highest highlights.
Be cautious not to overpower the face’s focal point. Keep highlights lighter on the face and more subtle on the cloak.
Painting NMM Trim on Shoulder Pads:
Prepare a transition from Mournfang Brown to Ice Yellow, including mid-tones.
Apply Mournfang Brown as the base.
Gradually build up to lighter tones using mixed shades, finishing with Ice Yellow for the brightest highlights.
Focus on creating a metallic effect through high contrast.
Painting Purple Armor:
Start with a base of Naggaroth Night over a black primer.
Use a stippling technique for a semi-gloss finish.
Gradually build up lighter shades, transitioning from Naggaroth Night to Xereus Purple, Emperor’s Children, and a mix with P3 Morrow White for the brightest areas.
Focus on creating a cylindrical highlight on the leg armor, with bounce highlights at the bottom.
Finishing Touches:
Ensure consistent thinness in the paint application.
Add small details and corrections as needed.
Use the stippling and blending techniques to create texture and a natural look.
How to Paint Fabius Bile Part 3 – Non-metallic metal (NMM) trim, skin cloak.
Paints Used
Games Workshop: Cadian Fleshtone, Kislev Flesh, Ushabti Bone, Corvus Black, Skavenblight Dinge, Rhinox Hide, Mournfang Brown, Ahriman Blue (weathering effect)
Vallejo: Ice Yellow, Heavy Goldbrown
P3: Morrow White
Step by Step – How to Paint NMM Trim and Cloak
Non-Metallic Metal (NMM) Trim (Legs and Feet):
Base colours: Vallejo Ice Yellow and Games Workshop Mournfang Brown.
Create a tonal range by mixing these two colours in varying ratios for intermediate shades.
Focus on achieving bright highlights on the trim, matching them with existing armour highlights.
For areas in shadow (like the other leg under the cloak), use the same colours but do not highlight as brightly.
Skin Cloak (Lower Half):
Gloves:
Base with Games Workshop Rhinox Hide.
Layer with Bugman’s Glow, focusing on worn areas and adding texture.
Add fine details and creases, considering the natural folding and stretching of the material.
Skulls on Backpack:
Base with Rhinox Hide.
Use Vallejo Heavy Goldbrown, Mournfang Brown, and Ice Yellow for highlighting.
Work with rapid transitions to simulate a shiny surface.
Paint each tooth of the skulls individually, brightening the front teeth more.
Non-Metallic Weathering on Trim:
Use Games Workshop Ahriman Blue for a verdigris effect.
Apply in recesses to simulate natural weathering.
Final Touches:
Use P3 Morrow White for the brightest highlights.
Apply selectively, mainly on larger highlight areas for a shiny effect.
Use Games Workshop Cadian Fleshtone for adding soft creases. These should be subtle, with a lower contrast compared to the upper cloak.
Glaze with Games Workshop Corvus Black and Skavenblight Dinge to deepen the shadows and enrich the tones.
Remember to align the highlights with the lighting on the rest of the model.
How to Paint Fabius Bile Part 4 : Glass and Vials
Paints Used
Games Workshop: Ahriman Blue, Mephiston Red, Wildrider Red, Lugganath Orange Vallejo: Dark Grey, Neutral Grey, Pale Grey Blue P3: Morrow White
Step by Step – How to Paint Glass Vials and Torture Tools
Torture Tools
Base Layer:Start with a base of dark grey (e.g., Vallejo Dark Grey). You can mix black and white for various greys if specific greys are not available.Cover most of each tool in at least a mid-grey, leaving dark sections for contrast and reflections.
Detailing:Use neutral grey (Vallejo Neutral Grey) to add highlights and define the tools’ shapes. Ensure not to go into recesses to preserve the tools’ shape.For cylindrical sections, add multiple highlight points for realism.Use a fine-tip brush (like a size 00 Artificer brush) for precision.
Highlights:Apply a lighter grey (Vallejo Pale Grey Blue or a mix of neutral grey and pale grey blue) for brighter highlights.
Focus on areas where light would naturally hit, creating a shiny metallic appearance.
Glass Canisters with Liquid
Base Layer for Blue Liquid:Use Ahriman Blue to paint a solid line around the middle of the canister.Paint downward from the line to the bottom and upward towards the top, creating a gradient.
Creating the Liquid Effect:Mix Ahriman Blue with a small amount of white to lighten the colour.Paint this lighter blue to enhance the liquid effect, focusing on the bottom and creating a subtle gradient towards the top.
Adding Details:Add small dots within the liquid to represent bubbles. Use a mix of Ahriman Blue and white for a reflective shine on the canister, transitioning from this mix to pure white at the top.
Red Liquid Variant:Repeat the same process as the blue liquid, starting with Mephiston Red.Progress to Wildrider Red and Lugganath Orange for the gradient and bubble effects.Use the same technique for the reflective shine.
Throughout the painting process, maintain consistent lighting and reflection effects to create a realistic look. The application of highlights and the gradient effect in the liquid are key to achieving a believable metallic and glass appearance. Remember to use thin layers and smooth transitions for a polished finish.
What will you paint next? :
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A video tutorial showing the techniques I used to paint Nagashs’ delicious looking skin.
Nagash Skin
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Contrast Paint Projects
I don’t usually paint true metals as I find them irritating and the metallic particles get everywhere like a glitter bomb. I get a lot of requests for how to paint them though, so I thought I’d record this How to Paint an Iron Warrior in True Metallic Metals and Contrast Paint for you, below!
Video – How to Paint an Iron Warrior in True Metallic Metals and Contrast Paint
Paints Used
The following paints were used: Games Workshop Contrast: Snakebite Leather, Black Templar Games Workshop: Averland Sunset, Ushabti Bone Vallejo: Air Chrome, Air Gunmetal Grey (large pots), Neutral Grey, German Grey, Black (substitute Mechanicum Codex Grey and Abaddon Black)
Step-by-Step : How to Paint an Iron Warrior in True Metallic Metals and Contrast Paint
Initial Preparation
Begin by assembling your Iron Warrior model, ensuring all parts are properly attached except for the head, which should be left unattached for easier painting. Your primary paints will be Vallejo Metal Colour Airbrush Colours, specifically Gunmetal Grey and Chrome, and Games Workshop’s Contrast paints like Snakebite Leather and Black Templar.
Applying the Base Coat
Start with Vallejo’s Air Gunmetal Grey. It’s a true metallic colour, enriched with botanic flakes to achieve a genuine metallic effect. This is in contrast to non-metallic metals which use standard colours to simulate metal. Apply Gunmetal Grey evenly, using a brush for a more organic, less sterile look. This approach maintains the natural shadows in recesses and adds interesting brush strokes.
Highlighting with Chrome
Enhance the model’s metallic sheen by highlighting with Vallejo Air Chrome. Focus on areas where light naturally falls, such as elevated surfaces and curves. The chrome will accentuate these spots, creating a dynamic contrast with the darker Gunmetal Grey. It’s crucial to observe the light interaction with the model to identify the best areas for chrome highlights.
Adding Shadows with Contrast Paint
For deepening shadows and adding depth, use Black Templar Contrast paint. This is particularly effective over metallic paints due to its translucent nature, adding depth without obscuring the metallic shine. Apply carefully to avoid overwhelming the metallic effect.
Detailing with Snakebite Leather
Snakebite Leather Contrast paint is excellent for adding warmth and a tint of colour to the metallics. It’s particularly useful for areas you want to appear weathered or less shiny. Apply sparingly and blend well to maintain a natural look.
Hazard Stripes on Shoulder Pads
Painting hazard stripes requires a steady hand and patience. Start by painting the shoulder pads with Neutral Grey and German Grey, blending these colours to create a mid-tone. Once the base is ready, use Averland Sunset for the yellow stripes. Ensure this paint is thin enough for smooth application but dense enough for good coverage. Carefully paint straight lines, keeping the spacing consistent. Avoid using masking techniques as they can complicate the process and don’t always yield cleaner results.
Finishing Touches
Once the main painting is complete, focus on adding small details like weathering effects, especially on the hazard stripes. Use black paint to simulate chips and scratches, creating a battle-worn look. Also, remember to paint the non-metallic parts, like the ribbing between armour plates, using appropriate grey tones.
Final Assembly and Clean-Up
After painting, reattach the head and any other separate parts. Be sure to clean your brushes thoroughly, especially when switching between metallic and non-metallic paints, to avoid unwanted cross-contamination
More Contrast Paint projects and tutorials:
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This video looks at the new Contrast paints from Games Workshop and I use them to paint a very colourful Sylvaneth Gossamid Archer. Read on to watch and follow along with a detailed step-by-step paints and steps guide.
Video Tutorial: How to Paint a Sylvaneth Gossamid Archer
The following paints were used:
Games Workshop: Mantis Warriors Green (Contrast), Striking Scorpion Green (Contrast), Karandras Green (Contrast), Garaghak’s Sewer (Contrast), Magmadroth Flame (Contrast), Baal Red (Contrast), Doomfire Magenta (Contrast), Sigvald Burgundy (Contrast), Seraphim Sepia (Shade), Flash Gitz Yellow, Rhinox Hide, XV-88, Balor Brown, Xereus Purple
Vallejo: Mecha Varnish Matt
P3: Morrow White (Any White will do)
Step-by-Step Guide: How to Paint a Sylvaneth Gossamid Archer
Priming and Preparing the Model Start by assembling and priming your Gossamid Archer model. Use Wraithbone as a base colour, which helps in achieving brighter, cleaner colours. If you want an even brighter finish, you can spray the whole model white. A zenithal highlight can be applied to create natural focal points on the head and chest, allowing for more dynamic shading.
Applying Base Colours with Contrast Paints Begin painting with a variety of contrast paints to achieve a vibrant and varied colour scheme. Use a large brush like an Artist Opus size 4 for quick application. Key contrast paints to use are Striking Scorpion Green, Karandras Green, and Garaghak’s Sewer. While the paints are still wet, you can blend them together on the model for a smooth transition. However, be cautious of drying times to avoid streaking.
Correcting and Refining with Airbrush If needed, refine areas with an airbrush. For instance, overpainting with Striking Scorpion Green can provide a more opaque and smoother finish, especially on the wings.
Mixing Contrast Paints with Acrylics Contrast paints can be mixed with regular acrylics for more versatility. Mix Striking Scorpion Green with P3 Morrow White to create various shades for highlighting. This method allows for smooth transitions and a semi-translucent finish.
Painting Wings with Dragonfly Effect For a dragonfly-like effect on the wings, use a mix of Striking Scorpion Green and white to paint vein-like lines, emulating a dragonfly’s wing pattern. Start with basic lines, then create four-sided shapes like rectangles or squares, resembling the vein structure. The lines don’t need to be perfect, as the organic nature of the wings allows for some variation. Ensure your brush isn’t overloaded with paint for finer lines.
Skin and Body Details For the skin, use Magmadroth Flame contrast paint, which provides a strong, vibrant base while still allowing for natural shading in recesses. For the arm and other body parts, apply Sigvald Burgundy, Baal Red, Doomfire Magenta, and other contrast colours, blending while they are wet for a smooth transition. Use smaller brushes for detailed areas, and ensure you cover all surfaces.
Highlighting and Detailing Highlight the skin by mixing Magmadroth Flame with Kislev Flesh, gradually adding more Kislev Flesh and white for higher highlights. Apply these mixes to the raised areas like shoulders, chest, and arms. For the hair, start with a vibrant base of Flash Gitz Yellow, dulled down with a Seraphim Sepia wash. Highlight by adding white to Flash Gitz Yellow for a striking effect.
Bow and Other Accessories Paint the bow using Rhinox Hide, XV-88, and Balor Brown, adding white for final highlights. Keep the painting simple, avoiding overly intricate freehand patterns unless desired. Remember to mix and match colours to add more interest to the model.
Finishing Touches with Matt Varnish Once the painting is complete, apply a coat of Vallejo Mecha Varnish Matt. This will unify the finish of the model, reducing any unwanted shine from the contrast paints and enhancing the overall appearance.
More Contrast Paint Projects and Tutorials
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This video tutorial looks at how to paint Imperial Fists with Contrast Paints, using a couple of the new Contrast paints from Games Workshop and specifically using ‘Imperial Fist’ paint! I also go through top techniques and tips you can use on all your Space Marines.
Video Tutorial: How to Paint Imperial Fists with Contrast Paint
All videos are recorded in HD 1080p or higher – use full screen for the full effect and let the video load completely. You can also click the little “cog” and change the speed of the video, if I am going too fast (or slow!).
The following paints and materials were used:
Games Workshop: Mournfang Brown, Yriel Yellow, Sotek Green, Forge World Weathering Powder Dark Sand, Imperial Fist (Contrast), Garaghak’s Sewer (Contrast), Contrast Medium, Morghast Bone, Screaming Skull
Vallejo: German Grey, Neutral Grey, Black Vallejo: Mecha Varnish Gloss, Mecha Varnish Matt, Metal Exhaust Manifold
P3: Morrow White (Any White will do)
Micro Set
BrushesArtis Opus: Series S size 1 and 00,
Step by Step Guide – How to Paint Imperial Fists with Contrast Paint
Preparing the Base Coat
Start with Mournfang Brown as the base coat. This provides a solid foundation and eliminates black elements that might affect the final colour. Apply a thin, even layer to ensure a smooth finish.
Creating a Pre-Shade Effect
To create a pre-shade effect, mix P3 Morrow White with Mournfang Brown. This technique helps in achieving both highlights and shadows in one go. Avoid taking the pre-shade highlight all the way up to pure white unless you desire a very bright yellow.
Applying Imperial Fist Contrast Paint
Use the Imperial Fist contrast paint, a bright yellow, over the pre-shaded model. This contrast paint is translucent and needs a light base for optimal results. Apply it evenly, focusing on the model’s raised areas to enhance the pre-shade effect. If the first coat appears too orange, apply a light layer of P3 Morrow White on the desired areas and reapply the contrast paint for a brighter yellow.
Enhancing Highlights with White
For areas requiring a more vibrant yellow, directly apply P3 Morrow White using an airbrush. This step significantly brightens up the yellow tones, providing a more striking appearance to the model.
Adding Depth with Contrast Paints
Experiment with Rattling Grime contrast paint for adding depth. If it appears too dark, dilute it with Contrast Medium. Apply it sparingly, especially in recessed areas, to create natural shadows.
Applying Matte Varnish
Once the contrast paints are dry, apply a coat of Vallejo Mecha Varnish Matt. This helps to dull any unwanted shine and sets the base for further detailing.
Glazing with Yriel Yellow
Create a glaze by heavily thinning down Yriel Yellow with water. Apply this glaze selectively to the model’s raised areas, building up the colour in thin layers. This process enhances the vibrancy of the yellow and adds more dimension.
Detailing with Additional Colours
Use Morghast Bone and Screaming Skull for detailing elements like scroll work. These colours contrast well with the yellow and bring out the finer details. For battle damage, use Rhinox Hide or a similar dark colour to create chips and scratches.
Highlighting Battle Damage
Mix Yriel Yellow with a bit of white (or use Dawn Yellow) for highlighting the lower edges of the battle damage. This creates a more realistic chipped paint effect.
Painting the Weapon
For the bolter or other weapons, use a combination of German Grey and Neutral Grey from Vallejo. Apply them in a gradient for a realistic metallic effect, and use black to blend and soften transitions.
Lenses and Eyes
Paint lenses and eyes using Sotek Green, gradually adding white to the mix for successive highlights. Ensure the brightest highlights are off-centre for a natural glow effect.
Finishing Touches
Finally, apply Forge World Weathering Powder Dark Sand to the base and lower parts of the legs for a gritty, battle-worn look. Seal with a matte varnish to fix the powder in place.
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A quick and simple video tutorial in how to paint this friendly little Gloomspite Gitz Grot with Contrast paints and apply varnish to bring the colours together and finish the piece. The key is to work fast with Contrast paints, allowing their properties to create natural shadows and highlights, and then refining with traditional paints for a more polished finish.
Video Tutorial – Gloomspite Gitz Grot in Contrast Paint
All videos are recorded in HD 1080p or higher – use full screen for the full effect and let the video load completely.
Materials List for Painting Gloomspite Gitz with Contrast Paint
Brushes:
Various brushes suitable for applying contrast paints and doing detail work – I use Artist Opus range for details, with a standard general brush for applying the paint more roughly.
Primer:
Vallejo Surface Primer Black: For the initial priming of the models.
Games Workshop Wraithbone spray can: Used for zenithal highlights.
Contrast Paints (Games Workshop)
Black Templar: For dark areas like robes.
Plaguebearer Flesh: For skin.
Iyanden Yellow: For ropes and feet.
Nazdreg Yellow: Alternative option for ropes and feet.
Flesh Tearers Red: For red elements on the models.
Additional Paints:
Games Workshop Daemonette Hide: For highlighting black areas.
Games Workshop Dorn Yellow: For enhancing yellow areas.
Games Workshop Blue Horror: For brighter highlights.
Games Workshop Ceramite White: For final, brightest highlights.
Games Workshop Skavenblight Dinge: For non-metallic metal effects.
Varnish:
AK Interactive Ultra Matte Varnish: For finishing and protecting the painted models.
Other Materials:
Water for thinning paints and cleaning brushes.
