Back when Volomir.com was Volomir’s Blog in 2014, the man himself interviewed me! The whole interview can be read here and below:
Volomir: Hi Richard, nice to have a moment to chat with you. The man of the moment! You have just been awarded Slayersword in recent Golden Demon 2014, but to be honest, I didn’t know you before (shame on me!). Tell us a bit about yourself, so we can get to know you better. How long have you been painting miniatures?
Richard: I don’t blame you for not knowing me, I am not well known at all!
I live in the county of Rutland in the UK and have a lovely girlfriend named Rebecca, who I have been with for 4 years. I’m just a regular kind of guy really: I love sci-fi and fantasy films and books, play rpgs and strategy games on the pc and enjoy building pcs. My degree from UCE in Birmingham was for illustration, which I find transfers well to models.
My model painting started when HeroQuest first came out; I just loved the figures and the fantasy setting. Wikipedia tells me that HeroQuest came out in 1989, so I guess I’ve been painting for 25 years! Now I feel old. After that I noticed a magazine called White Dwarf (issue 148) and I instantly became hooked on Games Workshop. It’s just carried on from there.
On a sad note, unfortunately my mother died of cancer on 20th August this year, so it has been a very difficult time recently for my family and I. I had only just decided to enter the competition before it happened, so it hasn’t been the easiest thing to complete my entry.
Volomir: Are you professional or is painting miniatures a hobby for you?
Richard: I’m sort of a silent professional. I have a few long term clients who have been wonderful to me. I also paint as a hobby, although all of my personal models are painted with the intention of them being gaming pieces.
Volomir: Are you a regular on painting forums or websites in the internet? Do you have your work in places like CoolMiniOrNot or Putty&Paint? Have you been participating in Golden Demon a lot?
Richard: I’m a member on CoolMiniOrNot and Warseer, although I have a bad habit of hardly ever posting anything. You can find me under the name “Demonrich”, which has no relation to my Golden Demon! I’ve used that name online since Half Life 2 first came out as I needed an online name!
I entered Golden Demon a few times in the 90s, and finally got a Silver Demon for my Keeper of Secrets in the Fantasy Monster category in 1999. That was the last time I entered a painting competition until now.
Volomir: Do you think there is a difference between the way that miniatures are painted in the UK and the rest of the world, especially in Europe?
Richard: This is a tough question for me to answer as I don’t pay too much attention to where each model comes from. I sometimes think that many models from Europe are more flamboyant and colourful than the UK, but I could be wrong!
Volomir: How was winning the Slayer Sword for you? How did you feel? Did you see it coming at any point during the day?
Richard: It is hard to describe the feeling; my mind went blank and my mouth dropped open. I hope no-one caught a photo of me then as I’m pretty sure I looked like a fool! Once I got the sword I was over the Moon, and just wanted to get home to show my family.
The idea of winning the sword during the day never entered my head. It was quite funny really as I saw the judges looking at the finalists on the table and my model was off to the side with some other finalists while they were examining three others. I just thought I wasn’t even being considered for a trophy. I wasn’t disappointed as my aim was to get a finalist this year. It had been a long day for me and I was looking forward to leaving early to get some rest. Also I wanted to go home and get a closer look at a Forge World Knight Lancer I had bought myself.
I actually nearly didn’t turn up to the event. It had been so stressful trying to get the model done while dealing with my mother’s death and I had run out of time. There was a lot more I wanted to do to it, but I was rushing and the paintwork was starting to suffer due to it. I wasn’t happy with the model, and was sick of the sight of it. In the end I decided to go just to enjoy the day and not worry about how I did.
Volomir: Which other miniatures where the ones competing against yours for the Slayersword in your opinion?
Richard: That is a really tough question. There were many models that I thought were at least as good as mine! To be honest it was tricky to tell on the day as the lighting wasn’t great and I think some of the entries didn’t look as good to the audience as you couldn’t see them properly.
There was one entry by Michal Pisarski that I was aware of from seeing the WIP in a facebook group, and the painting on that was flawless. I didn’t think I’d be competing with it, because I hadn’t even considered the Slayer Sword. I was told it was a very close decision, so I’m sure he must have been one of the people being considered.
Volomir: Your win is particularly historical since it’s the first time that Best of Forgeworld and Best of Show (Slayersword) are given to the same piece. There has always been lots of chatter around what makes a miniature “Slayerable” but every year, especially in UK, all hypotheses are proven wrong. What makes a Slayersword winner in your opinion? Do you think there is any commercial criterion behind Slayersword choices?
Richard: Sometimes I wonder if they just roll a dice when selecting the Sword winner. The standard is so high between all the winning entries that I don’t know how the judges pick an overall winner. I’m sure the judges have to start looking at other criteria, such as how the pieces fit the theme of the warhammer universe, just to help make a decision. I have no clue about commercial decisions, although if they wanted to push a product, I would have thought they would have picked a large, plastic kit as overall winner.
I don’t know if the Forge World Best of Show is judged differently to the rest of the awards, but I guess if the Slayer Sword winner is a standard Forge World model then it might seem awkward for Forge World to give the trophy to a different entry.
Considering I just won a Slayer Sword when I didn’t think I was even getting a trophy shows that I have no idea at all what makes a Slayer Sword winner!