A palette for mixing paints.
Kitchen roll or a similar material for wiping and adjusting brush moisture.
Airbrush (Optional):
Recommended for a smoother zenithal highlight application compared to using a rattle can.
Step-by-Step Guide
Priming and Base Highlights:
Prime the models with Vallejo Surface Primer Black.
Use Games Workshop’s Wraithbone spray for zenithal highlights, creating a directional light effect to enhance contrast paint application.
Applying Contrast Paints:
Start with the skin using Games Workshop’s Plaguebearer Flesh. Be relatively quick and don’t worry excessively about neatness.
For darker areas like robes, use Black Templar. Apply it straight out of the pot, allowing it to flow into recesses.
Paint the ropes and feet with a brown contrast paint like Iyanden Yellow or Nazdreg Yellow.
Use Flesh Tearers Red for red elements, considering multiple coats for a smoother finish.
Additional Details:
For weapons, you can opt for a simple black base and metallic highlights, or try a non-metallic metal (NMM) approach using neutral grays.
To enhance yellow areas that are translucent and show speckles, use Dorn Yellow for edge highlights and additional coats.
Refining and Enhancing:
Use Daemonette Hide to pick out highlights, particularly on black areas. Vertical strokes can emphasize cloth folds.
Add brighter highlights with Blue Horror, focusing on raised areas and edges for a sharper look.
Finalize the highlights with Ceramite White, adding small touches to the most prominent areas.
Correcting Mistakes and Blending:
If you make mistakes or need to blend areas, use appropriate contrast paints or a mix with water for glazing and tinting.
Varnishing:
Once painting is complete, apply an ultra-matte varnish (like AK Interactive Ultra Matte) to unify the finish and protect the paint. This can be done by hand or with an airbrush. Be cautious of pooling and bubbles.
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Two videos on how I painted this Rockgut Troggoth quickly using Contrast Paints, with step by step guides to the methods I used with which paints. Read on and good luck!
Video One – How to Paint a Troggoth in Contrast PaintsPaints and Materials NeededStep by Step GuideVideo Two – How to Paint a Troggoth in Contrast PaintsMaterials and Paints:StepsShow it off!More Free Video Tutorials
Video One – How to Paint a Troggoth in Contrast Paints
All videos are recorded in HD 1080p or higher – use full screen for the full effect and let the video load completely.
Paints and Materials Needed
Black Primer
Wraithbone (Games Workshop)
Contrast Paints (Magos Purple, Skeleton Horde, Wyldwood, Aethermatic Blue, Black Templar – all from Games Workshop)
P3 Morrow White (or any alternative white paint)
Fine Brushes
Airbrush (optional)
Wet Palette
Step by Step Guide
Base Coating with Contrast Paints: After priming your Rockgut Troggoth with black and then applying a zenithal highlight of Wraithbone (using an airbrush or rattle-can), start applying contrast paints. Focus on using Magos Purple for the skin, being generous with the paint to ensure proper flow and coverage.
Handling Overpainting and Pooling: If you accidentally overpaint or encounter pooling, use a clean brush to soak up the excess. Remember, contrast paints are designed to settle in recesses, so a heavier application is acceptable.
Painting Other Elements: Use different contrast paints for various parts of the model. Apply Skeleton Horde for the teeth, toenails, and wrappings, and Wildwood for the hammer’s handle. The nature of contrast paints means they will flow into crevices and recesses, creating natural shadows.
Applying Contrast to the Rocky Skin: For the rocky skin and other stone-like textures, use Aethermatic Blue. The contrast paints will naturally create a depth effect, with darker areas in recesses and brighter highlights on raised surfaces.
Utilising Black Templar for Darker Areas: Apply Black Templar contrast paint for the rock elements and the loincloth. This step will provide a solid base and emphasise the darker regions of the Troggoth.
Review and Adjust: Once all the contrast paints are applied, review your model. The use of different contrast paints should have already created a variety of tones and shades on the model. If necessary, touch up any areas where the paint may have pooled excessively or where coverage is uneven.
Enhancing Highlights on the Skin: To enhance the skin, mix some P3 Morrow White with Magos Purple to create a light purple hue. Apply this mixture to the skin’s raised areas, following the zenithal highlights you established earlier. This step will add more depth and dimension to the Troggoth’s skin.
Adding Detail to Crystal Skin: For the crystal-like skin, create a mixture of Wraithbone and Aethermatic Blue. Focus on painting the flat, upward-facing surfaces of the crystals to mimic the appearance of hard, reflective edges.
Video Two – How to Paint a Troggoth in Contrast Paints
Materials and Paints:
Games Workshop: Magos Purple (Contrast), Plaguebearer Flesh (Contrast), Slaanesh Grey, Daemonette Hide, Balor Brown, Moot Green, XV-88, Zandri Dust, Ushabti Bone, Naggaroth Night
Vallejo: Ice Yellow (or Dorn Yellow)
P3: Morrow White (or White Scar)
Steps
Rock-Like Skin Textures:
Mix Aethermatic Blue with white for a greeny-grey shade.
Apply to the flat surfaces and edges of the rocky textures.
Highlight with pure white (Morrow White/White Scar).
Skin Highlights:
Use pre-mixed Magos Purple and white for primary skin highlights.
Add secondary highlights with Slaanesh Grey and Daemonette Hide, focusing on reflective light areas.
Wood Detailing:
Apply Balor Brown for the base wood grain on the mallet.
Highlight progressively with XV-88 and Zandri Dust.
Final highlights with Ushabti Bone.
Rock and Wood Texturing:
Glaze rock textures with Naggaroth Night to deepen shadows.
Lightly glaze wood with Plaguebearer Flesh for a mossy effect.
Loincloth and Trinkets:
Base the loincloth with XV-88, highlight with Zandri Dust, and then Ushabti Bone.
Paint trinkets starting with XV-88, highlight with Balor Brown, then Ice Yellow for brightest points.
Final Highlights and Adjustments:
Reapply Magos Purple and white mix on skin for final highlights.
Highlight rock textures with Morrow White.
Apply Moot Green selectively for contrast, especially in shadows.
Unify with Naggaroth Night glaze to smooth transitions and deepen shadows.
Troggoth Eyes and Claws:
Base eyes with Yriel Yellow, add a white dot for the pupil.
Claw highlights with Ushabti Bone for depth.
Show it off!
As you progress, feel free to adapt and tweak techniques to suit your style. Good luck! When you’ve finished, why not pop into our Discord and show it off to other website members? 🙂
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Continuing on How to Paint Yellow Marines, I decided that I couldn’t live with a clean marine and took the airbrushed guy I’d painted and weathered him up. I added chipping all over, weathering powder to his feet, increased the tonal contrast and then changed his eyes to glowing; finally I gave him a coat of matte varnish to kill the satin finish. I think he looks quite mean now, and I am much happier to paint an army like this. Total time around 2.5 hours, although he is still missing the Fist symbol.
Learn how to paint yellow marines like I do in these tutorials!:
How to Paint an Imperial Fist Space Marine to Tabletop Standard
In this guide, we’ll walk through the steps to paint an Imperial Fist Space Marine quickly and effectively to tabletop standard. This tutorial uses an airbrush for the base coats, followed by detailed brushwork for finishing touches.
Watch Now
MKVI Imperial Fists
In this guide you will be shown how to paint Imperial Fists in MKVI (Beakie) armour, from the Horus Heresy.
Watch Now
Imperial Fist with Heavy Bolters – No Airbrush or Oils needed!
In this guide you will be shown how to paint Imperial Fists with Heavy Bolters without the need for an Airbrush or Oil Paints!
Watch Now
More tutorials on painting Space Marines!
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I’ve been on a painting mission to get this Gloomspite Gitz Troggoth guy painted quickly. He’s done using the same process as the previous version I painted (zenithal base – Contrast paint – standard painting on top.) I ended up taking him a little further than the last guy by adding more texture and a bit of contrasting colour, as well as pushing the lighting aspect a bit more. I very, very nearly have a playable Gloomspite Gitz army now!
To watch a video tutorial on how I painted this figure with contrast paints, follow this link:
Video Tutorials : Troggoth in Contrast Paints
More Contrast Paint projects and tutorials:
Free Video Tutorials
Free videos for logged in members – just sign up as a ‘friend’ to view and click any of the thumbs.To explore all of these, visit this page!
If you don’t have an account, please sign up here! The website currently has over 350 video tutorials, plus step by step guides and PDFs. You can explore more free videos with a free “freebies” membership, or take the plunge and become a full subscriber for full access.
If you’d prefer to support me on Patreon, please visit: https://www.patreon.com/RichardGray [...]
In my never ending task of not finishing a Nightvault team as I keep seeing new, shiny ones, I have started this Sylvaneth tree guy from Ylthari’s Guardians. I love this model, although it’s a complete pain to get around some of it to paint, now that it’s stuck together.
Paints Used:
The hair is Pink Horror, highlighted with Fulgrim Pink and white, then shaded with Rhinox Hide mixed in and finally glazed with Contrast Volupus Pink in the shadows.
The skin of my Sylvaneth tree guy was Sotek Green highlighted with Ahriman Blue and white mixed. There is some glazing of Warpstone Glow.
The sword is Warpstone Glow highlighted with Moot Green, Dorn Yellow and white, some Mournfang Brown for dodgy reflections and then glazed with Contrast Plaguebearer Flesh, but not over the bright highlights.
The wood and bark is a mess of colours, there is Mournfang Brown, XV-88, Skarsnik Green, Gaus Blaster Green, Ogryn Camo, Highlights of Zamesi Desert, Ushabti Bone and Screaming Skull. I used spots of Contrast Plaguebearer Flesh, Skeleton Horde and Nazdreg Yellow in various areas to enhance colours.
Make sure you are logged in, then click below to see some of my tutorials for contrast paints!
The air sings with glorious life magic as the children of Alarielle surge into battle. The reborn goddess of war leads from the front as glorious Wyldwoods burst forth from the heaving ground, called into being by ancient spirits. Determined to protect the Realm of Life, mighty Wargroves advance, crushing enemies with the inexorable strength of nature. Outcasts and Free Spirits strike suddenly and without warning, slaughtering the foe mercilessly to cleanse the tainted land. The rebirth of the sylvaneth will be remembered as a harbinger of absolute vengeance.Sylvaneth – Age of Sigmar Wiki [...]
More Contrast paints experimentation, you won’t get these results out of the pot. I started with a black prime and then a zenithal highlight with Wraithbone base with my airbrush. I coated the body of the model with Skeleton Horde and the tentacles with Magos Purple. After that I shaded the body with Fyreslayer Flesh (no dilution). After this I airbrushed Plaguebearer Flesh on all of the highlights on the body and the shadows on the tentacles… due to the translucency of the paint the details showed through beneath.I made highlights for the body by mixing Plaguebearer Flesh with Wraithbone and just picked out some nice light points For the tentacles I mixed Magos Purple with Wraithbone and painted on some lines. All of the shiny yellow nurgle pustules were just Yriel yellow, I painted a highlight spot and then a reflection line on the lower part. The claws and teeth were Zandri Dust and Ushabti Bone plus Ceramite White, straight over the top of the Contrast paints from the body. I then gave the whole model a coat of matte varnish and picked out a few areas in gloss.The back of the model isn’t highlighted or detailed yet. Total time so far about 2.5 hours, but waiting for the body to dry took a long time as I put a really heavy layer on. Watch this space for more Contrast paints experimentation and explore my other Contrast projects, below!
Here are some more projects and video tutorials using contrast paints:
Free Video Tutorials
Free videos for logged in members – just sign up as a ‘friend’ to view and click any of the thumbs.To explore all of these, visit this page!
If you don’t have an account, please sign up here! The website currently has over 350 video tutorials, plus step by step guides and PDFs. You can explore free videos with a free “freebies” membership, or take the plunge and become a full subscriber for full access.
If you’d prefer to support me on Patreon, please visit: https://www.patreon.com/RichardGray [...]
Marble
In this guide, we’ll explore how to paint marble armour effect on the armour of an Adeptus Titanicus Legio Gryphonicus Titan.
This technique creates a visually striking pattern that mimics the speckled and veined appearance of marble, adding depth and interest to your miniature’s armour plating. The process is designed to be quick and straightforward and uses some unexpected materials!
Video – How to Paint a War Griffons Warlord with Marble Armour
All videos are recorded in HD 1080p or higher – use full screen for the full effect and let the video load completely.
Materials List:
Airbrush: Essential for applying smooth base coats and gradients.
Hand disinfectant wipes or baby wipes: Used to create the marble effect.
Paints:
Vallejo Pale Grey Blue: For the initial base coat.
Vallejo Neutral Grey: To begin creating the marble effect.
Vallejo Dark Grey (German Grey): For adding darker veins to the marble.
Vallejo Heavy Goldbrown: Base colour for yellow armour sections.
Games Workshop Phalanx Yellow: For highlighting yellow armour sections.
How to Paint Marble Armour Step-by-Step Guide:
Base Coat:
Begin by airbrushing Vallejo Pale Grey Blue onto the carapace of the Titan. This may require a few coats to achieve a smooth finish. The paint can be thinned a bit, but not excessively, to ensure good coverage without too much speckling.
Preparing the Wipe:
Take a hand disinfectant wipe or baby wipe and stretch it out so it’s slightly spread and thin. This texture will be transferred to the armour to create the marble effect.
Applying the Wipe:
Lay the stretched wipe over the armour part you’ve just painted. Ensure it’s not too densely applied; the idea is to leave some areas exposed more than others for a varied marble effect.
Adding Darker Tones:
Airbrush Vallejo Neutral Grey over the wipe-covered armour. Keep the airbrush pressure low to avoid displacing the wipe. Focus more on the edges and less on the centre to mimic natural shading.
Without completely covering the previous layer, lightly apply Vallejo Dark Grey in a few select areas to create the appearance of darker veins within the marble.
Revealing the Effect:
Carefully remove the wipe to reveal the marble armour effect beneath. You’ll find areas of light and dark grey creating a naturalistic marble pattern.
Cleaning Up:
After removing the wipe, there may be strands left on the model. Take your time to clean these off to avoid them becoming permanently attached in later steps.
Painting Yellow Armour Sections:
For Legio Gryphonicus’s iconic grey and yellow scheme, base coat the relevant armour sections with Vallejo Heavy Goldbrown. Highlight these areas with Games Workshop Phalanx Yellow to achieve a vibrant, contrasting look against the grey marble armour.
All of my War Griffons Warlord Tutorials
War Griffons Warlord
All of my series of quick videos on the different techniques used on this model. These include the marble effect, the stripes, applying decals and weathering.
Watch Now
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If you’d prefer to support me on Patreon, please visit: https://www.patreon.com/RichardGray [...]
A series of quick videos on how to paint a War Griffons Warlord Adeptus Titanicus Titan to game standard. This included marble effects, stripes, weathering and decals and more!
Scroll down to explore the videos in order, or use the quick links below to jumps to a technique or part of the model in particular:
Video – How to Paint a War Griffons Warlord : Marble EffectMaterials List:Marble Armour Step-by-Step Guide:Video – How to Paint a War Griffons Warlord : The StripesMaterials Needed:The Stripes Step by Step:Additional Tips:Video – How to Paint a War Griffons Warlord : Weathering and DecalsMaterials Needed:Steps:Preparing the Surface:How to Apply the Forge World Decals:Sealing the Decal:Weathering the Decal and Armour:Additional Tips:Video – How to Paint a War Griffons Warlord : Heat Bloom on Melta CannonMaterials Needed:Melta Cannon Step-by-Step Guide:Video – How to Paint a War Griffons Warlord : Weathering and Metal PaintsStep by Step – Weathering and Metal on the War Griffons WarlordPreparing the Armour TrimEnhancing the TrimPainting the SkeletonDetailing Pistons and Metal AccentsFinishing TouchesTechniques and TipsMore Titan Tutorials!
Video – How to Paint a War Griffons Warlord : Marble Effect
All videos are recorded in HD 1080p or higher – use full screen for the full effect and let the video load completely.
Materials List:
Airbrush: Essential for applying smooth base coats and gradients.
Hand disinfectant wipes or baby wipes: Used to create the marble effect.
Paints:
Vallejo Pale Grey Blue: For the initial base coat.
Vallejo Neutral Grey: To begin creating the marble effect.
Vallejo Dark Grey (German Grey): For adding darker veins to the marble.
Vallejo Heavy Goldbrown: Base colour for yellow armour sections.
Games Workshop Phalanx Yellow: For highlighting yellow armour sections.
Marble Armour Step-by-Step Guide:
Base Coat:
Begin by airbrushing Vallejo Pale Grey Blue onto the carapace of the Titan. This may require a few coats to achieve a smooth finish. The paint can be thinned a bit, but not excessively, to ensure good coverage without too much speckling.
Preparing the Wipe:
Take a hand disinfectant wipe or baby wipe and stretch it out so it’s slightly spread and thin. This texture will be transferred to the armour to create the marble effect.
Applying the Wipe:
Lay the stretched wipe over the armour part you’ve just painted. Ensure it’s not too densely applied; the idea is to leave some areas exposed more than others for a varied marble effect.
Adding Darker Tones:
Airbrush Vallejo Neutral Grey over the wipe-covered armour. Keep the airbrush pressure low to avoid displacing the wipe. Focus more on the edges and less on the centre to mimic natural shading.
Without completely covering the previous layer, lightly apply Vallejo Dark Grey in a few select areas to create the appearance of darker veins within the marble.
Revealing the Effect:
Carefully remove the wipe to reveal the marble effect beneath. You’ll find areas of light and dark grey creating a naturalistic marble pattern.
Cleaning Up:
After removing the wipe, there may be strands left on the model. Take your time to clean these off to avoid them becoming permanently attached in later steps.
Painting Yellow Armour Sections:
For Legio Gryphonicus’s iconic grey and yellow scheme, base coat the relevant armour sections with Vallejo Heavy Goldbrown. Highlight these areas with Games Workshop Phalanx Yellow to achieve a vibrant, contrasting look against the grey marble.
Video – How to Paint a War Griffons Warlord : The Stripes
This guide will take you through the process of painting and weathering the stripes to achieve a battle-worn effect, ensuring your titan stands out on the tabletop.
Materials Needed:
Scale 75 Victorian Brass (For the trim)
Tamiya Masking Tape (3mm strips recommended for precision)
Games Workshop Kantor Blue (For the base stripe colour)
Vallejo Ultramarine Blue (For highlighting the stripes)
Vallejo Neutral Grey (For weathering)
Vallejo Pale Grey Blue (For weathering)
Airbrush and airbrush thinner (Vallejo Airbrush Thinner recommended)
Fine detail brush for weathering
The Stripes Step by Step:
Prepare the Trim:
Begin by painting the trim of the carapace using Scale 75 Victorian Brass. This step should ideally be done after painting the stripes to avoid overspray, but if you prefer to paint it first, be prepared to touch it up later.
Masking for Stripes:
Apply Tamiya masking tape to the carapace to create the desired pattern for your stripes. Ensure the tape is firmly pressed down, especially near the edges and armour trim, to prevent paint from bleeding underneath.
Base Colour for Stripes:
Airbrush Games Workshop Kantor Blue over the masked areas. The paint should be thinned appropriately and applied in even coats to achieve an opaque finish. Be mindful of overspray on the trim.
Highlighting Stripes:
After the base colour dries, apply Vallejo Ultramarine Blue as a highlight. Focus on the raised edges and ridges to create a gradient effect, ensuring some Kantor Blue remains visible for contrast.
Removing Masking Tape:
Carefully peel off the masking tape to reveal crisp, clean stripes. This step is highly satisfying and reveals the neat lines that define the pattern.
Weathering the Stripes:
Using a fine detail brush, apply Vallejo Neutral Grey and Pale Grey Blue to simulate chips and wear on the stripes. Focus on areas that would naturally see more wear and tear, breaking up the clean edges of the stripes to create a more realistic, battle-worn look. Use the colours that match the underlying marble effect for a cohesive appearance.
Finishing Touches:
Optionally, go back over the trim with Victorian Brass to clean up any overspray from painting the stripes. This will ensure a neat and polished look.
Additional Tips:
The choice of stripe colour can vary; red or hazard striping are also effective options.
The weathering step is crucial for adding realism. Smaller, more concentrated damage marks enhance the scale effect, making the titan appear as a massive war machine.
Keep the weathering consistent with the overall wear on the rest of the titan for a unified appearance.
Video – How to Paint a War Griffons Warlord : Weathering and Decals
This step-by-step guide, designed to be beginner-friendly, will walk you through applying decals, adding a gloss finish for protection, and executing weathering techniques to give your titan a battle-worn appearance.
Materials Needed:
Vallejo Gloss Varnish
Water for softening decals
Micro Sol and Micro Set for decal application
Tamiya 3mm Masking Tape or equivalent
Games Workshop Kantor Blue
Vallejo Neutral Grey, Ultramarine Blue, and Pale Grey Blue for weathering
Games Workshop Matte Varnish
Fine detail brushes
Airbrush (optional for varnishing)
Forge World Decals for Legio Gryphonicus
Steps:
Preparing the Surface:
Apply Gloss Varnish: Begin by applying Vallejo Gloss Varnish to the areas where decals will be applied. This creates a smooth surface, reducing air pockets and imperfections. You can apply the varnish with a brush or an airbrush. If brushing, slightly dilute the varnish with water for easier application.
How to Apply the Forge World Decals:
Soften Decals in Water: Cut out your chosen decals and soak them in water until they easily slide off the backing paper. This typically takes a few minutes.
Apply Micro Sol: Place a small amount of Micro Sol on the model where the decal will be applied. This softener helps the decal conform to the model’s surface.
Position the Decal: Carefully slide the decal from the paper to the model. Use a soft brush to adjust its position accurately.
Remove Excess Water: Gently dab a soft, dry brush or a paper towel to remove any excess water and air bubbles beneath the decal.
Apply Micro Set: Once the decal is in place, apply Micro Set over it. This solution helps soften the decal further, allowing it to snuggle down into the model’s details. Let it dry thoroughly, ideally overnight. Don’t worry if the decal looks wrinkled at this stage; it will smooth out as it dries.
Sealing the Decal:
Apply Additional Gloss Varnish: After the decal has dried, apply another layer of gloss varnish over it using an airbrush for an even coat. This step helps to seal the decal and even out the surface. If necessary, apply 2-3 coats, allowing each to dry thoroughly.
Matte Varnish Finish: Once the gloss varnish is completely dry, apply a matte varnish over the entire model to give it a uniform, non-glossy finish. This also helps to further blend the edges of the decal into the model.
Weathering the Decal and Armour:
Weathering with Paint: Use Vallejo Neutral Grey and Pale Grey Blue to add weathering around the decals and on the armour. Use a fine detail brush to apply small chips and scratches, focusing on edges and areas that would naturally see more wear. This adds realism and depth to your titan.
Additional Weathering Techniques: For further realism, you can add streaks and rust effects using diluted paint or weathering powders. Apply these sparingly in areas where water and dirt would naturally accumulate and streak down the model’s surface.
Additional Tips:
Take your time with each step, especially when applying and positioning the decals.
Always allow each layer of varnish and paint to dry completely before proceeding to the next step.
Practice weathering techniques on a spare piece before applying them to your model to get a feel for the effect.
Video – How to Paint a War Griffons Warlord : Heat Bloom on Melta Cannon
Materials Needed:
Airbrush and Thinner: For applying smooth gradients of colour.
Brushes: A fine detail brush for precise application and a dry brush for highlighting.
Paints:
Vallejo Metal Colour Magnesium (for the metallic base).
Vallejo Metal Colour Chrome (for highlighting metallic areas).
Scale 75 Victorian Brass (for trim detailing).
Games Workshop Contrast Paints: Iyanden Yellow, Magos Purple, Talassar Blue (for the heat effect).
Games Workshop Contrast Aggaros Dunes (for additional trim detailing).
Melta Cannon Step-by-Step Guide:
Base Coating the Weapon:
Begin by airbrushing the Melta weapon’s recesses with Averland Sunset, ensuring the weapon’s holes face directly towards the airbrush to prevent uneven shading. Don’t worry about overspray on the weapon casing; this will be covered later.
Adding Initial Heat Glow:
Switch to Troll Slayer Orange and apply over the Averland Sunset, creating a gradient effect from the weapon’s recesses outward. Ensure even coverage without tilting the airbrush to maintain consistency across the recesses.
Masking for Overspray:
To prevent overspray on adjacent yellow armour panels, use masking tape or modelling putty. This step is crucial for maintaining clean lines and avoiding accidental paint transfer.
Metallic Base Coat:
Paint the metallic parts of the weapon with Vallejo Metal Colour Magnesium, carefully avoiding the recesses to maintain the glow effect. This creates a solid base for subsequent detailing.
Trim Detailing:
Apply Scale 75 Victorian Brass to the weapon’s trim, followed by a coat of Games Workshop Contrast Aggaros Dunes to add depth and dimension to the detailing.
Heat Bloom Effect:
Begin the heat bloom effect by airbrushing Iyanden Yellow halfway along the Melta Cannon barrel, avoiding the recesses. Layer Magos Purple over the Iyanden Yellow, leaving some yellow visible for a blended effect. Finish with Talassar Blue, applying it over the Magos Purple but not covering all the previous layers, creating a transition from yellow to deep blue.
Highlighting and Finishing Touches:
Dry brush Vallejo Metal Colour Chrome on the non-painted metallic areas to enhance the metallic sheen. Carefully highlight the lower edges of the weapon with Chrome using a normal paintbrush, accentuating the heat bloom’s impact.
Final Assembly:
Once all painting is complete, remove any masking materials and assemble any remaining parts of the Titan, paying attention to aligning the heat bloom effects correctly.
Video – How to Paint a War Griffons Warlord : Weathering and Metal
Paints
Games Workshop:
Agrax Earthshade
Wyldwood (Contrast)
Contrast Aggaros Dunes
Forge World:
Aged Rust (Weathering Powder)
Vallejo Metal Colour (Airbrush Ready):
Victorian Brass (Scale 75 for an alternative base colour)
Magnesium
Gold
Chrome
Winsor & Newton:
Water Mixable Oil Colour Burnt Umber
Step by Step – Weathering and Metal on the War Griffons Warlord
Preparing the Armour Trim
Base Coat: Begin with a base coat of Scale 75 Victorian Brass over the trim. This provides a solid foundation for subsequent layers.
Initial Shading: Apply Contrast Aggaros Dunes over the Victorian Brass to introduce depth and shading to the trim. This step should have been completed in earlier stages of the model’s painting process.
Enhancing the Trim
Adding Depth: Use Games Workshop’s Wyldwood contrast paint to darken recesses and joints in the trim. The high contrast between the dark recesses and the metallic brass creates visual interest and depth. Apply the paint selectively to areas that would naturally accumulate shadow.
Highlighting: Vallejo Metal Colour Gold is used to highlight the edges of the trim. Due to its fluidity, it provides a smooth application but be mindful of its runniness. Lightly touch the edges with a fine brush to catch the raised areas.
Painting the Skeleton
Base Layer: Vallejo Metal Colour Magnesium serves as the base layer for the Titan’s skeletal structure. Its liquidity ensures it flows well into recesses but exercise caution to prevent pooling.
Weathering: Apply Forge World’s Aged Rust weathering powder mixed with water to the skeletal structure for a grimy, rusted effect. Focus on areas that would naturally collect dirt and rust, maintaining a balance to avoid obscuring details.
Sealing the Weathering: Once dry, seal the weathering with a mix of Agrax Earthshade. This reactivates and fixes the weathering powder, giving a durable and realistic rust effect.
Detailing Pistons and Metal Accents
Chrome Pistons: Vallejo Metal Colour Chrome is applied to pistons for a bright, reflective finish. Multiple thin layers may be needed for uniform coverage.
Oily Effects: Windsor and Newton’s Water Mixable Oil Colour Burnt Umber is used to simulate oil and grime on pistons and mechanical parts. Dilute with water for a manageable consistency and apply at joints and moving parts for a realistic oily effect.
Finishing Touches
Reichland Fleshshade Glaze: Optional, but can be used to add warmth to metal parts, particularly useful on brass or gold trims to simulate reflected light or heat staining.
Highlighting and Cleaning Up: After applying weathering and shading, go back to highlight edges and clean up any overspill with your base metallic colours. This step sharpens details and enhances the overall contrast of the model.
Techniques and Tips
Trim Detailing: Use the fine detail brush with Vallejo Metal Colour Gold to highlight the edges of the trim, applying the paint carefully to avoid spillage onto other areas.
Skeleton Base Layer: Apply Vallejo Metal Colour Magnesium with a medium brush, ensuring even coverage and avoiding pooling in recesses.
Weathering Powder Application: Mix Aged Rust with water in the well palette and apply with a large brush, targeting recesses and areas where rust would naturally accumulate.
Chrome Pistons: Use Vallejo Metal Colour Chrome, applying multiple thin layers as needed for a smooth, reflective finish.
Oily Effects: Dilute Winsor & Newton Water Mixable Oil Colour Burnt Umber with water and apply at the tops of pistons and around mechanical parts to simulate oil and grime.
More Titan Tutorials!
If you don’t have an account, please sign up here! The website currently has over 350 video tutorials with steps and tips, plus a selection of PDFs. If you are not sure about joining, you can explore my free videos with a free membership, or take the plunge and become a full subscriber for full access.
If you’d prefer to support me on Patreon, please visit: https://www.patreon.com/RichardGray [...]
Hair and Fur
Welcome to my latest video, ‘How to paint a Clawlord on Gnawbeast” in which we continue our journey with the Skaven characters from the Skaventide box set, focusing on the Claw Lord on Gnaw-Beast. This guide will detail the steps, techniques, and specific paints used to achieve a high-standard tabletop miniature. All paints and materials are listed below the video, plus simple step-by-step instructions.
Video Part One – How to Paint a Clawlord on Gnawbeast – Clawlord
Paints and materials needed
Paints:
Games Workshop: Evil Sunz Scarlet, Barak Nar Burgundy, Rhinox Hide, XV-88, Balor Brown, Moot Green, Yriel Yellow, Morghast Bone
Vallejo: Ice Yellow
P3: Morrow White
Brushes: Size 00 Artis Opus brush
Primer: Black primer
Airbrush (optional for base coating)
Step-by-Step Guide on How to Paint a Clawlord on Gnawbeast
Preparation and Priming
Prime the Model: Start by priming your Claw Lord on Gnaw-Beast with a black primer. Ensure even coverage across the entire model.
Base Coats
Base Coat with Airbrush:
Apply a coat of Rhinox Hide over the entire model.
Follow with Balor Brown in selected areas.
Finally, spray XV-88 on the focal points such as the head, knees, thighs, shoulders, and the hand holding the spear. This step helps lighten these areas for easier detail painting later.
Painting the Armour
Red Armour:
Start with Evil Sunz Scarlet for the base coat on the red armor sections.
Highlight progressively by mixing Ice Yellow with Evil Sunz Scarlet, increasing the amount of Ice Yellow with each layer to create a warm pink highlight.
If you prefer a cooler pink, substitute Ice Yellow with white.
For a more vibrant red, over-highlight with the lighter mix and then glaze back with the darker red to deepen the colour.
Rivets and Details:
Initially, paint the rivets red like the armour.
Optionally, you can return later to add verdigris or additional contrast paint to make them stand out more.
Texture and Highlights
Scratchy Method for Highlights:
Using a size 00 Artis Opus brush, mix your paint to a 50/50 ratio of water to paint. This consistency allows for precise lines without being too translucent.
Apply the paint using the very tip of the brush in a scratchy motion to create texture. Ensure the consistency is right to avoid overly soft or translucent lines.
Eyes
Painting the Eyes:
Base the eyes with black paint.
Paint a large section of the eye with Moot Green, leaving a small black outline.
Add a white dot near the top of the pupil and a small highlight of Yriel Yellow in the bottom right to give the eyes depth and vibrancy.
Horns and Teeth
Horns:
Base coat the horns with Balor Brown.
Highlight with Morghast Bone followed by Ice Yellow.
For final highlights, add dots of white to the most prominent raised areas.
Teeth:
Similar to the horns, base with Balor Brown.
Highlight the top of each tooth with Morghast Bone and finish with white.
Fur
Painting the Fur:
Base the fur with a mix of Rhinox Hide and white, creating a grey tone.
Add more white to the mix for successive highlights, aiming for an off-white final highlight.
Paint the fur texture using a similar technique to the scratchy method, applying fur lines with a 50/50 paint mixture, pulling the brush towards yourself for better control.
Adjustments
Additional Highlights and Adjustments:
Reassess the model and add any final touches to ensure all details are highlighted appropriately.
Consider glazing over areas where highlights might have dulled the base colour too much.
Optionally, use a contrast paint to enhance the red armour further and give it a satin finish for added vibrancy.
Video Part Two – How to Paint a Clawlord on Gnawbeast – Gnawbeast
Materials and paints needed
Paints
Games Workshop:
Rhinox Hide
XV-88
Balor Brown
Moot Green
Yriel Yellow
Bugmans Glow
Cadian Fleshtone
Sotek Green
Sybarite Green
Khorne Red
Two Thin Coats:
Dark Sun Yellow
Vallejo:
Ice Yellow
Model Colour Black
P3:
Morrow White
Brushes
Size 1 Artist Opus brush
Size 00 Artist Opus brush(I use Artist Opus, but any high-quality brush will do!)
Painting the Metal Trim
Base Colour: Apply Dark Sun Yellow (Two Thin Coats) to the metal trim. You can use Balor Brown as an alternative.
Highlighting:
Mix Dark Sun Yellow with Morrow White for the highlights. Gradually add more white for brighter highlights.
Use a size 00 brush to paint fine scratches and texture on the metal.
Adding Verdigris:
Mix Sybarite Green with Sotek Green (50/50).
Apply this mixture to the recesses and darker areas of the metal trim.
Add white to the mix for brighter highlights and apply sparingly to avoid overdoing it.
Painting the Skin
Base Colour:
Apply Bugmans Glow as the base colour.
Highlight using Cadian Fleshtone. Mix with white for brighter highlights.
Highlighting:
Focus on smoother transitions compared to the metal.
Add small amounts of white to Bugmans Glow or Cadian Fleshtone for progressive highlights.