Volomir: What’s your view on Warhammer Fest? How would you compare it to Games Days, and in particular Golden Demon 2014 with the rest of Golden Demons in the past?
Richard: As I haven’t been since 1999, I can’t really compare them. I know in 1999 the event was massive. There were a lot more Golden Demon entries then, but I think people used to enter just to get into the venue quicker!
I enjoyed Warhammer Fest 2014. It was a lot calmer, the queues to buy anything were short and it was easy to get to talk to the artists and designers. I’m not sure how good it was in terms of playing games as I didn’t go for that.
Volomir: The past few years have seen a decline in number of contests and participation in all Golden Demons around the world, to the point where we only have one right now in UK, and the attendance is also much lower than in the past years. How do you see the future of Golden Demons? Do you think this trend is going to continue?
Richard: I think it is a terrible, terrible shame that they have cancelled all of the other shows. I really enjoyed looking at all of the winners from around the world. I do wonder if they are trying Warhammer Fest as a new template and may use that in other countries, but my opinions are no better than anyone else’s. I can just say I hope they bring back Golden Demons for the rest of the World.
Volomir: Any artists that influence your painting? What are your favourite painters of all time?
Richard: As Games Workshop had such an impact on me, many of their 2D artists inspired me. I am a big fan of people like Geoff Taylor, Adrian Smith, Kev Walker, Mark Gibbons, John Blanche etc.
Others include people like Brom, Boris Vallejo, Giger, Zdzisław Beksiński and many others.
Unfortunately I don’t know the names of many model painters; I just have a huge folder on my computer with images of models that inspire me that I have collected from places like CMON.
Volomir: Do you attend other painting events apart from Golden Demon?
Richard: Nope! I might look into doing more, but no promises.
Volomir: Finally, any advice you want to give newcomers to the miniature painting world and competition in particular?
Richard: I don’t really paint as a competition painter, I just paint models I like, or things my clients want me to.
There are so many techniques that are being advanced all of the time, so do your research. Also, don’t just copy what you see, but adapt it to your style and preference. Just because something wins a trophy, it doesn’t mean it is the best style.
Finally, don’t be put off when you see a model you think is amazing. I see so many posts by people saying that they should just throw their brushes away as they will never be able to win a trophy. If you see something you like, be inspired by it. Everyone is crap when they first pick up a paintbrush.
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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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Richard was sent the new Warhammer 40,000 Leviathan box set from Games Workshop, and of course had to pick out his favourite model to paint up for a tutorial video for you guys. This is up on the website, ad free for freebie members and above, but also on Youtube – follow the link below or click in the embed to watch:
The following paints were used: Games Workshop: Black Templar (Contrast), Darkoath Flesh (Contrast), Contrast Medium, XV-88, Morghast Bone, Ushabti Bone, Screaming Skull, Mephiston Red, Evil Sunz Scarlet, Wild Rider Red, Yriel Yellow Vallejo: Game Colour Dark Green, Neutral Grey, German Grey, Black, Gunmetal Grey (Metallic), Chrome (Metallic) P3: Morrow White
About the Leviathan box set – (Review by Rebecca)
The “launch box” contains two armies (Space Marines and Tyranids), a limited edition book, and lots of other treats. However, if you’re a newbie to this hobby, brace yourself for a slightly steeper learning curve. Unlike some dedicated starter sets, Leviathan skips the dice, measuring tools, and handy “get started” guide.
The box also contains a set of transfers covering a host of Space Marine Chapters.In the video Richard says that there are no Dark Angel ones, but there are, (sorry).
In addition to this, while the rules for every Warhammer 40k unit will be available for free download from Warhammer Community, be aware that the box itself does not include physical cards. Instead, you’ll find basic profiles tucked away in the back of the instruction manual.
Richard enjoyed painting a Terminator for the video above, and was impressed by the level of detail. They’ve managed to retain the classic charm of their predecessors while seamlessly blending into the ranks of the latest Space Marine models.
In this new edition, the Terminators boast some nifty tricks up their power-armoured sleeves. Imagine being able to plant a teleport marker anywhere on the battlefield right from the get-go, courtesy of these bad boys. And the best part? You can use Rapid Ingress without spending a single resource to appear right next to that marker. Finally, they give a resounding “no thanks” to any negative hit modifiers. That means they’re practically unstoppable in combat.
For beginners and those who stick themselves together more than their miniatures, the models in the Leviathan box set are push fit, requiring no glue. Despite their easy assembly, they stand strong against intricate multi-part kits, however and still boast a great level of detail and good customisability.
I, personally, love the books that comes with the sets, especially when they are as full of background information as the rule book that comes with the Leviathan set.This exclusive book encompasses a whopping 200 pages of background information, hobby details, and lore. Not only does it provide insights into every Combat Patrol available, but it also showcases stunning images of painted models.
In short, the Leviathan box set is a great set if you are looking to get a lot of very cool models plus some great lore!
Rebecca Gray
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The team at Warhammer Community approached me for some tips on freehand, especially for Adeptus Titanicus. The whole interview can be found here.
Richard: As a massive fan of Adeptus Titanicus, I knew I had to have the Warlord-Sinister Psi-Titan as soon as I saw it. After I built the model, I realised I would have to figure out how to add the Legio Sinister icon to the shoulder pads. With no transfers available, this would make an ideal project to show my freehand process.