Shading: Use Rhinox Hide to deepen shadows and enhance contrast where necessary.
Painting the Fur
Base Colour:
Use Rhinox Hide as the base colour for the fur near the skin.
Progressively darken towards the tips using black.
Highlighting:
Apply Mournfang Brown for mid-tones.
Highlight with a mix of Rhinox Hide and Morrow White to create lighter fur towards the top.
Painting the Warpstone
Base Colour: Start with Moot Green.
Highlighting:
Highlight using Yriel Yellow.
For the brightest highlights, mix Yriel Yellow with Morrow White and apply to the sharp edges and facets.
Painting the Teeth
Base Colour: Use a combination of Cadian Fleshtone and Morrow White for the base of the teeth.
Highlighting: Apply white highlights to the tips and edges for a shiny enamel look.
Painting the Eyes
Base Colour: Start with a base of black.Iris and Pupil:
Paint the iris with Moot Green.
Highlight the iris with Yriel Yellow, focusing on the lower part of the eye.
Add a small white dot for the reflection.
Finishing Touches
Review and Adjustments:
Revisit any areas that need more contrast or smoother transitions.
Ensure the highlights and shadows are consistent and realistic.
How to Build the Clawlord on Gnaw-Beast
How to Build a Clawlord on Gnawbeast
Want to make sure your Clawlord looks the best possible before you even start painting? Follow my step-by-step assembly video and guide.
Watch Now
If you don’t have an account here on my website, please sign up here! I have over 350 video tutorials with steps and tips, plus a selection of PDFs. If you are not sure about joining, you can explore my free videos with a free membership, or take the plunge and become a full subscriber for full access.
If you’d prefer to support me on Patreon, please visit: https://www.patreon.com/RichardGray [...]
This video and step-by-step guide for Cado Ezechiar from Games Workshop shows how to paint a vampire head in detail.
Video: How to Paint a Vampire Head
All videos are recorded in HD 1080p or higher – use full screen for the full effect and let the video load completely. You can also click the little “cog” and change the speed of the video, if I am going too fast (or slow!).
Materials List
Paints:
Games Workshop: Cadian Fleshtone, Mephiston Red, Evil Sunz Scarlet
Vallejo: Neutral Grey, German Grey
P3: Morrow White (or any white paint)
Brushes:
Size 2 Round Brush (for broad applications)
Size 00 Round Brush (for detailed work)
Other Materials:
Wet Palette (to keep paints moist and workable)
Water Pot (for cleaning brushes)
Mixing Palette (for mixing custom paint shades)
Blue Tack (for temporarily attaching components)
Metal Rod (for holding the model while painting)
Super Glue (for assembly adjustments)
How to Paint a Vampire Head Painting Guide
Preparation
Modify and Assemble: Modify the hair of the model to prevent it from touching the face, allowing for easier access when painting. This involves careful cutting, reattaching, and positioning of the hair components.
Priming: Prime the model with a neutral primer to ensure paint adhesion and colour accuracy.
Base Coating
Apply Base Colours: Begin with a base coat of Cadian Fleshtone for the skin, applying it thinly (around a 1.5:1 ratio of water to paint) using a size 2 brush for a smooth layer. For the hair, use Neutral Grey as the base.
Layering and Detailing
Layering: Employ both a size 2 brush for general work and a 00 brush for fine details. Gradually build up the skin tones, focusing on creating dramatic lighting by highlighting facial features and leaving recesses darker. Mix Cadian Fleshtone with white for various highlight shades.
Eyes and Teeth Detailing: For the eyes, utilise Mephiston Red and Evil Sunz Scarlet for a glowing effect. For the teeth, mix Cadian Fleshtone with white to achieve a natural bone colour, steering clear of pure white to maintain realism.
Hair: Paint the hair in layers, starting with Neutral Grey, then adding white for highlights. Adjust shading and highlighting to reflect texture and colour accurately.
Shadows and Highlights: Use German Grey for deep shadows to add depth, especially around the eyes and under facial features. Use mixtures of Cadian Fleshtone with white and grey to refine the face’s appearance, enhancing the transition from light to shadow.
Final Touches: Add fine highlights with a mix of the lightest skin tone and a bit of white, focusing on areas where light naturally hits. Use a fine brush for precision, ensuring smooth transitions between light and dark areas.
Additional Tips
Brush Care: Always wet your brush before starting to paint, even if it appears clean, to ensure smooth paint flow.
Lighting Effects: When painting, consider how light interacts with the model’s features. This helps in achieving a more natural and realistic appearance, even with dramatic lighting.
Colour Mixing: Don’t be limited by paint names. Understand that all paints are just colours, and creative mixing can achieve the desired effect, such as using skin tone mixes for teeth to avoid too stark a contrast.
Explore all of my tutorials for Cado Ezechiar
Cado Ezechiar
Golden Demon Entry – These videos show how to paint the vampire model, Cado Ezechiar, from Games Workshop.
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This video shows how to paint the mask of horror (and some of the difficulties I had!) for Lady Annika.
Video: Lady Annika Mask
Materials Needed:
Games Workshop Paints: Cadian Fleshtone, Rhinox Hide, Ushabti Bone, Mephiston Red, Dark Reaper (later changed to Corvus Black)
Vallejo Paint: Model Color Air White
Fine detail brushes
Wet palette
Water (for thinning paints)
Base Coat
Prime the Mask: Begin with a black primer to ensure the colours that follow stand out.
Apply Cadian Fleshtone: Cover the mask with Cadian Fleshtone. This will likely take three to four coats due to the poor coverage over the black primer. The aim is to achieve a base that resembles a realistic skin tone, though the mask itself is quite small, making this task more challenging.
Creating the Skin Tones
Mix Shades: Prepare a range of shades on your wet palette by mixing Cadian Fleshtone with varying amounts of white for highlights and Rhinox Hide for shadows. For deeper shadows, use a 50/50 mix of Cadian Fleshtone and Rhinox Hide, and for pure shadow areas, use Rhinox Hide alone.
Block in Highlights and Shadows: Considering the light source is from the top left, start blocking in highlights and shadows to define the mask’s features. This initial stage doesn’t require perfect blending, as the translucent nature of the watered-down paints (approximately two parts water to one part paint) allows for underlying layers to show through, contributing to a more natural look.
Refining Details
Enhance the Highlights: Use the lighter mixes (Cadian Fleshtone with white and Ushabti Bone with white) to highlight areas like the bridge of the nose, cheekbones, and forehead. These areas may need even more watered-down paint to avoid a chalky texture.
Detailing the Eyes and Mouth: With Corvus Black, add definition around the eyes and mouth. Initially, Dark Reaper was used, but Corvus Black provided a more suitable shade for creating a horror effect without being overly saturated.
Adding Horror Elements
Mascara Tears: Using Corvus Black, paint streaks running down from the eyes to simulate mascara tears, ensuring they thin out towards the bottom. This effect should look distressed and slightly uneven to enhance the horror aesthetic.
Red Lips: Paint the lips with Mephiston Red, carefully defining them to stand out against the paler skin tones. The open mouth adds to the mask’s gormless, horrific expression.
Finishing Touches
Softening and Blending: Go back over the mask to soften any harsh lines or transitions, especially around the streaks and shadowed areas, to ensure a coherent and lifelike (yet horrific) appearance.
Detailing and Corrections: If necessary, use the skin tone mixes to correct any mistakes or overly bold lines, particularly around the eyes and eyebrows, to maintain the desired look.
For all my Tutorials on Lady Annika, follow the link below:
Lady Annika
Golden Demon Entry – Lady Annika’s thirst for blood is legendary, even amongst the Soulblight vampires! I really enjoyed painting her and made a few tweaks to the model.
Watch Now
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If you’d prefer to support me on Patreon, please visit: https://www.patreon.com/RichardGray [...]
This is the first video in a series of how to paint undead vampire skin onLady Annika. This video looks at painting the face and hair to display level.
All videos are recorded in HD 1080p or higher – use full screen for the full effect and let the video load completely.
Materials Needed for her Undead Vampire Skin and Hair
Games Workshop Paints: Kislev Flesh, Dark Reaper, Ushabti Bone, Flayed One Flesh, Moot Green, Yriel Yellow
Vallejo Paints: Black, Basalt Grey, Dark Sea Grey
P3 Paint: Morrow White
Fine detail brushes
Wet palette
Water (for thinning paints)
Preparation
Prime and Prepare: Prime the whole model and build it, leaving the head separate for easier painting. This approach allows better access to the head, especially around areas obstructed by accessories like masks.
Painting the Undead Vampire Skin
Base Coat with Kislev Flesh: Thin Kislev Flesh with water at a ratio of approximately 2:1 (water:paint). Apply the thinned paint to the head, aiming for a very translucent effect. This will take around 3-4 layers to achieve a good, but not opaque, coverage.
Shading: Mix Kislev Flesh with Dark Reaper to create various shades for skin shadows. Start with a small amount of Dark Reaper to slightly darken the Kislev Flesh and incrementally increase the amount of Dark Reaper for deeper shadows. Apply these mixes carefully to areas like under the eyes, around the nose, and under the chin to simulate natural shadows.
Adding Depth with Ushabti Bone and Flayed One Flesh: Introduce Ushabti Bone and Flayed One Flesh for highlights and to add depth to the skin. These should also be thinned and applied sparingly to areas that would naturally catch the light.
Refining Details: Use pure Dark Reaper to define the eyes and deeper shadows. Then, carefully increase the intensity of highlights and shadows by adding more layers, paying close attention to the light source (coming from the left in this case) to ensure a realistic appearance.
Painting the Hair
Base with Moot Green: Apply Moot Green as the base colour for the hair. If necessary, mix Moot Green with a little black to adjust the shade. Ensure to cover all strands, aiming for a uniform base layer.
Add Highlights and Shadows: Create a gradient effect by mixing Moot Green with white for highlights and pure black for deeper shadows. Apply these mixes strategically to mimic natural hair highlights and to give the impression of volume and movement.
Detailing with Fine Strands: Use a fine brush to add delicate strands of hair in lighter green shades towards the tips and darker shades near the roots to simulate depth and texture.
Roots Detailing: For an added touch of realism, use Basalt Grey and Dark Sea Grey near the roots to suggest regrowth or a transition of colour. This technique adds complexity and depth to the hair.
Finishing Touches
Glazing for Smoothness: Once satisfied with the skin and hair, use glazing techniques to smooth out transitions and blend the colours more seamlessly. This step involves thin layers of paint applied over dry areas to subtly adjust tones and shades.
Eyes and Teeth: Paint the eyes using Yriel Yellow for the whites and Vallejo Black for the pupils. For the teeth, use Ushabti Bone for a natural look, and carefully define each tooth for clarity.
Lips: Paint the lower lip with a mixture of red (e.g., Mephiston Red from Games Workshop) and add highlights with a mix of Shabti Bone and the red base colour to create a natural gradient.
Watch all of my Lady Annika tutorials by clicking the link below! :
Lady Annika
Golden Demon Entry – Lady Annika’s thirst for blood is legendary, even amongst the Soulblight vampires! I really enjoyed painting her and made a few tweaks to the model.
Watch Now
If you don’t have an account, please sign up here! The website currently has over 350 video tutorials with steps and tips, plus a selection of PDFs. If you are not sure about joining, you can explore my free videos with a free membership, or take the plunge and become a full subscriber for full access.
If you’d prefer to support me on Patreon, please visit: https://www.patreon.com/RichardGray [...]
This video shows how to paint the Vampire Lord face and hair from the Soulblight Gravelords army by Games Workshop.
Video – Vampire Lord Face and Hair
Paints and Materials
Games Workshop: Calgar Blue, Cadian Fleshtone, Ushabti Bone, Yriel Yellow, Khorne Red, Mephiston RedVallejo: Neutral Grey, Black
Step-by-Step Guide and Tips Vampire Lord Face and Hair
Painting the Vampire Lord Face:Base Coat: Start with a base coat of Calgar Blue over the black primer. Expect poor coverage initially. Thin the paint with approximately 1.5 parts water to 1 part paint. Apply 3-4 layers to achieve an opaque finish.
Highlighting: Create a mix of 50/50 Calgar Blue and Cadian Fleshtone. Apply this mix to specific areas of the face, considering the natural light fall. Key areas include the forehead, cheekbones, and areas between the eyes and nose. This mix will start to give a flesh tone, retaining a hint of blue for the undead look.
Further Detailing: Use Cadian Fleshtone and a mix of 50/50 Ushabti Bone and Cadian Fleshtone for additional highlighting. Focus on raised areas and consider how light interacts with facial features. Apply highlights gradually, using a heavily diluted mix for soft transitions.
Eyes and Mouth: Paint the eyes and the inside of the mouth in black. This step ensures these areas are defined and helps balance the highlights on the face.
Painting the Vampire Lord Hair:Base Coat: Apply Neutral Grey from Vallejo over the black primer. Switch to Khorne Red for a vibrant, contrasting colour to the skin. Thin the paint slightly and apply multiple coats for an even, opaque finish.
Highlighting: Use Ushabti Bone to highlight the hair. Mix it with Khorne Red in varying proportions, increasing the Ushabti Bone content for brighter highlights. Focus on areas where light would naturally hit, creating a shiny, luxurious look.
Glazing for Colour Depth: After highlighting, the hair may appear too desaturated. To bring back the richness of the red, glaze over the hair with a heavily diluted Mephiston Red. This step enhances the red colour while maintaining the shine.
Final Touches on Hair: Optionally, add Abaddon Black to the corn red to create darker shades in the hair, increasing the depth and contrast.
Watch more of my Vampire Lord tutorials by clicking the link below:
Vampire Lord
Golden Demon Entry – All the videos on how to paint the Vampire Lord from the Soulblight Gravelord Armies! This includes NMM shiny steel armour, face and hair, skeleton base tutorial plus a dripping gore-covered mace!
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Watch all my latest Undead Tutorials, below:
If you don’t have an account, please sign up here! The website currently has over 350 video tutorials with steps and tips, plus a selection of PDFs. If you are not sure about joining, you can explore my free videos with a free membership, or take the plunge and become a full subscriber for full access.
If you’d prefer to support me on Patreon, please visit: https://www.patreon.com/RichardGray [...]
Here is a set of video tutorials on how to paint Naeve Blacktalon, including NMM Gold, her cloak filigree, face, eyes and hair and fur cloak!
Swift as lightning and as utterly devastating, Neave Blacktalon is a single-minded hunter and slayer of the enemy’s most powerful lords.
Scroll down to explore the tutorials in order, or click on the below to quickly jump to a part or technique:
Video: How to Paint Naeve Blacktalon – NMM Gold ArmourPaints and Materials UsedStep-by-Step GuideVideo: How to Paint Naeve Blacktalon – Filigree CloakPaints and Materials UsedStep-by-Step GuideVideo: How to Paint Naeve Blacktalon – Face and HairPaints and Materials UsedStep-by-Step GuideVideo: How to Paint Naeve Blacktalon – Fur CloakPaints and Materials UsedStep-by-Step GuideVideo: How to Paint Naeve Blacktalon – BaseMaterials RequiredStep-by-Step Guide
This model won Bronze in the Fantasy Single Miniature Category at Salute in 2018.These How to Paint Naeve Blacktalon videos are a lot older than my recent ones, so my apologies for the quality of image and sound!
Video: How to Paint Naeve Blacktalon – NMM Gold Armour
Paints and Materials Used
Paints:
Rhinox Hide – A deep, rich brown, perfect for your base layer.
Mournfang Brown – A warm brown, excellent for adding depth and warmth.
Fire Dragon Bright – A vibrant orange, used for highlighting.
Yriel Yellow – A bright yellow for adding that golden hue.
Ushabti Bone – A light bone colour, ideal for the strongest highlights.
Ceramite White – Pure white, used for the final, fine glistening points.
Brushes:
Fine Detail Brush – Essential for those tiny, precise highlights and details. I use Artist Opus 00.
Standard Layering Brush – Great for general painting and layering.
Glazing Brush – Used for applying thin, smooth layers of glaze.
Additional Materials:
Wet Palette – Keeps your paints hydrated and workable for longer.
Airbrush (Optional) – Can be used for applying smooth base layers and initial highlighting.
Step-by-Step Guide
Preparation and Base Colour: Begin by priming your model with a dark colour, ideally something like ‘Rhinox Hide’ from Games Workshop. This dark base will help you achieve a high contrast and a shiny appearance.
Primary Light Source: Identify the primary light source, typically the sun. Use ‘Fire Dragon Bright’ to highlight areas where the light directly hits the armour. Remember, this step doesn’t need to be neat as it forms the foundation for further layers.
Secondary Light Sources: Consider secondary light reflections and highlight these areas too. This step adds depth and realism to your model.
Tonal Contrast: Apply a strong tonal contrast using ‘Fire Dragon Bright’ and ‘Yriel Yellow’. These colours will represent the primary and secondary highlights of the armour, respectively.
Adding Depth with Glazing: Use glazing techniques for transitions. This involves applying thin, transparent layers of paint to create a smooth gradient.
Strongest Highlights: For the strongest highlights, apply ‘Ushabti Bone’ judiciously. This colour will cover the majority of the highlight areas.