The first thing to do when you want to freehand is a little research and planning. It’s very tempting to jump straight in and wing it. What usually happens if you do is that you run out of space, get details wrong and wish you had a transfer! With this in mind I looked for artwork of the Legio Sinister icon and managed to find a nice, large image. This tends to be when the true horror hits that you have a very detailed, large image that you need to fit in to a teeny tiny area.
Before you get started on your freehand piece itself, paint the background armour panel completely. It’s much easier to paint it now rather than trying to get nice highlights and transitions around your carefully painted freehand.
The colours I’m going to use for the freehand are as follows: For the non-metallic metal (NMM) sections, I’ll use Rhinox Hide, Mournfang Brown, XV-88, Dorn Yellow, and Screaming Skull. For the lion itself I will be using Mechanicus Standard Grey, Slaanesh Grey, Grey Seer, Abaddon Black and Mephiston Red.
To get started, I first map out the shape and position of the freehand in black. Start in the centre and work your way outwards to allow you to make small corrections as you go. If you try painting the outline straight off there’s a good chance you’ll get the position wrong, and then it’s very hard to change! For the spikes just make small marks for each position to make sure they are spaced correctly. The reason for using black as a base colour is that it’s much easier to build up the highlight positions and use the black as shading, to keep your tonal contrast high. It also means you can use black to correct any mistakes you make.
Once the outline is complete it’s time to move on to the next layer – NMM trim. Start with Rhinox hide and make very large highlight blocks. Remember that the highlights will get smaller and smaller with each layer. I didn’t make a straight copy of the reference artwork, but rather made the lighting come from the top left. This made it look a bit more dramatic and allowed me to build stronger highlights and shadows.
Hard edges and curves reflect the light more strongly, so focus on those areas for the brighter highlights. After the Rhinox Hide, continue adding highlight layers with the remaining NMM colours in the order listed previously. Save the XV-88 for the finest edge highlights.
After all of the trim is painted it’s time to start on the lion. This is where things get tricky! You should have a black, round hole in the middle of the design. Roughly block in the shape of the lion face using Mechanicus Standard Grey. This allows you to get the positioning correct without going over any of the work you’ve just done.
Next begin refining the details of the face with Slaanesh Grey – be careful not to corrupt your Psi-Titan! Imagine the face as a 3D object and try to think where the highlights would naturally fall. I kept the light direction coming from the top left to match the trim.
Now it’s time to start painting the lion’s mane. This is the scary part as it goes over all of the NMM that you’ve carefully painted. I strongly recommend that you take your time and try to be selective with your positioning. Avoid covering the bright point in the top left, as this feature helps make the NMM look metallic and shiny.
I used watered down Mephiston Red to paint in the eye sockets, this makes the lion look extra angry. You should pick out the eyes in Grey Seer, plus any other details can be finished up in this step.
By this stage everything should be starting to come together. One thing I strongly recommend is to take photos of your piece, and look at those rather than the painted model. The freehand is so small that it’s easy to miss mistakes, but on an enlarged photograph, your mistakes will look massive (and terrible)! This might be a difficult step, but it will be much easier to correct your work.
Once the lion’s complete, it’s time for the symbol to be painted on the forehead. Again, start with black to block in the shape, then use the same colours for the NMM. As this area is so small, you don’t need to bother with Rhinox Hide.
Finally, take one last photograph to check everything on the model and then give the whole panel a coat of matte varnish. This will remove any variances in the finish and will make the freehand look like it’s a part of the armour panel. I hope you liked my tips on freehand and if you’d like to learn more tips on freehand techniques from me, please scroll down to explore some videos, like the guide I created alongside this one, or explore the site!
I did a tutorial video alongside this guide, click below to view it!
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I have to teach you how to paint NMM gold, especially after Games Workshop kindly sent me a review copy of the Age of Sigmar Dominion box, which is full of these golden boys! The first model I decided to paint was this chonky Annihilator!
NMM means (Non Metallic Metal) – so it looks like gold paint, but is painted with “normal” paints. Read on and see!
How to Paint NMM Gold Video : Part One
All videos are recorded in HD 1080p or higher – use full screen for the full effect and let the video load completely. There are also speed controls, click the little cog and choose a faster speed, if you’d like to speed it up a bit!
How to Paint NMM Gold Video : Part Two
Paints and Tools
The following paints were used:
Games Workshop: Yriel Yellow, XV-88, Mournfang Brown, Zamesi Desert, Rhinox Hide
Vallejo: Ice Yellow, Black
P3: Morrow White (Any brand of white is fine)
Step By Step Guide: How to Paint NMM Gold
Step 1: Base Layer – Zamesi Desert:
Start by applying the base layer using Zamesi Desert. Be careful with the application, as it can build up like a dusty layer if you’re sloppy. Use thin layers and consider dry brushing or stippling for a textured effect.
Step 2: Highlights with Scrappy Marks:
Apply the highlights by holding the model under a light source and quickly blocking in where the highlights hit. Use a chunky stippling style for blocking colours on the armour. Quick transitions work well for a better look. Don’t worry about brush marks; the focus is on selling the non-metallic effect.
Step 3: Light Volumes and Reflections:
Focus on getting the light volumes right for the non-metallic metal effect. Reflect other lights around you, similar to how a mirror reflects light. Be aware that some parts may not catch light as desired, but you can tweak it as you go along.