Final Glistening Points: Use ‘Ceramite White’ for the final, fine glistening points. This should be used sparingly to maintain the effect of shining metal.
Refinement and Transition: Apply multiple layers of paint towards the highest areas of highlights to create a slight transition. This step is crucial for achieving a realistic metal effect.
Creating Light Glow: To enhance the light glow, carefully blend ‘Yriel Yellow’ into the highlighted areas. This adds a realistic golden hue to the armour.
Additional Depth with ‘Mournfang Brown’: Use ‘Mournfang Brown’ as a glazing colour to bring a warm tone to the armour, toning down the brightness and orange hue.
Detailing and Sharp Edges: Use ‘Fire Dragon Bright’ to highlight hard edges and details, balancing the colour use to maintain a realistic effect.
Secondary Reflections: Apply secondary reflections using a toned-down ‘Fire Dragon Bright’. These should be softer and more subtle than primary reflections.
Further Refinement: Continue refining the model by adjusting the intensity and spread of the highlights and reflections. Use glazing techniques to smooth out transitions and add fine details.
Final Touches: As the last step, revisit any areas that need more definition or contrast. Use a combination of the aforementioned colours to fine-tune the appearance of the armour.
Video: How to Paint Naeve Blacktalon – Filigree Cloak
Paints and Materials Used
Paints Used:
Vallejo Heavy Goldbrown: The primary colour for the filigree.
Vallejo Ice Yellow: Used for highlighting the filigree.
Games Workshop Abaddon Black: Employed for glazing and shading.
Games Workshop Evil Sunz Scarlet: Utilized for base colour and glazing.
Games Workshop Ushabti Bone: For final highlights.
Games Workshop Ceramite White: Applied for the most prominent highlights.
Games Workshop Yriel Yellow: Used in glazing for warmth and blending.
Brushes:
Fine Detail Brushes: Sizes 000 and 00, used for painting intricate filigree patterns. In the video I mention a preference for a Rosemary & Co brush and an unbranded brush under testing – that brush ended up to be the Artist Opus brush, which I prefer to use today!
Larger Brush (Size 2 or similar): For glazing larger areas smoothly.
Step-by-Step Guide
Base Colour for Cloak: Begin by painting your cloak in a simple base colour. I suggest using ‘Abaddon Black’ mixed with a bit of ‘Ceramite White’ for transitions, then glazing over with ‘Evil Sunz Scarlet’ from Games Workshop. However, a flat red base is also suitable as the subsequent layers and glazes will define the final look.
Initial Filigree Design: Start by drawing swirly patterns using ‘Heavy Goldbrown’ from Vallejo. This phase requires patience and a steady hand. If you are not confident in free-handing the design, consider sketching it out first or finding a pattern online as a reference.
Creating Organic Patterns: Ensure that the filigree patterns are flowing and organic. You may start with thin lines and then work over them to make them thicker. Remember, the glazes applied later will pull back these colours, making them less vibrant.
Dealing with Uneven Surfaces: When painting over uneven surfaces like a cloak, it’s challenging to get straight lines. Start with thin lines and gradually build upon them. If they become jagged, tidy them up using the base colour.
Layering and Glazing: After completing the filigree design, start the glazing process. Use ‘Abaddon Black’ for shading down the ‘Heavy Goldbrown’ filigree. This step will begin to integrate the filigree into the cloak and soften the overall look.
Highlighting the Filigree: Begin highlighting the gold filigree. The main goal here is to create an artificial light effect since you can’t rely on natural lighting for a flat piece. Use ‘Ice Yellow’ from Vallejo for the highlights, focusing on the center of each curl and other prominent areas. Be cautious when highlighting darker areas, as this can create a stark contrast.
Final Highlights: For the final highlights, apply ‘Ceramite White’ from Games Workshop. This step will make the filigree stand out, but ensure it’s done sparingly to avoid overpowering the design.
Glazing with ‘Evil Sunz Scarlet’: Now, glaze over the entire cloak with ‘Evil Sunz Scarlet’. This will unify the filigree with the cloak’s base colour and soften the highlights.
Additional Glazing for Warmth: To add warmth and further blend the highlights, apply a glaze of ‘Yriel Yellow’ over the lighter areas of the cloak. This step enhances the subtleties in the filigree and integrates it more naturally into the cloak.
Final Touches with ‘Ushabti Bone’: Finally, use ‘Ushabti Bone’ from Games Workshop to pick out some details again. This paint isn’t as yellow as ‘Ice Yellow’, providing a softer highlight and reducing the starkness of the earlier highlighting stage.
Video: How to Paint Naeve Blacktalon – Face and Hair
Paints and Materials Used
Paints Used:
Games Workshop Cadian Fleshtone: The primary colour for the skin.
P3 Ryn Flesh: Used for highlighting the skin.
Games Workshop Mournfang Brown: Employed for shading the skin.
Games Workshop Abaddon Black: For the pupils and hair detailing.
Games Workshop Skavenblight Dinge: Base colour for the hair.
Games Workshop Celestra Grey: For highlighting the hair.
Games Workshop Ceramite White: Used for the highest points of hair highlights.
Games Workshop Lothern Blue: Optionally mixed with Ceramite White for the eyes.
Brushes:
Fine Detail Brushes: Essential for the intricate work on the face and eyes.
Artist Opus Series S Brushes: I mention that I am testing these in the video, ideal for precision and detail.
Medium Brush: For broader strokes and blending on the hair.
Step-by-Step Guide
Preparing the Skin:
Base Colour: Start with ‘Cadian Fleshtone’ from Games Workshop. Apply it to highlight the main points on the face such as cheeks, forehead, and nose. The paint should be thinned to about a 50/50 ratio with water.
Highlighting: Use ‘Ryn Flesh’ from P3 to highlight the highest points on the face. This should be applied more sparingly, focusing on areas where light naturally hits the most.
Shading: Apply ‘Mournfang Brown’ for shading. This helps in creating a consistent lighting effect and adds depth to the facial features.
Detailing the Face:
Work in layers, gradually building up the ‘Cadian Fleshtone’ and blending in the ‘Mournfang Brown’.
Be careful around the eye sockets and hairline, ensuring a natural transition from skin to hair.
Adjust the highlights and shadows to emphasize the facial expression and structure, remembering that the light source must be consistent with the rest of the model.
Painting the Eyes:
Use a mix of ‘Ceramite White’ and ‘Lothern Blue’ (optional) to paint the whites of the eyes. Ensure to leave some of the primed colour in the eye socket for natural shadowing.
Add pupils using ‘Abaddon Black’. Be precise and consistent in their placement for a natural look.
Avoid adding white reflections unless the eyes are sufficiently large to accommodate this detail without looking unnatural.
Painting the Hair:
Base Colour: Apply ‘Skavenblight Dinge’ as a base for the hair.
Highlighting: Use ‘Celestra Grey’ from Games Workshop to pick out the highlights. Pay attention to the sculpted strands and how the light would naturally hit them.
Further Highlights: Apply ‘Ceramite White’ for the highest highlight points, focusing on areas where the light would be strongest.
Blend these highlights using ‘Skavenblight Dinge’ and ‘Abaddon Black’ to create a realistic sheen and prevent the hair from appearing grey.
Final Touches:
Revisit any areas that need more definition or blending.
Ensure that the lighting on the face and hair is consistent with the rest of the model, adjusting as necessary.
Video: How to Paint Naeve Blacktalon – Fur Cloak
Paints and Materials Used
Paints Used:
Games Workshop Abaddon Black: Used for creating shadow effects and detailing.
Games Workshop Skavenblight Dinge: Applied as the base layer on the cloak.
Games Workshop Celestra Grey: Utilized for the lighter tones and highlights.
Games Workshop Ceramite White: Employed for the highest points of highlights on the fur.
Games Workshop Rhinox Hide: Used sparingly for tinting in the shadow areas.
Games Workshop Mournfang Brown: Applied as a glaze to add a bit of color to the fur.
Brushes and Tools:
Artist Opus Series S Brushes: I switch between a size two and a size one brush for different stages of painting.
Blue Tack: Used to hold the cloak in place during painting.
Step-by-Step Guide
Base Coat with Skavenblight Dinge: Begin by covering the entire cloak with Skavenblight Dinge. Use the side of the brush to apply the paint, focusing on allowing some of the textures underneath to remain visible while not completely obscuring the contrast.
Directional Lighting Consideration: Although the cloak isn’t shiny like the armour, maintain consistency with the lighting direction. This step is about setting up a “map” of lighting on the cloak, which will guide you in later stages.
Applying Celestra Grey: Carefully apply Celestra Grey, ensuring not to cover all the details. This lighter grey will form the basis of higher points of light on the fur but avoid making large blocks of pale paint.
Refining Shadows with Skavenblight Dinge: Go back to Skavenblight Dinge to refine the shadows. Use lighter marks to blend the Celestra Grey into darker areas, balancing the tones.
Adding Depth with Rhinox Hide and Mournfang Brown: Use these colours, thinned down to a glaze consistency, to add depth and a hint of colour to the fur, particularly in the shadows.
Detailing with Ceramite White: Now, use Ceramite White to add fine lines representing individual fur strands. This should be done delicately, ensuring these lines are thin and do not overwhelm the previously painted layers.
Final Adjustments: Adjust the intensity of the highlights and shadows by going back and forth between the greys and the white. This process is about refining the fur’s appearance, enhancing its texture and realism.
Edge Detailing: Pay special attention to the edges of the cloak. Use white to emphasise these areas, ensuring they stand out against the rest of the model.
Final Touches and Cleanup: Make any necessary final adjustments to ensure a balanced, realistic fur appearance. Clean up any areas where paint may have strayed from the intended sections.
Assemble the Model: Once the painting is complete and dry, carefully assemble the cloak onto the model, taking care not to damage your work.
Video: How to Paint Naeve Blacktalon – Base
Materials Required
Resin plinths and cork bark for the base.
Tools including a Dremel for shaping.
Protective gear: Mask for dust protection.
Games Workshop plastic skulls for decoration.
Builder’s sand (with a mix of fine and large grains).
Standard PVA glue.
Baking soda and matte varnish for texture.
Scale 75 paints (Brown Leather, Orange Leather, Arabic Shadow, Sherwood Green, Black Leather).
Games Workshop Ahriman Blue and Ceramite White.
P3 Menoth White Base.
Airbrush (optional).
Superglue.
Acetate sheet or similar for creating a barrier.
Epoxy resin for water effects.
Gloss varnish (AK Interactive recommended).
Vallejo Model Colour Black.
Step-by-Step Guide
Base Preparation: Glue resin plinths together and top with cork bark for a natural rock formation look. Use a Dremel to shape the cork, ensuring proper ventilation and safety measures when you do so.
Adding Detail: Place GW plastic skulls in the drilled areas for added interest.
Texturing with Sand: Apply a mix of builder’s sand using PVA glue to add varied texture. This creates a more natural look with different grain sizes.
Baking Soda and Varnish Mix: Combine baking soda with matte varnish to add fine texture, particularly around the edges and over the cork.
Priming: Once dry, prime the base black using Vallejo Surface Primer.
Airbrushing Base Colours: Optionally use an airbrush to apply Scale 75 paints in layers (Brown Leather, followed by Orange Leather, then Arabic Shadow). Airbrush inside the holes with Ahriman Blue, lightened with Ceramite White for a glowing effect.
Dry Brushing Textures: Overemphasize textures with dry brushing, starting with Balor Brown and progressively lighter shades up to Menoth White Base. Focus on raised areas and edges.
Applying Colour Washes: Use watered-down Scale 75 Sherwood Green and Black Leather to add natural colour variations. The washes will blend naturally, creating a cohesive look.
Moss and Algae Effects: Mix Sherwood Green with baking soda and varnish to create a mossy texture, especially around the water edge.
Adding Vegetation: Apply grass tufts, flowers (from Army Painter and MiniNatur), and field-found “real life!” vegetation with PVA and superglue for a diverse and organic look.
Resin Water Effects: Carefully pour mixed epoxy resin into the prepared areas. Ensure a leak-proof barrier with acetate and superglue. Let it set for at least 24 hours.
Final Touches: Once the resin is set and clear, tidy up the base edges with Vallejo Model Colour Black. Sand any rough edges if needed.
Integration with the Model: To blend the model with the base, replicate the base’s texturing under the model’s foot.
Completion: Leave to dry and cure fully. The finished base should present a detailed and textured landscape, complete with realistic water effects, enhancing Neave Blacktalon’s dynamic pose.
If you don’t have an account, please sign up here! The website currently has over 350 video tutorials with steps and tips, plus a selection of PDFs. If you are not sure about joining, you can explore my free videos with a free membership, or take the plunge and become a full subscriber for full access.
If you’d prefer to support me on Patreon, please visit: https://www.patreon.com/RichardGray
More Full Character Tutorials to Explore! [...]
The latest video for Morgok, from Morgok’s Krushas. This video features how to paint the hair and leather.
Video – How to Paint Morgok: Hair and Leather
Materials and Paints
The following paints were used: Games Workshop: Abaddon Black, Mepthiston Red, Evil Suns Scarlet, XV-88, Balor Brown, Dryad Bark, Rhinox Hide, Troll Slayer Orange Vallejo: Pale Grey Blue, Black
Step-by-Step Guide
Painting the hair and leather on Morgok, the Orruk leader from Morgok’s Krushas, involves several steps to achieve a vivid and realistic look. Here’s a clear and concise guide:
Hair Basecoat: Mix Mephiston Red with a bit of Abaddon Black (approximately 2 parts Mephiston Red to 1 part Abaddon Black). Apply this mixture to the hair, noting that it appears redder when wet but dries to a browner shade.
Leather Basecoat: Use Dryad Bark for the leather parts. This serves as a base for further detailing and shading.
Hair Highlighting: Begin highlighting the hair with plain Mephiston Red. This creates a bright and vibrant effect when wet but darkens upon drying. Ensure even coverage, avoiding too much contrast in the crevices.
Building Hair Texture: Continue to build the hair’s texture by using Evil Sunz Scarlet. Focus on large strands and upward-facing hair sections. This stage is about setting the overall light volume.
Refining Hair Highlights: Mix Evil Sunz Scarlet with Pale Grey Blue (about 2 parts Evil Sunz Scarlet to 1 part Pale Grey Blue). Apply this mix for the final hair highlights, focusing on edges and keeping the highlights consistent and directional.
Adjusting Leather Colour: If you find the leather too desaturated, glaze it with Rhinox Hide and then Troll Slayer Orange to add depth and richness. This step is adjustable based on personal preference.
Detailing Leather: Start detailing the leather with XV-88, focusing on vertical scratchy marks and blending them into the base colour. This mimics a worn leather texture.
Enhancing Leather Texture: Use Balor Brown for further texture on the leather. Apply thin lines to mimic cracks and wear, focusing on the lighter areas for highlights.
Leather Shadowing: Mix Balor Brown with a bit of black (Vallejo Black or similar) and apply this to the shadowed areas of the leather. This step adds depth and contrast.
Leather Final Highlights: For the highest highlights on the leather, use pure Pale Grey Blue. Apply sparingly and focus on areas where light would naturally hit the most.
Glazing for Depth: Finally, apply a glaze of Rhinox Hide over the leather to unify the colours and tones. This also helps in blending the highlights into the base colour.
Remember to let each layer dry before applying the next, and adjust the intensity of your highlights and shadows to match the overall look you desire for Morgok. The aim is to create a vibrant, detailed, and realistic appearance for both the hair and leather parts of the miniature.
Morgok from Morgok’s Krushas – All Videos
Painting Morgok from Morgoks Crushas
Morgok and his mob of Ironjawz brutes once hunted down and fought the greatest prey they could find amongst Ghur’s trackless wastes. Whether they ran down spiny nephrodiles or fought the storm-warriors of Sigmar, Morgok’s Krushas sought the mightiest trophies in the name of their bellicose deity, Gorkamorka.
Here is the full series of videos on how I painted him!
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Video and step by step guide on how to paint an Ogroid Head, with the distinctive lighting effects, horns and NMM (non metallic metal.
I have done more than how to paint an Ogroid head, however! To watch all of my tutorials for him on one page, follow the link below:
Ogroid Myrmidon
A selection of detailed videos including red OSL, NMM, fur effect, horns and freehand on his shield.
Watch Now
Video Tutorial: How to Paint an Ogroid Head with Horns and NMM
Materials Needed to Paint the Ogroid Head, Horns and NMM:
Primer: Black
Base Colours: Mephiston Red (GW), Zandri Dust (GW), English Uniform (Vallejo)
Highlights and Shadows: Wild Rider Red (GW), Troll Slayer Orange (GW), Firedragon Bright (GW), Neutral Grey (Vallejo), Pale Grey Blue (Vallejo), Japanese Uniform (Vallejo), Ice Yellow (Vallejo), White (Vallejo), Heavy Warm Grey (Vallejo), Heavy Skintone (Vallejo)
Glazes and Details: Mournfang Brown (GW), Corvus Black (GW)
Airbrush (optional for underside glow effect)
Preparation
Priming: Begin with a black primer for deep shadows and to prepare the model for painting.
Underglow Effect: Optionally, apply Mephiston Red thinned down with an airbrush (or manually) for an underside glow. This step is not essential but helps to establish the mood and lighting direction for the model.