Step 4: Adding White Highlights:
Add white highlights using P3 Morrow White or any white paint of your preference. These highlights will enhance the non-metallic effect. Be mindful of the thickness of the paint, and if needed, glaze over for a refined and neater look.
Step 5: Balancing Highlights:
Maintain consistency in the highlights by holding the model under a light source and blocking in where the highlights hit. Balance is crucial for selling the non-metallic metal effect.
Step 6: Layering and Glazing:
Consider using glazing techniques with colours like Balor Brown or Japanese Uniform to add depth and colour variation. Thin your paints for later stages to achieve refined and smaller marks. Glazing helps neaten and soften the overall look.
Step 7: Additional Details and Contrast:
Add additional details using Rhinox Hide for larger areas to push contrast. Use watered-down Rhinox Hide for subtlety, and consider adding white highlights for reflections.
Step 8: Stippling and Scratching:
Stipple and scratch with a watered-down mix of Rhinox Hide and Mournfang Brown for larger areas. This technique adds texture and a brushed look to the non-metallic gold.
Step 9: Final Touches and Glazing:
Continue blending and refining the paint with scratchy marks. Towards the end, consider glazing to further enhance and refine the non-metallic gold effect. Adjust as needed for a balanced finish.
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Ready to try some Grimdark Ultramarines? This how to paint a Grimdark Ultramarine tutorial’s got you covered. We’ll be using an airbrush and some cool oil weathering tricks to turn a plain model into a gritty Ultramarine warrior. From slapping on the base colour to adding those fine details, we’re keeping it real and straightforward.
The following paints were used:Games Workshop: Macragge Blue, Calgar Blue, Blue Horror, Mephiston Red, Wild Rider Red, Ushabti Bone Vallejo: Basalt Grey, Neutral Grey, Pale Grey Blue, Black, (Metal Colour Magnesium, Gold, Chrome) Scale 75: Dwarven Gold Winsor & Newton Oil Colour: Burnt Sienna, Black (Burnt Umber!) Forge World: Dark Sand
How to paint a Grimdark Ultramarine Steps and Tips
Base Coat:Apply Macragge Blue from Games Workshop using an airbrush.Use a small arch surface dry brush for a stippling technique to add colour and texture.Focus on covering all armour panels, avoiding non-blue elements like guns and chainsaws.
Highlighting:Mix airbrush thinner and water.Highlight specific areas (shoulders, head, chest, backpack) using the airbrush.Use Scale 75 Dwarven Gold for golden trim, fixing any mistakes with black paint.
Additional Detailing:Add scratches and dents using a fine brush.Apply subtle highlights using blue and blue horror, keeping it restrained.Avoid excessive highlighting for a balanced appearance.
Purity Seals and Small Details:Optionally detail purity seals and other small features.Experiment with paint mixes for variety.
Oil, Transfers and Weathering:Use micro set to soften transfers and apply them to the model.Coat with gloss varnish and let it dry.Apply oil paints for weathering by dabbing or gently rubbing.Highlight specific areas (knee, shoulder pads, head, hip plate, backpack) with the oil wash.
Final Touches:Paint the eyes using white and carefully add additional highlights.Address any mistakes or mishaps.Reapply highlights using the same colours to make certain areas pop.Use weathering powder for a grounded look on the base.
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This mould lines tutorial shows you how to build and convert Mephiston of the Blood Angels and end up with a result that has no mould lines or gaps.
Tools You Will Need
The following tools were used in the video: Tamiya Extra Thin Cement Revell Contacta Plus Glue Greenstuff 2 Part Yellow and Blue epoxy Scalpel Clippers (I used Tamiya 300074123 – Diagonal Cutter)
Step By Step Mould Lines Tutorial
Prepare your ToolsSee above list!
Foot Modification for Custom Base:If planning a custom base, clip off Mephiston’s foot from the base to allow for easier base building later!
Tackle Mould Lines:Identify and remove mould lines using Tamiya Extra Thin, ensuring a smooth and clean surface. Take your time!
Scalpel Precision:Utilise the full length of the scalpel for better control, especially in challenging areas like fabric creases.
Handle Tricky Details:Address challenges with tubes and concave shapes, taking your time to avoid cutting into the model.Inspect and remove mould lines diligently, paying attention to hidden areas like armpits and hair.
Sprue Connection Removal:Cut off tags where the model connects to the sprue and use Tamiya Extra Thin to blend the cut areas seamlessly.
Model Assembly:Use Revel glue for assembly, overloading edges for a strong bond.Scrape away excess glue with a scalpel, mimicking the process of removing mould lines.
Dry Fitting and Final Touches:Perform a dry fit to ensure proper part alignment.Address gaps or imperfections with green stuff for larger spaces.
Adding Movement and Detail:Add movement to elements like Mephiston’s hair using Vallejo model putty for dynamic strands.
Final Inspection:Clean up any excess putty or glue.Inspect the model for visible mould lines or gaps, ensuring a flawless finish.
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This video looks at How to Paint Snikrot the Ork! The model is painted to a high tabletop standard and Contrast paints are used heavily.
Tools and Paints:
Games Workshop Contrast: Black Legion, Mantis Warriors Green, Aggaros Dunes, Skeleton Horde, Garaghak’s Sewer Vallejo Game Colour (New): White Ink, Mecha Matt Varnish, Neutral Grey, Black, Desert Yellow, Bile Green, Grunge Brown, Dead Flesh, Turquoise, Aquamarine, Dead White, Airbrush Thinner
Step By Step: How to Paint Snikrot the Ork
Priming and Highlighting
Begin with a primed model and apply a highlight using an airbrush and white ink from Vallejo. Thin the white ink with airbrush thinner for a smooth finish.
Ensure the focal points, such as the face and chest, receive extra brightness during airbrushing. The contrast paint naturally enhances shadows and highlights.
Applying Contrast Paints
Use contrast paints for a high tabletop standard. Apply contrast paint to the model, focusing on loading up the brush with a generous amount to let it run into crevices and create shadow effects.
Choose contrast colours based on personal preference, as they all work similarly. I’ve used contrast black (Templar Black) for metal areas.
Leather and Metal Details
Paint leather areas with desert yellow, avoiding excessive thinning as it complements the contrast paints.
For metal areas, use contrast black or any black color of choice. Leave teeth and tongue unpainted, applying a coat of skeleton horde or a chosen pink colour for the tongue.
Matte Varnish
Apply matte varnish to reduce the shiny finish of contrast paints. Vallejo’s matte varnish is recommended for its balanced matte effect.
Use a Wet Palette to Organise Your Paints
Arrange neutral gray, neutral gray mixed with white, black, and dead white for easy access during painting.
Detailing and Highlights
Use grunge brown for detailing and add highlights with desert yellow. Experiment with different water-to-paint ratios for varied effects.
Metallic Effects
Achieve a metallic effect by using opaque white sparingly. Focus on creating highlights on edges and surfaces, making the metal look scratched and darkened.
Creating Texture
Experiment with brushes to create texture on the model. Stipple with an older, worn brush for a more textured effect on specific areas.
Lenses and Final Touches
Paint lenses using turquoise as the base colour and add highlights with Aquamarine or a mix of turquoise and white. Follow a common technique for gem-like effects.
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This free video shows how to paint a Grimdark Black Templar to tabletop standard (make sure you are logged in to view!)
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 (Mephiston Red, Evil Sunz Scarlet, Yriel Yellow, Morghast Bone, Screaming Skull), Vallejo (Basalt Grey, Neutral Grey, Pale Grey Blue, German Grey, Metal Colour Exhaust Manifold, Metal Colour Gunmetal Grey), Scale 75 (Necro Gold), P3 (Morrow White)
Oil Colours: Winsor & Newton (Black, Burnt Sienna)
Odorless Mineral Spirit: Winsor & Newton Sansodor
Primer: Badger Ultimate Primer in Black
Brushes: Artis Opus Series S size 1 and 00, Small Drybrush
Varnish: Vallejo Mecha Matt Varnish (optional Mecha Gloss Varnish)
How to Paint a Grimdark Black Templar – Step-by-Step Guide:
1. Base Preparation: Prime the model black, leaving the head with blue tack for easier eye painting.
2. Armour Texture and Highlights:
Stipple German Grey (or a dark grey mix) over the armour, focusing on the edges and avoiding leather pouches and shoulder pads. This creates a textured base for highlighting.
Progress with lighter greys, like Basalt and Neutral Grey, using a similar stippling technique. This builds up the highlights and adds depth.
3. Shoulder Pads: Paint shoulder pads with Neutral Grey. This area will eventually be white but start with a grey base to create a grimy look.
4. Masking for Airbrushing: Use putty to mask off areas and airbrush a mix of Morrow White and a touch of Abaddon Black on the shoulder pads, creating a gradient effect.
5. Detailing Black Areas: Use black paint to touch up any overspray from airbrushing, particularly on the armour trim and the Black Templar cross.
6. Leather and Skull: Apply Mournfang Brown to leather areas and the skull. The oil wash will later help blend and shade these parts.
7. Gold Details: Paint gold areas with Necro Gold, watering down the metallics for a smooth finish.
8. Metallics: Fill in all metallic parts with Gunmetal Grey. Oil wash will later enhance these metallics, providing depth and shading.
9. Skull Highlight: Add a quick highlight of Morghast Bone to the skull to make it stand out against the dark base.
10. Verdigris Effect: Apply a mix of Sotek Green and White for a verdigris effect on gold areas, focusing on recesses and crevices.
11. Oil Wash: Mix Burnt Sienna and Black oil paint with mineral spirit and apply generously over the model. This step dramatically alters the model’s look, blending and toning down highlights and adding a weathered effect.
12. Touching up Highlights: Redo the highlights in smaller areas using Neutral Grey, Dark Sea Grey, and Pale Blue Grey. This step refines the highlights post-oil wash.
13. Lenses: Paint the lenses starting with Mephiston Red, followed by layers of Evil Sunz Scarlet, Fire Dragon Bright mixed with Yriel Yellow, and finally pure Yriel Yellow for a glowing effect.
14. Final Touches: Reapply metallic paints to certain areas for a contrast boost. Apply final highlights and adjust any last-minute details to your liking.
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This video shows the complete process of how to paint an Ulfenwatch Skeleton from the Cursed City boxed game by Games Workshop. The tutorial covers techniques for achieving a worn, non-metallic metal look and provides insights into brush handling, highlighting, and detailing.