Painting the Horns
Base Layer: Apply a base coat of Rhinox Hide (Games Workshop) on the horns, focusing on a rough texture to highlight the weathered appearance.
Adding Texture: Use Zandri Dust (Games Workshop) to build the texture on the horns, applying it unevenly to create a worn look.
Highlighting: Mix Zandri Dust with lighter shades such as Heavy Warm Grey and Heavy Skintone (Vallejo) for highlights, concentrating lighter colours towards the centre of the horns and darker shades towards the tips.
Refining Texture: Return with Rhinox Hide to deepen the shadows in textured areas, using a fine brush to emphasise details and the rough texture.
Glazing: Employ thin glazes of Mournfang Brown and Corvus Black sparingly to blend and soften transitions.
Painting the NMM Gold Tips
Base Colours: Start with English Uniform (Vallejo) for the metallic areas’ base.
Building up Metallics: Progress from Japanese Uniform to Ice Yellow (Vallejo), highlighting edges and raised areas to simulate gold reflection.
Final Highlights: Use White (Vallejo) for the sharpest highlights on edges and high points to mimic metal shine.
Glazing for Depth: Apply glazes of Mournfang Brown to deepen and enrich the gold, being careful not to cover the brightest highlights.
Painting the Face
Base Layer for Skin: Use Neutral Grey (Vallejo) for the skin, avoiding areas catching the underglow.
Adding Shadows and Highlights: Apply Pale Grey Blue (Vallejo) for highlights on raised areas like the brow, nose, and cheeks, maintaining the glowing effect in recesses.
Detailing and Refining: Deepen shadows and define features with Corvus Black (GW), enhancing skin texture and facial details with fine highlights of Pale Grey Blue and White (Vallejo).
Adjusting the Underglow: Touch up the underglow with Mephiston Red, Wild Rider Red, and Troll Slayer Orange (GW) to ensure it complements the overall painting, adjusting intensity accordingly.
Finishing Touches
Adjusting Highlights: Reassess highlights and shadows, ensuring they align with the desired atmosphere and light source.
Details: Focus on small details like teeth and eyes, applying light and shadow principles for emphasis.
Glazing: Use glazes to smooth transitions and adjust colour saturation where needed, particularly on the horns and face to unify the piece.
More Ogroid Videos can be viewed below:
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My latest tutorials, this time on how to paint a Chaos Warrior! He is a part of my small Slaves to Darkness army, but ultimately this is a failure as it took me too long to paint him. I need something that looks good while ideally taking not much longer than an hour, but this was just over 3. Follow my tutorials below for a fast(ish) way to paint to this standard.
To start, you will need to assemble and clean up the model (for a handy guide on this, go here) then prime it black.
Video – How to Paint a Chaos Warrior – Part One
Paints Needed
Vallejo Paints: Neutral Grey, Dark Grey, Black, White, Pale Grey Blue, Ice Yellow, Heavy Sienna, and Heavy Gold Brown.
Base Coating
Primary Highlights: Start with Vallejo Dark Grey to block in the primary highlight points, taking into consideration how light naturally hits the model. This won’t be perfectly accurate due to the differences between metal and plastic, but it provides a solid starting point. Remember, areas like kneecaps that face downwards will receive less light.
Adding Depth and Highlights
Further Highlights: Using Neutral Grey, create the second “band” of highlights. These should be more confined than those highlighted with Dark Grey, allowing the undercoat to be visible.
For areas you plan to render vibrant later (such as eyes), it’s acceptable to roughly block them in now. Adjustments and definitive colours, like red for eyes, can be added subsequently.
Non-Metallic Metal (NMM) Techniques
Flat Surfaces: For the Chaos Warrior’s flat armour surfaces, like the thighs or wrist guards, avoid intricate sky-like patterns due to their complexity. Instead, focus on simple yet effective highlighting to suggest metallicity.
Refining Highlights
With Pale Grey Blue, apply it to areas like the helmet for more pronounced non-metallic metal effects. Adjustments, especially around the face mask for glow effects or additional detailing, can be made as needed.
Detailing and Texturing
Use a mix of the greys and white to highlight edges and create texture across the armour. For cylindrical surfaces, such as the forearm guard, ensure the highlight mirrors the shape’s curvature. This step is crucial for adding realism and depth to your model.
Shield and Back Details
Although the back of the model may not be the focal point, it’s important to maintain consistency in quality. Apply similar highlighting techniques to the shield, adjusting for the light source being from the front. Use Corvus Black (or a similar dark grey) for glazing and smoothing transitions.
The Eight-Pointed Star of Chaos
Begin with a base of Heavy Sienna, accenting edges with Heavy Gold Brown and Ice Yellow for a rich, golden tone. Exercise restraint with Ice Yellow to preserve the gold’s richness. For added authenticity, make the edges irregular to suggest wear.
This guide covers the essentials for achieving a tabletop standard Chaos Warrior. The second part of this series (below) will explore further detailing and final touches to bring your Chaos Warrior to life.
Video – How to Paint a Chaos Warrior – Part Two
Having previously focused on non-metallic metal (NMM) armour, we will now delve into painting the more colourful aspects of the miniature. Unfortunately, due to technical difficulties, some early steps won’t be visually documented, but I’ll guide you through the process!
Paints Needed
Games Workshop Paints: Doombull Brown, Evil Sunz Scarlet, Wild Rider Red, Mephiston Red, Baharroth Blue, Corvus Black, Deathworld Forest, Ushabti Bone, Rhinox Hide.
Vallejo Paints: Heavy Sienna, Neutral Grey. Use Cadian Fleshtone as an alternative to Natural Flesh.
Painting the Cloak
Base Coat: Begin with Deathworld Forest for the cloak, aiming for a forest green shade. The paint may need to be thicker due to its poor coverage, so adjust the consistency to about 1:1 paint to water ratio for better application.
Highlighting: Utilize Heavy Gold Brown to pick out edges and folds in the cloak, remembering the light direction must match the rest of the model. Aim for a textured look by not being overly neat with your highlights.
Enhancing Details
Further Highlights: Apply Ice Yellow sparingly to the most raised parts of the cloak for maximum light exposure, concentrating on creating focal points that draw the eye towards the head.
Texturing: For texture and detail on parts like the cloak’s scales, a combination of the base and highlight paints, applied in a stippling fashion, can add visual interest without overwhelming the miniature.
Painting the Elf Trophy
Skin Tones: Vallejo Natural Flesh (or Cadian Fleshtone) works well for the elf’s skin, focusing on lighter applications on raised areas like cheeks and forehead. Add a wash of Neutral Grey for shadows to give the skin an unhealthy pallor fitting for a trophy.
Hair Detail: Heavy Gold Brown is perfect for the elf’s hair, creating a vibrant contrast. Apply in streaks to simulate hair texture, focusing on lighter touches towards the roots where the Chaos Warrior grips the hair.
Leather and Cloth
Loincloth and Boots: Start with Rhinox Hide as a base for both the loincloth and boots, adding layers of Doombull Brown and Heavy Sienna for depth and highlighting. Keep the boots darker to draw less attention, focusing brightness and detail higher up on the model.
Texture and Highlights: Apply Neutral Grey and Ushabti Bone for final highlights on leather parts, using a technique similar to dry brushing but with a slightly wet brush for more control and subtlety.
Final Touches
Eyes Glow: For the glowing eyes effect, start with a base of Evil Sunz Scarlet, adding Wild Rider Red for brightness in the centre, followed by a glaze of Mephiston Red around the sockets to suggest glow.
Unified Lighting: To unify the model under a consistent light source, glaze Baharroth Blue and Corvus Black strategically across the model. Blue glazes on highlights simulate a cool light source, while black glazes enhance shadows and recesses.
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Guide on how to paint the armour and muscles on the Warcry Ogroid Myrmidon, with video tutorials, paints and steps to follow.
Video: Warcry Ogroid Myrmidon Armour and Muscles
All videos are recorded in HD 720p or higher – use full screen for the full effect and let the video load completely.
Materials Needed
Games Workshop Paints: Rhinox Hide, Mournfang Brown, Cadian Fleshtone, Morghast Bone, Abaddon Black, Wild Rider Red, Fire Dragon Bright, Corvus Black
Vallejo Paints: Pale Grey Blue, Neutral Grey, Dark Grey, Black
A wet palette for mixing and thinning paints
Fine detail brushes
Water for thinning paints
Painting the Leather Armour
Base Layer: Start with a base layer of Rhinox Hide. This dark brown serves as a foundation, offering a subtle brown hue. Apply multiple coats if necessary, but remember, the subsequent layers will add depth and detail.
Mixing for Texture: Create a 50/50 mix of Rhinox Hide and Cadian Fleshtone on your wet palette. This mix will serve as the primary texture colour for the leather.
Applying Texture: Use the 50/50 mix to start adding texture to the leather. Focus on long, vertical, slightly erratic strokes to mimic the natural wear and tear of leather. Pay attention to the armour’s sculpted details, like studs and indentations, to guide your texturing.
Adding Highlights: Gradually lighten the texture by incorporating more Cadian Fleshtone and Morghast Bone into your mixes. Apply these lighter tones to areas that would naturally catch the light, enhancing the texture and giving the leather a more three-dimensional appearance.
Glazing for Depth: Once you’re satisfied with the texture, use a glaze of Mournfang Brown and Abaddon Black to tone down the highlights and integrate the textures, adding depth and richness to the leather. This step unifies the various layers of texture and colour.
Highlighting Black Skin
Preparing Your Palette: On your wet palette, arrange Vallejo paints from Dark Grey to Pale Grey Blue, including mixed shades for smoother transitions. Thin these paints more than usual to avoid building up too thick a layer with the stippling technique.
Stippling Technique: Begin stippling with Dark Grey, gradually transitioning through the greys to Pale Grey Blue for the highlights. Stippling involves applying numerous tiny dots to build up texture and colour depth. This technique is particularly effective for creating a nuanced, textured appearance on the skin.
Attention to Lighting: When applying your highlights, consider the model’s primary viewing angle and the imaginary light source. Focus your highlights on areas that would naturally be illuminated, like the tops of muscles, while keeping the base skin tone visible in shadowed areas.
Refining Highlights: Use glazes of Abaddon Black and Corvus Black to soften and blend the stippled highlights, ensuring they contribute to the model’s overall appearance without overpowering the base skin tone. These glazes help integrate the highlights and create a cohesive look.
Final Touches: Revisit any areas that may require additional highlights or adjustments, enhancing the model’s dimensional appearance. Pay special attention to achieving a balance between the highlighted areas and the overall dark tone of the skin.
Video: Warcry Ogroid Myrmidon Skin
This guide will focus on achieving a textured ogroid skin effect with top-down highlights and red underlighting, alongside a detailed approach to creating a realistic muscle definition. We’ll be using a mix of Vallejo and Games Workshop paints to achieve this effect.
Materials Needed:
Vallejo Paints: Black, Dark Grey, Neutral Grey, Pale Grey Blue
Games Workshop Paints: Mephiston Red, Evil Sunz Scarlet, Wild Rider Red, Troll Slayer Orange, Fire Dragon Bright
Size 0 Artist Opus Brush (preferably a newer one for fine stippling)
A wet palette
Water for thinning paints
Step-by-Step Guide to Ogroid Myrmidon Skin
Step 1: Base Coating
Begin by base coating the skin of your Warcry Ogroid Myrmidon with Mephiston Red to prepare for the red underlighting. This will serve as the base for our stippling technique later on.
Step 2: Stippling Technique Introduction
For the skin’s texture, we’re going to use a stippling technique. This involves applying tiny dots of paint to create a textured appearance. Start with Vallejo Dark Grey and a touch of Neutral Grey, using a fairly new brush for precise dot application. The goal is to create very fine dots, so remember to apply very light pressure to avoid creating larger, triangular marks.
Step 3: Adding Red Underlighting
Switch to Games Workshop’s Evil Sunz Scarlet, stippling over the red base layer to begin creating the underlighting effect. This will initially appear very bright but will dull down as it dries. Layer over with Mephiston Red to help blend and soften the transition.
Step 4: Top-Down Highlights
For the top-down highlights, use a gradient from Dark Grey to Pale Grey Blue, progressing from darkest to lightest as you move up the model. This mimics natural lighting, emphasizing the muscle contours and giving the skin a realistic depth. Remember, the highlights should reflect where natural light would hit the model, focusing on the tops of curves and muscle peaks.
Step 5: Fine-Tuning Highlights and Shadows
As you apply your highlights, consider the model’s anatomy. Paint sharp lines of Pale Grey Blue in the recesses between muscles, such as between the pectorals and deltoids, to accentuate the definition. Use the light from your lamp as a guide to ensure consistency in your highlighting.
Step 6: Red and Orange Highlights
For the lower parts of the muscles, closer to the model’s base, switch to the warmer tones on your palette: Wild Rider Red, Troll Slayer Orange, and Fire Dragon Bright. Apply these colours opposite to the top-down lighting, focusing on areas that would be illuminated from below. This step may require patience due to the translucency of reds and oranges, necessitating multiple layers for a solid appearance.
Step 7: Blending and Correcting
If any areas stand out too much or the transitions between colours are too stark, revisit them with intermediary shades to blend them more naturally. Stippling allows for easy correction; simply overlay with the appropriate colour to soften and integrate any harsh lines or spots.
Step 8: Final Touches to the Skin
After completing the stippling, examine the model for any areas that may need additional work. Adjust the intensity of the highlights and shadows as necessary.
All Videos on How to Paint an Warcry Ogroid
Warcry Ogroid Myrmidon
A selection of detailed videos including red OSL, NMM, fur effect, horns and freehand on his shield.
Watch Now
Warcry Ogroid Myrmidon Shield
Guides on how to paint the Warcry Ogroid Myrmidon shield.
Watch Now
If you don’t have an account, please sign up here! The website currently has over 350 video tutorials with steps and tips, plus a selection of PDFs. If you are not sure about joining, you can explore my free videos with a free membership, or take the plunge and become a full subscriber for full access.
If you’d prefer to support me on Patreon, please visit: https://www.patreon.com/RichardGray [...]
This three-part video series and step-by-step text guides the process of painting a Warcry Spire Tyrants Bestigor Destroyer, aiming to achieve a high tabletop standard with a painterly finish reminiscent of Frank Frazetta’s work. We will use a desaturated colour palette to create sharp contrasts and detailed texture.
Video: How to Paint a Warcry Spire Tyrants Bestigor Destroyer Part One
We’ll start with the basics and gradually add complexity and depth to the miniature.
All videos are recorded in HD 720p or higher – use full screen for the full effect and let the video load completely.
Paints and Materials Needed
Paints
Games Workshop:
Rhinox Hide
Mournfang Brown
Zandri Dust
Mephiston Red (for minor details)
Vallejo:
Golden Olive
Neutral Grey
Pale Grey Blue
Heavy Bluegrey
Heavy Sienna
Black
Ivory
Ice Yellow
White
Brushes
A worn-out brush (for dry brushing and applying rough textures, I’ve used a size 0 but worn to not retain a fine point)
A detail brush with a somewhat intact tip (a size 00 or finer based on the description)
A larger brush for applying varnish (essential for applying the matte varnish evenly)
Basing Materials
Milliput
Fimo (These two are mixed and then baked to create lightweight rock-like structures for the base)
Additional Supplies
Black primer (for base coating the miniature)
Wet palette (for keeping paints moist and workable)
Baking equipment (for curing the Milliput and Fimo mix)
Ultra Matte Varnish (AK Interactive recommended for the final protective and matte finish)
Lamp (used for understanding how light naturally falls on the miniature to guide painting)
Materials and Preparation
Base Material: For the rock surface the model stands on, mix Milliput and Fimo, then bake for about 30 minutes. This method creates a lightweight and easy-to-shape base compared to natural slate.
Wet Palette Preparation: Prepare your wet palette with desaturated colours, focusing mainly on greys and browns. The standout colour will be Heavy Gold Brown, with Mephiston Red added later for minor details.
Painting Steps
Prime the Model: Begin by priming your model with a black primer to ensure subsequent colours stand out.
Base Coating: Start blocking in the main colours and highlights on the armour using Neutral Grey. This will serve as the foundational layer for further detailing.
Grey Tones for Armour: Utilize a range of greys (Black, Neutral Grey, Heavy Blue Grey, and Pale Grey Blue) to build up the tones on the armour. You can mix black and white to achieve similar grey tones if specific colours are unavailable.
Applying Texture and Highlights
While the initial armour highlights might appear rough, this method adds character and texture, essential for achieving a grimdark aesthetic. Focus the lighting from above and slightly to the left, mimicking natural light.
For non-metallic metal (NMM) effects, adjust the light reflections based on the desired material finish rather than relying solely on the lamp’s natural light.
Detailing with Colour
Incorporate Golden Olive for areas you want to hint at green without overpowering the model, building upon this with Heavy Gold Brown for metallic parts.
Use Rhinox Hide and Heavy Sienna for leather details, applying the paint in thin layers to build texture and depth gradually.
Enhancing Textures
Utilize a worn brush for techniques like dry brushing on chainmail, focusing on capturing the texture without needing a perfect finish.
The key is to build up the model’s features layer by layer, focusing on light direction and textural contrasts.