The following paints were used in the video:Games Workshop: Rhinox Hide, Mournfang Brown, Balor Brown, Ushabti Bone, Cadian Fleshtone, Baharroth Blue, Yriel Yellow Vallejo: Ice Yellow, Neutral Grey, Basalt Grey, Pale Grey Blue, Black, Heavy Grey P3: Morrow White, Iosen Green
Steps And Tips to Paint an Ulfenwatch Skeleton
Preparation and Priming:Use Scale 75 surface primer for a matte finish on the Ulfenwatch Skeleton from the Cursed City box game.Remove the tab from the feet for basing without risking damage to your paintwork.
Armour Painting Technique:Start with Vallejo Basalt Gray for non-metallic metal-style armour painting.Use a worn-out brush for a rough look, applying lighter shades on prominent areas and gradually decreasing paint for darker sections.Start on the brightest points for effective highlighting.
Highlighting and Detailing:Apply successive highlights using Basalt Gray, Neutral Gray, Pale Grey Blue, and White to create neater and more defined details on the armourHighlight worn spots, holes, and dents on the armour to add character, ensuring that the marks become neater with each successive highlight.
Shield Painting:Use Mournfang Brown for a bronze/copper look on the shield, focusing on one primary shine point.Highlight points where the light hits the shield, including spikes and creases, using a controlled blobbing technique for added definition.
Face and Eye Painting:Paint the face with Balor Brown, focusing on small, intricate details.Use Yriel Yellow to add a bright edge around the eye sockets for a realistic effect, but keep an eye (ha ha) to ensure you are keeping your lighting consistent throughout the model.Do the process for painting other parts like arms and legs, but beware of overly bright highlights that may distract from focal points.
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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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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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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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This video looks at how to paint the Ork special character, Snikrot, which Games Workshop sent to me as an early review copy.The model is painted to a high tabletop standard and Contrast paints are used heavily.
Quick Jump to:
Video Tutorial – How to Paint Snikrot the Ork!Steps and TipsPriming and HighlightingApplying Contrast PaintPainting DetailsNon-Metallic Metal (NMM) TechniqueSkin HighlightsLeather and StrapsFinal Touches on Metallic AreasLenses and EyesVideo Tutorial – (Richard Version)More Free Video Tutorials
Video Tutorial – How to Paint Snikrot the Ork!
The following paints were used: Games Workshop Contrast: Black Legion, Mantis Warriors Green, Aggaros Dunes, Skeleton Horde, Garaghak’s Sewer Vallejo Game Colour (New): White Ink, Mecha Matt Varnish, Neutral Grey, Black, Desert Yellow, Bile Green, Grunge Brown, Dead Flesh, Turquoise, Aquamarine, Dead White, Airbrush Thinner
Steps and Tips
Priming and Highlighting
Prime the model.Apply white ink using an airbrush, thinned with Vallejo airbrush thinner, focusing on the face and chest for natural light effects.
Applying Contrast Paint
Start with Mantis Warriors Green for the skin. Use a large brush for efficient coverage, allowing the paint to settle in the recesses.For trousers, use Aggaros Dunes, a dark brown contrast paint.Apply another brown contrast paint for the leather areas.Paint all metal areas with Black Legion contrast paint, without worrying about neatness as black will cover any overlapping paint.For bone areas, use Skeleton Horde.
Painting Details
Paint teeth and tongue with Skeleton Horde, and use a pink colour for the tongue.Apply a coat of matte varnish (Mecha Matt Varnish by Vallejo) to reduce the sheen from the contrast paints.
Non-Metallic Metal (NMM) Technique
Start with Vallejo Game Colour Neutral Grey for the metallic areas.Create a palette with Neutral Grey, mixed with white and black, and use Dead White for the brightest highlights.
Skin Highlights
Mix Bile Green with white for brighter skin highlights. Focus on the areas where natural light wouldhit, such as the tops of muscles and face.
Leather and Straps
For additional texture and highlights on leather, use Grunge Brown.Apply Desert Yellow for final highlights on leather, following the sculpted creases and stress points.
Final Touches on Metallic Areas
Enhance the metal parts with additional Grunge Brown, focusing on recesses and flat surfaces for a grimy look.Use Dead Flesh for final highlights on metallic areas, achieving a high contrast non-metallic metal effect.
Lenses and Eyes
Paint the lenses starting with Turquoise, followed by Aquamarine for the first highlight.Add a small dot of Dead White at the bottom for a reflective effect.Throughout the process, remember to let each layer dry before applying the next.
Video Tutorial – (Richard Version)
Yep – it was an April Fools! 😀 This was my wife and she wanted to have some fun doing a voice over.She has her own channel here, if you’d like to check out more of her Warhammer New Release unboxings and voice overs, or you can explore them below.
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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
More Freehand Tutorials on the Website
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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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This free video shows how to paint a Warmaster Iconoclast Titan for the Legio Astorum (Warp Runners) from the Adeptus Titanicus game.
The following paints were used: Games Workshop: Night Lords Blue, Calgar Blue, Mephiston Red, Balor Brown, Hashut Copper, Yriel YellowVallejo: Dark Sea Grey, White, Metal Colour Burnt Iron, Metal Colour Gold, Metal Colour Chrome, Mecha Gloss VarnishScale 75: Necro GoldAmmo: Ultra-Matt Lucky VarnishWinsor and Newton: Sansodor mineral spirit, oil colour Black, oil colour Burnt Sienna Badger: Ultimate Primer Black
Steps to Follow on How to Paint a Warmaster Iconoclast Titan
Preparing the Model
Build the Model: Assemble your Warmaster Iconoclast Titan, leaving off the armour plates for separate painting. This allows easier access to the skeleton for painting in metallic colours.
Painting the Skeleton
Base Coat in Metallic: Start with Vallejo Metal Colour Burnt Iron applied with a large soft brush or a dry brush for a smooth metallic base on the skeleton.
Detailing with Copper: Use Games Workshop Hashut Copper for the hips and other details, applying multiple coats as necessary for even coverage. Thin with water if the paint is too thick.
Verdigris Effect: Mix oil paints on cardboard to create a light green verdigris colour. Stipple this onto the copper parts with an old brush, focusing on crevices and rivets. Thin with white spirit for a more natural effect.
Weathering the Metal
Oil Wash: Create an oil wash with black and burnt sienna oil paints thinned with mineral spirits. Apply over the entire metal skeleton, excluding verdigris areas, to add depth and an oily finish.
Highlighting: Highlight edges and raised details with Vallejo Metal Colour Chrome for a sharp contrast.
Painting the Armour Panels
Base Coat in Blue: Airbrush the panels with Games Workshop Night Lords Blue, followed by highlights with Calgar Blue focusing on upper sections and curves.
Detailing Stripes and Flames: For striped areas, use Tamiya masking tape and Vallejo Dark Sea Grey. For flames, start with Balor Brown as a base, building up to lighter tones and finally white for the hottest parts.
Applying Decals: Use Forge World or Games Workshop decals for additional detailing, sealing them with Microset or Microsol. I’ve put a link to another free video on how to do that, below!
Final Weathering: Apply oil washes for weathering effects, focusing on creating streaks and grime accumulation that fits with the battlefield-worn look.
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.
Watch and Read Now
Finishing Touches
Painting Trim and Details: Use Scale 75 Necro Gold for gold trim, applying carefully around edges and details. For a brighter highlight, apply Vallejo Metal Colour Gold.
Matte Varnish: Seal the entire model with an ultra-matte varnish to tie together the different finishes and protect the paintwork.
Optional Ribbon Streamers: Create custom ribbon streamers from plastic card, painted and detailed to match the Titan’s colour scheme, adding dynamism and a personalised touch to your model.
Additional Tips
Always thin your paints to ensure smooth application and avoid obscuring fine details.
When working with oil paints for weathering, allow ample drying time between layers to prevent smudging.
Use a hairdryer to speed up drying times cautiously, avoiding too much heat on plastic parts.
Experiment with lighting and colour modulation on the armour panels for a dynamic appearance.
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 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.
Free Video Tutorials
More 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.
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This video looks at how to paint the head of the Tomb Kings Bone Dragon. The video looks at the textured bone, how to add colour and interest and then how to add verdigris and NMM to the bronze trim.
Video – How to Paint the Tomb Kings Bone Dragon Head
Paints and Materials Used on the Tomb Kings Bone Dragon
Paints:
Games Workshop Paints: Mournfang Brown, XV-88, Morghast Bone, Screaming Skull, Skavenblight Dinge, (Skeleton Horde Contrast optional)
Kimera Colours: Fallen Grass (Sybarite Green as an alternative)
Two Thin Coats: Dark Sun (Balor Brown alternative)
Brushes and Tools:
Artis Opus Small Dry Brush: Used for stippling the base coat and first highlights.
Size 2 Brush (Old): Ideal for glazing with Scavenblight Dinge and applying the verdigris effect on metallic elements. An older brush is recommended as the techniques used can be rough on the bristles.
Size Z00 Brush: Used for finer detail work, such as adding texture to the verdigris effect. However, a larger brush may be more efficient for larger areas.
Size 1 Brush: Recommended for applying non-metallic metal highlights. An older brush is suitable as long as it maintains a good point.
Wet Palette: Handy for keeping your paint mixes workable and blending colours.
Kitchen Roll: For dabbing off excess paint and ensuring the right consistency on the brush.
Water Pot: For thinning paints and cleaning brushes.
Step-by-Step Guide to Painting the Tomb Kings Bone Dragon
Step 1: Base Coat
Create a mix of Mournfang Brown and XV-88 in approximately a 50/50 ratio. The exact mix isn’t crucial, but aim for a reddish-brown shade.
Thin this mixture with water (about two parts water to one part paint).
Using an Artist Opus small dry brush, apply this mixture to the dragon head using a stippling method. Ensure the brush is damp, not wet, to avoid a dusty look.
Cover the entire surface, allowing the small dots of paint to create texture. This might require two to three layers for opaque coverage.
Step 2: First Highlight
Switch to Morghast Bone for the next layer of highlight.
Again, thin the paint (similar ratio as before) and dab off excess paint on kitchen roll before applying.
Stipple Morghast Bone more selectively, focusing on creating a transition from darker to lighter areas.
Pay special attention to the metal crests and teeth-like protrusions, ensuring they are light enough for later glazing.
Step 3: Final Highlight
Move on to Screaming Skull for the highest highlights.
Apply this colour even more sparingly and delicately, focusing on the most raised areas and textures.