Refining and Adding Highlights
Progressively refine the model by adding Ice Yellow and Ivory highlights to areas that catch the most light, enhancing the model’s dimensional appearance.
Pay attention to focal points such as the helmet and weaponry, which benefit from additional detailing to draw the eye.
Chainmail and Metallic Textures
Apply subtle highlights to the chainmail and metallic surfaces to simulate light reflection, giving the impression of different materials.
Balance is crucial; ensure that upward-facing edges receive stronger highlights than those facing downwards to maintain a realistic light effect.
Eyes and Small Details
The eyes can be painted effectively with a combination of Heavy Sienna, Heavy Gold Brown, Ice Yellow, and a dot of Ivory for the reflective point. This combination quickly brings life to the model’s gaze.
Video: How to Paint a Warcry Spire Tyrants Bestigor Destroyer Part Two
In this continuation of the Bestigore Destroyer painting tutorial, we focus on refining the non-metallic metal (NMM) effects on the armour and making the helmet a prominent focal point.
Materials Needed:
Paints: Rhinox Hide, Mournfang Brown, Zandri Dust, Cadian Fleshtone, Mephiston Red (Games Workshop); Golden Olive, Neutral Grey, Pale Grey Blue, Heavy Bluegrey, Heavy Sienna, Black, Ivory, Ice Yellow, White, Heavy Goldbrown (Vallejo).
Brushes: A fine detail brush for stippling and precise highlights, and a larger brush for broader strokes and base coats.
Other: Wet palette, water for thinning paints, a good light source.
Helmet Refinement
Begin with Heavy Bluegrey to enhance the helmet. Apply it carefully, almost like stippling, focusing on increasing the brightness and making the helmet stand out.
Balancing Colours
Use a combination of Heavy Bluegrey, Pale Grey Blue, and Ice Yellow to adjust the warmth and coldness of the metallic effect. Remember, Ice Yellow adds warmth, while the greys cool down and temper the yellow, ensuring the helmet doesn’t look overly yellow or cold.
Creating Focal Points
The goal is to make the helmet catch more light than the rest of the model, suggesting a dramatic light source, like a sunbeam breaking through clouds.
Mace Detailing
Apply a stylized NMM effect to the mace, focusing on making it look metallic without directly replicating a mirror-like finish. Emphasize primary light sources with bright highlights and use the shape of the object to guide the placement of these highlights.
Adding Colour with Mephiston Red and Cadian Fleshtone
Introduce spot colours such as Mephiston Red for the lips, toned down with Cadian Fleshtone to add interest without making it look like lipstick. This step breaks up the desaturated colours and draws attention to the face.
Fur Detailing
Revisit the Zandri Dust base on the fur, applying it to raised areas and using Ivory for highlights. Apply Neutral Grey to add texture and depth, making the yellow tones stand out more against the grey, creating a fluffy appearance.
Leather and Cloth Detailing
Use Rhinox Hide, Mournfang Brown, and Heavy Sienna for the leather and cloth, paying attention to light sources and shapes. For the loincloth, focus highlights along edges to mimic wear and tear.
Final Touches
Go back and refine areas such as the mace and armour, ensuring they match the brightness and detail level of the helmet. Adjust any areas that need more colour or contrast to maintain focus on the helmet as the primary focal point.
Video: How to Paint a Warcry Spire Tyrants Bestigor Destroyer Part Three
In this final installment, we will complete our Warcry Spire Tyrants Bestigor Destroyer by painting the skin, horns, and finishing the base. The goal is to achieve a painterly finish reminiscent of Frank Frazetta’s work, focusing on desaturated colours and sharp contrasts.
Paints Used
Paints: Rhinox Hide, Mournfang Brown, Zandri Dust, Cadian Fleshtone, Mephiston Red, Ushabti Bone (Games Workshop); Golden Olive, Neutral Grey, Pale Grey Blue, Heavy Bluegrey, Heavy Sienna, Black, Ivory, Ice Yellow, White, Heavy Goldbrown (Vallejo); AK Interactive Ultra Matte Varnish.
Painting Skin
Base Colours: Start with Heavy Sienna, focusing on highlight areas to create texture while keeping the skin dark. Do not cover the entire skin; allow some black areas to remain for contrast.
Layering: Apply Heavy Grey on top of Heavy Sienna, blending them to smooth the transition. Then, use Zandri Dust for final highlights, creating a desaturated, almost colourless finish that complements the overall tone of the model.
Painting Horns
Base Layer: Use the same colours as previously used for the fur—Mournfang Brown, Rhinox Hide, and Zandri Dust—to block in the basic gradients.
Detailing: With Heavy Sienna, add texture and highlights towards the tips of the horns. Layer Zandri Dust and finally, Ivory for the brightest points and edges, maintaining a rough, textured look to enhance the painterly style.
Balance and Contrast: Add small amounts of Heavy Sienna at the base of the horns for a subtle colour variation. Focus on achieving a balance between the desaturated colours and the highlighted areas to draw attention to the head.
Finishing the Base
Colour Application: Using Neutral Grey, Heavy Sienna, and Zandri Dust, paint the base to match the model’s colour scheme. Focus highlights around the front foot to create a point of interest and use Ushabti Bone for dry brushing to pick out texture.
Details and Texture: Glaze the base with thinned Neutral Grey to blend colours and deepen shadows subtly. Dry brush with Ushabti Bone to highlight the texture of the rock and sand, mimicking natural light and adding depth.
Final Touches: Apply small amounts of flock and static grass to introduce life and contrast to the base, enhancing the model’s dynamic appearance on the battlefield.
More of my latest videos:
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Buildings, Terrain and Bases
This is another video looking at Sekhar the vampire, this time focusing on how to paint a skeleton with glowing eyes for the model on her base. This video looks at the skeleton, how to paint his glowing eyes, sword and bones etc. The whole model is covered!
Video: How to Paint a Skeleton with Glowing Eyes
Materials needed:
Skeleton ModelPriming spray (I’ve used black!)
Brushes:I use the Artist Opus range of brushesFine detail brushMedium-sized brushLarge brush (optional, for basecoating larger areas)
Wet Palette (for mixing and thinning paints)Varnish (to protect the finished paint job)
Paints:All paints mentioned are from Games Workshop’s Citadel range.
Yriel Yellow
Moot Green
Balor Brown
Morghast Bone
Screaming Skull
Mournfang Brown
XV-88
Rhinox Hide
Other Materials:
Rocks or pebblesFoliage (such as static grass or miniature leaves)Sand or texture paste (for ground texture)Super glue (for attaching basing materials)Water (for thinning paints)Paper towels or cloth to ensure your brushes are totally clean!
How to Paint a Skeleton with Glowing Eyes – Step 1: Priming
Prime your model with a suitable undercoat. Black is recommended as it provides a good base for both the glowing effects and the shadowed recesses of the skeleton.
Step 2: Base Coating
Skeleton: Apply a thin base coat of XV-88 over the entire skeleton. Ensure the paint is thinned with water to maintain detail.
Eyes: Start by painting the eye sockets with Kimera White. Given the deep recesses, apply multiple thin layers to build up a solid white base. Patience is key here to avoid a textured look.
Step 3: Adding Depth to Eyes
Mix Yriel Yellow with Kimera White to create a pale yellow. Carefully fill in the eye sockets, leaving the deepest part still white to simulate glow.
Gradually add more Yriel Yellow towards the front of the eye sockets, intensifying the colour as you move forwards.
Define the edges of the sockets with Moot Green to enhance the glow effect, blending it slightly into the yellow for a smooth transition.
Step 4: Skeletal Detailing
General Bone Texture: Lightly dry brush the skeleton with a mixture of Mournfang Brown and XV-88 to bring out the texture.
Enhanced Details: Use Morghast Bone to highlight edges and raised details across the bones.
Deepening Shadows: Mix Rhinox Hide with a small amount of black to create shadows in the deeper recesses and under the bones for added depth.
Step 5: Sword and Metallic Effects
Base Coat: Apply Neutral Grey as a base for the sword and any metallic elements.
Weathering: Add scratch effects using Troll Slayer Orange mixed with Mournfang Brown to simulate rust and age.
Highlights: Use Screaming Skull to pick out edges and features, giving the impression of worn, yet still sharp, metal.
Step 6: Final Touches
Refining Glows: Go back to the eyes, adding pure Yriel Yellow to the centres and intensifying the green at the edges if necessary.
Blending and Smoothing: Use glazes of the base colours to smooth out transitions and unify the appearance, particularly around the eye sockets and on the sword to blend the rust effects.
Contrasting Details: For a final layer of detail, use Screaming Skull to highlight teeth, knuckles, and other small bone protrusions, adding a subtle layer of Rhinox Hide for ageing.
Step 7: Sealing the Model
Once fully satisfied with your painting, seal the model with a matte varnish to protect your work and reduce any unwanted shininess, ensuring the skeletal figure looks as haunting in the display case as it does on the battlefield.
Explore more of my Golden Demon entry tutorials
If you don’t have an account here on my website, please sign up here! I have over 350 video tutorials in addition to my How to Paint a Skeleton with Glowing Eyes, with steps and tips, plus a selection of PDFs. If you are not sure about joining, you can explore my free videos with a free membership, or take the plunge and become a full subscriber for full access.
If you’d prefer to support me on Patreon, please visit: https://www.patreon.com/RichardGray [...]
This guide will walk you how to create a boulder base with realistic large rocks utilising Milliput for the sculpting part and a selection of Games Workshop paints for painting.
Materials Needed
Milliput (Super Fine White preferred, but any type will do)
Sculpting tools and a scalpel
Water or a lubricant like Vaseline for smoothing Milliput
PVA glue and fine grain sand for texture
Paints: Vallejo Model Color Black, Games Workshop Deathworld Forest, Ogryn Camo, Morghast Bone, Ushabti Bone, and Kantor Blue
Weathering pigment (e.g., Forge World Dark Sand)
Brushes, including a small Artis Opus dry brush
Matte varnish for sealing
Step-by-Step Guide: How to Create a Base
Sculpting the Base
Mixing Milliput: Take equal parts of Milliput’s two components and knead until uniformly beige. It might initially be flaky; continue until smooth.
Forming the Terrain: Roll the mixed Milliput into a ball and press onto the base. Begin sculpting the rough shape of the terrain using sculpting tools, dipped in water or lubricant to prevent sticking.
Adding Details: Once you have a basic shape, use tools and a scalpel to carve more detailed rock formations. Ensure the terrain is level where the model will stand.
Creating Smaller Rocks: Take excess Milliput, form small balls, and press onto the base to simulate smaller rocks, blending them into the larger mass.
Smoothing and Refining: Continue to refine the shapes, adding crevices and smoothing surfaces. Allow the Milliput to partially dry for easier handling.
Painting the Base
Base Coat: Once the Milliput is dry, apply a thin base coat of Vallejo Model Color Black. Ensure it’s watered down to cover quickly without obscuring details.
Adding Sand: Apply PVA glue to the base and sprinkle fine grain sand over it for additional texture. Allow to dry.
Applying Weathering Pigment: Use a dark sand weathering pigment, pushing it into crevices and blowing away the excess.
Washing: Create a wash with Deathworld Forest (5 parts water to 1 part paint) and cover the entire base. This will spread the pigment and add depth.
Dry Brushing: Once dry, dry brush the base with Deathworld Forest, followed by Ogryn Camo, focusing on top-down strokes to highlight edges and textures.
Detailing: Use Morghast Bone and Ushabti Bone to pick out individual rocks and edges for added contrast and detail.
Adding Shadows: Water down Kantor Blue and apply it to the undersides of rocks and in shadowed areas to simulate ambient occlusion and enhance depth.
Finishing Touches
Sealing: Once fully painted and dry, apply a matte varnish to seal the weathering pigment and paint, protecting your work.
Base Rim: Tidy up the base’s rim with Vallejo Model Color Black for a neat finish.
Tips
Work in stages, allowing materials to dry fully between steps.
Be creative with your rock shapes but ensure the model will stand level on the finished base.
Use a variety of brush sizes for dry brushing to reach different areas without disturbing the painted model.
Test fit your model frequently on the base during the sculpting process to ensure a good fit
How to Paint a Gold Necron Overlord
Keen to learn how to paint the model standing on this base? Go here:
Necron Overlord NMM Gold
A series of video tutorials on how I painted this Necro Overlord, with gold non metallic metals and a guide to how to paint his glowing weapons. Plus, a guide on creating his base.
Watch Now
If you don’t have an account, please sign up here! The website currently has over 350 video tutorials with steps and tips, plus a selection of PDFs. If you are not sure about joining, you can explore my free videos with a free membership, or take the plunge and become a full subscriber for full access.
If you’d prefer to support me on Patreon, please visit: https://www.patreon.com/RichardGray [...]
Today, we’re in my archives learning how to create a water effect base for the formidable Neave Blacktalon. This tutorial will help you in bringing a scene to life, adding depth and narrative to your miniature.
The landscape we are looking to create is complete with realistic water effects that give the impression of Neave Blacktalon traversing through a treacherous, water-logged terrain. Working with materials like resin for water effects can be tricky and messy. Patience is key. Ensuring a watertight seal for the resin and avoiding air bubbles are crucial steps that require a steady hand and mustn’t be rushed. Also, when working with various textures like cork and sand, achieving a natural blend with your paints is essential for realism.
Biggest thing on this tutorial is not to rush the drying and curing process of the materials we use. Patience pays off in ensuring each layer, from the base textures to the resin, sets perfectly. And remember, when dealing with intricate details, like adding vegetation and painting skulls, less is often more. Subtlety can make all the difference in achieving a natural look.
Video Tutorial – How to Create a Water Effect Base
Materials Required
Resin plinths and cork bark for the base.
Tools including a Dremel for shaping.
Protective gear: Mask for dust protection.
Games Workshop plastic skulls for decoration.
Builder’s sand (with a mix of fine and large grains).
Standard PVA glue.
Baking soda and matte varnish for texture.
Scale 75 paints (Brown Leather, Orange Leather, Arabic Shadow, Sherwood Green, Black Leather).
Games Workshop Ahriman Blue and Ceramite White.
P3 Menoth White Base.
Airbrush (optional).
Superglue.
Acetate sheet or similar for creating a barrier.
Epoxy resin for water effects.
Gloss varnish (AK Interactive recommended).
Vallejo Model Colour Black.
Step-by-Step Guide
Base Preparation: Glue resin plinths together and top with cork bark for a natural rock formation look. Use a Dremel to shape the cork, ensuring proper ventilation and safety measures when you do so.
Adding Detail: Place GW plastic skulls in the drilled areas for added interest.
Texturing with Sand: Apply a mix of builder’s sand using PVA glue to add varied texture. This creates a more natural look with different grain sizes.
Baking Soda and Varnish Mix: Combine baking soda with matte varnish to add fine texture, particularly around the edges and over the cork.
Priming: Once dry, prime the base black using Vallejo Surface Primer.
Airbrushing Base Colours: Optionally use an airbrush to apply Scale 75 paints in layers (Brown Leather, followed by Orange Leather, then Arabic Shadow). Airbrush inside the holes with Ahriman Blue, lightened with Ceramite White for a glowing effect.
Dry Brushing Textures: Overemphasize textures with dry brushing, starting with Balor Brown and progressively lighter shades up to Menoth White Base. Focus on raised areas and edges.
Applying Colour Washes: Use watered-down Scale 75 Sherwood Green and Black Leather to add natural colour variations. The washes will blend naturally, creating a cohesive look.
Moss and Algae Effects: Mix Sherwood Green with baking soda and varnish to create a mossy texture, especially around the water edge.
Adding Vegetation: Apply grass tufts, flowers (from Army Painter and MiniNatur), and field-found “real life!” vegetation with PVA and superglue for a diverse and organic look.
Resin Water Effects: Carefully pour mixed epoxy resin into the prepared areas. Ensure a leak-proof barrier with acetate and superglue. Do not rush! Let it set for at least 24 hours.
Final Touches: Once the resin is set and clear, tidy up the base edges with Vallejo Model Colour Black. Sand any rough edges if needed.
Integration with the Model: To blend the model with the base, replicate the base’s texturing under the model’s foot.
Completion: Leave to dry and cure fully. The finished base should present a detailed and textured landscape, complete with realistic water effects, enhancing Neave Blacktalon’s dynamic pose.
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These two videos show in details how to build and prepare a base, with lots of interesting rocks and textures (and a friendly skeleton!). With full materials list and step by step text guide.
Quick Jump to:
Video – Skeleton Base Part OnePaints and MaterialsStep-by-Step Guide and Tips for the Skeleton BaseBuilding the BasePainting the BaseFinishing TouchesVideo – Skeleton Base Part Two (Painting the Skeleton)Paints and MaterialsStep-by-Step Guide and Tips for Painting the Skeleton BasePainting the SkeletonPainting the SwordPainting the ClothAdding Vegetation
Video – Skeleton Base Part One
Paints and Materials
A skeleton figure from Warhammer Underworlds Warbands
Milliput and Fimo (or slate pieces)
Green stuff (50/50 mix of blue and yellow)
Super glue
Sand (variety in particle size, not sharp sand)
PVA glue (diluted with water)
Base brush (flat Games Workshop brush or equivalent)
Neutral Grey (Vallejo), Deathworld Forest, Morghast Bone, Agrax Earthshade, Athonian Camoshade, Astronomicon Grey (Games Workshop)
Water for thinning paints
Rock material guide by the fantastic Julien Casses:https://www.juliencasses.com/2012/11/how-to-make-rocks
Step-by-Step Guide and Tips for the Skeleton Base
Building the Base
Prepare Skeleton: Start by preparing your skeleton figure, ensuring it has a ‘rising from the ground’ appearance.
Create Stone Slabs: Mix Milliput and Fimo, bake at 120°C for 30 minutes, then break into slabs to represent stones. Alternatively, use slate pieces. Attach these slabs to the base with super glue.
Apply Green Stuff: Mix blue and yellow Green Stuff and use it to create a ridge around the skeleton, giving the illusion of a hole from which the skeleton emerges. Embed the Vampire Lord’s rock into the Green Stuff to integrate it with the base.
Add Texture: Sculpt some small, round rocks using Green Stuff for added detail.
Sand Application: Cover the base in beach sand, avoiding sharp sand. Use various particle sizes for a natural look.
Painting the Base
Seal Sand: Brush diluted PVA glue over the sand to seal it and prevent flaking.
Base Colour for Sand: Dry brush the entire base with Deathworld Forest, focusing on sandy areas.
Highlighting Sand: Apply a lighter dry brush of Morghast Bone to the sand for highlights.
Defining Rocks: Use Agrax Earthshade as a thick glaze around the sculpted rocks to define their shapes.
Enhancing Greenery: Apply Athonian Camoshade to enhance the green tones on the base.
Rock Painting: Begin detailed painting on rocks using Neutral Grey. Focus on highlighting angles and adding scratchy details for texture.
Additional Rock Highlights: Use Pelgrave Blue, potentially mixed with white, to highlight rocks further. Remember not to overpower the model with the base’s contrast.
Enhancing Edges: Add lighter edges around rocks using Astronomicon Grey to define shapes.
Finishing Touches
Consider adding other details like small flowers or greenery to the base.
Reflect these colours onto the whatever model you plan to attach to your base.
Ensure the base matches the quality and style of your painted model.
Video – Skeleton Base Part Two (Painting the Skeleton)
Paints and Materials
Paints: XV-88, Balor Brown, Moot Green, Deathworld Forest, Ushabti Bone, Mournfang Brown, Trollslayer Orange (Games Workshop); Neutral Grey, Pale Grey Blue, Black (Vallejo); Iosen Green, Morrow White (P3)
Mininatur Moss Pads and Flowers
Water for thinning paints
Brushes with fine tips
PVA Glue
Jeweler’s tweezers
Step-by-Step Guide and Tips for Painting the Skeleton Base
Painting the Skeleton
Eyes: Start by painting the eye sockets with white paint, thinned down. Apply 2-3 layers for an opaque finish. Avoid overloading to prevent the paint from pooling.
Adding Color to Eyes: Use Pro Acryl Golden Yellow (or any similar yellow) around the edges of the eye sockets, leaving the back white to mimic a light source. Then, use Moot Green, thinned down, around the yellow, ensuring smooth transitions.
Skeleton Bone: Use XV-88 to paint the skull and bones. Apply the paint thinly and unevenly to create a natural, weathered look. Emphasize areas where light would naturally hit, based on the light source direction.
Highlighting Bone: Apply Ushabti Bone for highlights, focusing on raised areas and edges. Keep the paint thin for a smooth finish.
Additional Details: Add small scratches or battle damage marks for realism.
Final Highlights on Bone: Use white (Morrow White) for the final highlights on the most raised areas.
Painting the Sword
Base Colour: Use Neutral Grey to paint the entire sword, including the hilt and blade.
Weathering: Add Mournfang Brown to the blade for a rust effect, focusing on recessed areas and pitted holes.
Highlighting the Blade: Use Pale Grey Blue for highlighting and adding scratchy details, focusing on areas that would catch light.
Rust Details: Add Trollslayer Orange in the deepest recesses for an inverted highlight effect.
Refining Highlights: Go back with Neutral Grey and Pale Grey Blue to refine the highlights and add more detail to the weathered look.
Painting the Cloth
Base Layer: Apply Deathworld Forest over black primer, focusing on raised folds and areas that would catch light.
Highlighting: Use Balor Brown for further highlights, keeping the paint very thin to maintain a dark, grubby appearance.
Adding Vegetation
Applying Moss Pads: Use PVA glue to attach Mininatur Moss Pads around the base. Utilize jeweler’s tweezers for precise placement.
Adding Flowers: Integrate white flowers from Mininatur for additional detail. Trim if necessary to avoid overpowering the base.
Adding Roots: For an emerging effect, glue small roots around the skeleton, bending them to create a natural look.
Dry Brushing: Gently dry brush Balor Brown over the moss pads to integrate them with the base and add depth.
My rocky base originally had my Vampire Lord on it, but its suitable for nearly any type of model! However, if you are looking to paint some vampires, here are some tutorials to explore…
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This video shows you how to make a quick resin splash puddle effect using UV resin.
All videos are recorded in HD 1080p or higher – use full screen for the full effect and let the video load completely. You can also click the little “cog” and change the speed of the video, if I am going too fast (or slow!).
The following materials were used:
UV Resin
UV Light (a nail varnish UV light can work)
Bath Bomb Mould or any soft plastic dome
Fishing Line or human hair (optional, for finer details)
Blood for the Blood God paint (optional, for a blood effect)
Gloss varnish (alternative method)
Paintbrush (for spreading resin, will be unusable after)
Steps to follow for your resin splash:
Prepare the Mould: Use a bath bomb mould or a similar soft plastic dome. The pliability of the mould allows you to easily remove the resin once it’s set.
Apply the Resin: Brush the UV resin around on the plastic dome. Remember, the brush you use for this will likely be ruined, so choose an old or disposable one.
Shape the Splash: With the resin in the middle of the dome, drag out streaks using the paintbrush or a cocktail stick. These streaks will form the splashes. The plastic dome will give the resin a shape that resembles a splash, pushing upwards and outwards.
Cure the Resin: Place the plastic dome under the UV light. Ensure you have a UV light to set the UV resin. The resin sets quickly under the light. You can use multiple layers of these splats to create depth.
Create Droplets: If you’re using fishing line or human hair, apply small blobs of resin along the line to mimic droplets. Cure these under the UV light as well. This step can also be done with gloss varnish or Blood for the Blood God for different effects.
Assemble the Splash: Attach the end of the fishing line with the resin droplets to the main splash structure. Balance it and cure under the UV lamp again. Repeat this process to add multiple droplets around the splash.
Final Touches: Once you’re satisfied with the splash shape and size, you can paint it to suit your scene. If you’re creating a water splash, you might leave it clear or add a slight blue tint. For blood effects, use Blood for the Blood God or a similar paint.
Additional Tips:
Be aware of the size of your splash in relation to the model’s base. You want the effect to complement, not overpower, the model.
The process may require some experimentation. If you’re working on a competitive piece or have time constraints, consider the complexity of the effect.
When creating blood droplets, applying the red paint after the resin has cured can add a more realistic and glossy effect.
Explore my latest tutorials!
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For my Dread Pageant Chaos Warrior, I wanted to paint the model in purely black and white so that you have to use light volumes and textures to separate the surfaces out, rather than relying on colour.
Part One
All videos are recorded in HD 1080p or higher – use full screen for the full effect and let the video load completely.
Part Two
Part Three
Paints Used:
Vallejo: Black, German Grey, Basalt Grey, Neutral Grey, Dark Sea Grey, Pale Grey Blue, White Grey P3: Morrow White Alternatively you can mix a series of greys from light to dark using just black and white paint.
Base
The following paints were usedVallejo: Heavy Brown, Gold Brown, Ice Yellow, Black Games Workshop: Contrast Guilliman Flesh, Balor Brown, Ushabti Bone P3: Morrow White Greenstuff World: Grass Tufts – DRY
The cruel-hearted leader of a warband of Godseekers dedicated to finding Slaanesh, Vasillac stumbled across Beastgrave and became obsessed with the delicious despair of the living mountain. After a lifetime of pushing his own limits, only the most extreme and exquisite pain can excite him. His extensive and intricate scars attest to the severity of his affliction, including a ring bound through his wrist – mere flesh piercings are for the weak!
In the official painted version of the Dread Pageant Chaos Warrior, the gaudy workmanship of his weapons and armour, bedecked with baubles and trinkets, signals his vainglory, while in mine we are going to go completely black and white.
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This video shows you how to create a Titan Martian Base, a Martian red landscape for your Adeptus Titanicus Titan, or for any large model you like, really!
Video Tutorial: Titan Martian Base
All videos are recorded in HD 1080p or higher – use full screen for the full effect and let the video load completely.
Paints and Materials Used
Fimo and Milliput: For making rock shapes.
Baking Soda: For creating the fine-grained surface texture.
Paints:
Scale 75’s Antares Red
Scale 75’s Red Leather (or similar Games Workshop red and brown colours)
Games Workshop’s Deathworld Forest
Games Workshop’s Ushabti Bone
Weathering Powders:
Forge World’s Aged Rust
Forge World’s Orange Rust
Matte Varnish: For sealing the base.
Tools:
Brushes for painting and dry brushing.
Sculpting tools or a flat surface for applying the baking soda mixture.
Airbrush for applying weathering powder (optional).
Other Materials:
Water: For mixing with weathering powders.
Super Glue: For securing rocks to the base.
Q-tip: Slightly damp, for cleaning up excess weathering powder.
Step by Step Guide
Preparing the Base: Start by placing your model on the base and arrange rocks around it. Use rocks made from a mixture of Fimo and Milliput, baked and then broken into shapes.
Creating the Surface: Mix baking soda (for fine texture), Scale 75’s Antares Red and Red Leather paint (or similar GW paints), and matte varnish to form a sticky, wet-looking substance. This creates the dusty, Martian surface.
Applying the Surface Mixture: Carefully apply the mixture to the base, ensuring it’s pushed up against the rocks. Use a large, slightly damp brush to stipple and smooth out the mixture, avoiding unnatural marks.
Using Cracking Paint: Apply a thin layer of Martian Ironearth cracking paint for subtle cracking effects. Ensure it’s not too thick to maintain the scale’s integrity.
Painting the Rocks: Once dry, paint the rocks with Vallejo Model Color Black or a similar black paint. Then dry brush with GW Deathworld Forest for initial colour, followed by Ushabti Bone for highlights.
Applying Weathering Powder: Mix Forge World Aged Rust and Orange Rust powder with a lot of water, and spray over the base using an airbrush. Focus on the lower parts of the model for a realistic effect. For manual application, use a large, soft brush.
Cleaning Up: After the weathering powder dries, use a slightly damp Q-tip to remove excess powder from the rocks and lower sections of the Titan, enhancing the details and textures.
Final Touches: Seal the base with a matte varnish to preserve the dusty look and reduce the brightness of the orange rust effect.
More Adeptus Titanicus
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This video shows how to sculpt and paint the base for the Necron Overlord from the Indomitus boxed set.
Video: How to Sculpt and Paint a Necron Overlord Base
Materials Needed
Milliput (Super Fine White preferred, but any type will do)
Sculpting tools and a scalpel
Water or a lubricant like Vaseline for smoothing Milliput
PVA glue and fine grain sand for texture
Paints: Vallejo Model Color Black, Games Workshop Deathworld Forest, Ogryn Camo, Morghast Bone, Ushabti Bone, and Kantor Blue
Weathering pigment (e.g., Forge World Dark Sand)
Brushes, including a small Artist Opus dry brush
Matte varnish for sealing
Step-by-Step Guide: How to Create a Necron Overlord Base
Sculpting the Necron Overlord Base
Mixing Milliput: Take equal parts of Milliput’s two components and knead until uniformly beige. It might initially be flaky; continue until smooth.
Forming the Terrain: Roll the mixed Milliput into a ball and press onto the base. Begin sculpting the rough shape of the terrain using sculpting tools, dipped in water or lubricant to prevent sticking.
Adding Details: Once you have a basic shape, use tools and a scalpel to carve more detailed rock formations. Ensure the terrain is level where the model will stand.
Creating Smaller Rocks: Take excess Milliput, form small balls, and press onto the base to simulate smaller rocks, blending them into the larger mass.
Smoothing and Refining: Continue to refine the shapes, adding crevices and smoothing surfaces. Allow the Milliput to partially dry for easier handling.
Painting the Necron Overlord Base
Base Coat: Once the Milliput is dry, apply a thin base coat of Vallejo Model Color Black. Ensure it’s watered down to cover quickly without obscuring details.
Adding Sand: Apply PVA glue to the base and sprinkle fine grain sand over it for additional texture. Allow to dry.
Applying Weathering Pigment: Use a dark sand weathering pigment, pushing it into crevices and blowing away the excess.
Washing: Create a wash with Deathworld Forest (5 parts water to 1 part paint) and cover the entire base. This will spread the pigment and add depth.
Dry Brushing: Once dry, dry brush the base with Deathworld Forest, followed by Ogryn Camo, focusing on top-down strokes to highlight edges and textures.
Detailing: Use Morghast Bone and Ushabti Bone to pick out individual rocks and edges for added contrast and detail.
Adding Shadows: Water down Kantor Blue and apply it to the undersides of rocks and in shadowed areas to simulate ambient occlusion and enhance depth.
Finishing Touches
Sealing: Once fully painted and dry, apply a matte varnish to seal the weathering pigment and paint, protecting your work.
Base Rim: Tidy up the base’s rim with Vallejo Model Color Black for a neat finish.
Tips
Work in stages, allowing materials to dry fully between steps.
Be creative with your rock shapes but ensure the model will stand level on the finished base.
Use a variety of brush sizes for dry brushing to reach different areas without disturbing the painted model.
Test fit your model frequently on the base during the sculpting process to ensure a good fit
How to Paint a Gold Necron Overlord
Keen to learn how to paint the model standing on this base? Go here:
Necron Overlord NMM Gold
A series of video tutorials on how I painted this Necro Overlord, with gold non metallic metals and a guide to how to paint his glowing weapons. Plus, a guide on creating his base.
Watch Now
If you don’t have an account, please sign up here! The website currently has over 350 video tutorials with steps and tips, plus a selection of PDFs. If you are not sure about joining, you can explore my free videos with a free membership, or take the plunge and become a full subscriber for full access.
If you’d prefer to support me on Patreon, please visit: https://www.patreon.com/RichardGray
Other video tutorials on how to paint the gold for this Necron and my other Necrons are available below!: [...]
Now for something a little different – a tutorial on How to Paint a Wizard Tower by the folks at Tabletop World, including windows, drybrushing tips, wood texture and mossy tiles.
Video: How to Paint a Wizard Tower
Materials and Tools:
Airbrush: A gravity-fed, double-action airbrush is recommended. The model used in the tutorial is a Harder and Steenbeck Infinity CR+, but any decent airbrush will suffice.
Paints: Tamiya Flat Black, Flat White, Flat Brown, Light Gray, IJN Gray, and X20A paint thinner; Scale 75 Brown Leather, Arabic Shadow, Sherwood Green; Games Workshop Balor Brown, Ushabti Bone, and Nuln Oil (mistakenly referred to as Agrax Earthshade in the video); Vallejo Gun Metal Air; Winsor and Newton Artisan Water Mixable Oil Colour Burnt Umber.
Brushes: A makeup blusher brush for dry brushing large areas, and a Series 7 size 2 “miniature” brush (though size 1 is mentioned in the video, a size 2 is used for detailed work).
Steps:
Airbrush Base Coating: Mix Tamiya Flat Brown with X20A thinner at a 50/50 ratio and airbrush the roof, focusing on the edges and areas where tiles are missing to create depth. Avoid complete coverage to allow for natural wood texture.
Use Tamiya Light Gray and IJN Gray to paint the windows, starting with black for the frames, then grey for the glass, progressing from dark to light to mimic glass reflections.
Dry Brushing: Use a makeup blusher brush to dry brush the roof with Scale 75 Arabic Shadow to highlight the wood texture and details.
Apply Scale 75 Brown Leather to the window frames and any overspray areas to integrate them into the woodwork.
Highlight metallic parts with Vallejo Gun Metal Air using a dry brush technique to create a natural metal finish.
Detailing and Weathering: Use Games Workshop Balor Brown and Ushabti Bone to further highlight the wood and metallic parts, focusing on edges and raised details to enhance the model’s texture.
Apply Scale 75 Sherwood Green diluted with water to parts of the roof to simulate moss and ageing, focusing on areas that would naturally gather moisture.
Wash metallic areas with Nuln Oil to add depth and contrast, ensuring the wash settles into recesses.
Final Touches: Detail the nails and other small metallic parts with Vallejo Gun Metal Air, followed by a wash of Winsor and Newton Burnt Umber to simulate rust and weathering.
Adjust any overly green areas with Arabic Shadow if necessary to tone down the brightness and integrate the moss effect more naturally into the woodwork.
More bases, houses and terrain:
If you don’t have an account, please sign up here! The website currently has over 350 video tutorials with steps and tips, plus a selection of PDFs. If you are not sure about joining, you can explore my free videos with a free membership, or take the plunge and become a full subscriber for full access.
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