Remember, this is not dry brushing. Dab the brush straight onto the model to create the desired texture.
Step 4: Painting the Teeth
Start with the base colours used for the bone and apply them with a normal brush for a smoother finish.
For the top teeth, paint from the bottom upwards. This creates a shiny effect, with the brightest part of the tooth at the top.
Use Screaming Skull for the very top section of the teeth to enhance the shiny look.
Step 5: Softening Textures
Use Scavenblight Dinge to soften the texture on the skull.
Thin the paint significantly (about three to four parts water to one part paint).
Apply with a large brush, focusing on midtones to shadows to enhance depth and contrast.
Step 6: Glazing and Highlighting
Return to the mixture of XV-88 and Mournfang Brown, now very watered down.
Glaze around the teeth and other areas to add warmth and contrast, separating different elements like teeth from the skull.
Step 7: Additional Details and Glazing
Use Morghast Bone and Screaming Skull to pick out details, focusing on areas like the eye sockets and brow for added focus.
For the bone spikes, start glazing with Rhinox Hide, thinned down.
Progress from Rhinox Hide to a black colour (like Vallejo Model Color Black), applying from halfway down the bone spike towards the tip, creating a dark gradient.
Step 8: Metallic Elements
Base the metal parts with Mournfang Brown.
Apply a wash of Fallen Grass, heavily watered down (five parts water to one part paint), focusing on recesses.
Follow up with black lining for added definition, using watered-down black paint.
Step 9: Non-Metallic Metal Highlights
Create a palette with Mournfang Brown, a 50/50 mix of Mournfang Brown and Dark Sun, Dark Sun, Dark Sun mixed with white, and pure white.
Start with the darker mixes and progressively highlight with lighter mixes, focusing on edges and areas where wear would naturally occur.
Add finer highlights and scratches with the lightest mixtures.
Step 10: Finishing Touches
Revisit areas with Scavenblight Dinge for further softening and definition.
Optionally, add warmth with a glaze of Mournfang Brown and XV-88, or Skeleton Horde Contrast for subtlety.
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This video looks at how to paint a Deathwing Terminator from the new Leviathan boxed set, which Games Workshop sent to me as an early review copy.
Video – How to Paint a Deathwing Terminator
The following paints were used
Games Workshop: Black Templar (Contrast), Darkoath Flesh (Contrast), Contrast Medium, XV-88, Morghast Bone, Ushabti Bone, Screaming Skull, Mephiston Red, Evil Sunz Scarlet, Wild Rider Red, Yriel Yellow
Vallejo: Game Colour Dark Green, Neutral Grey, German Grey, Black, Gunmetal Grey (Metallic), Chrome (Metallic)
P3: Morrow White
Step by Step Guide
Preparation and Priming:
Assemble the Deathwing Terminator, modifying as desired (e.g., swapping weapons).
Prime the model in black.
Base Coat and Airbrush Highlighting:
Apply a base coat of XV-88.
Highlight with Morghast Bone using an airbrush, focusing on natural light areas.
Applying Contrast Paint:
Mix Darkoath Flesh with Contrast Medium and cover the Deathwing Terminator, emphasising recesses over large, smooth areas.
Highlighting and Texturing:
Hand apply highlights and textures using Ushabti Bone and Screaming Skull, targeting brighter airbrushed areas.
Detailing with Black Paint:
Paint areas destined for other colours (metal, red, green) with Black Templar Contrast or thinned black paint.
Metallic Parts:
Apply Vallejo Gunmetal Grey to metal parts.
Use Agrax Earthshade for a matte effect.
Add highlights with Chrome.
Red Areas (Eyes, Lenses, Purity Seals):
Base with Mephiston Red mixed with a small amount of black.
Progressively highlight with Mephiston Red, Evil Sunz Scarlet, and Wild Rider Red.
Green Areas (Chest Eagle):
Base in Vallejo Game Colour Dark Green.
Add highlights by progressively mixing in white.
Bone Armour Texturing and Detailing:
Further texture and scratch effects using Morghast Bone, Ushabti Bone, and Screaming Skull.
Mix Morghast Bone with a bit of Mournfang Brown for shadows.
Chest Eagle and Purity Seal Text:
Use fine brushwork for text effects on purity seals with black paint.
Final Highlights and Details:
Apply final highlights with Screaming Skull or white, focusing on areas for maximum contrast.
Blend and soften with Neutral Grey glazing.
Basing:
Base the Deathwing Terminator as preferred, employing sand texturing, painting rocks in German Grey and Neutral Grey, and adding grass tufts.
Finishing Touches:
Add chips and scratches across the armour with Rhinox Hide and Screaming Skull.
Enhance details and edge highlights to complete your Deathwing Terminator!
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 shows how to paint some tanks for the Solar Auxilia faction of Legions Imperialis. Plus, I’ve included a little step-by-step guide underneath on the key points of the video!
The following paints were used: Games Workshop: Agrax Earthshade, Skeleton Horde Contrast, Sotek Green, Moot Green, Evil Sunz Scarlet, Rhinox HideVallejo: Neutral Grey, Black, Metal Colour Exhaust Manifold, Metal Colour Copper P3: Morrow White Winsor and Newton: Burnt Sienna (series 1 oil paint), Black, Sansodoor mineral spirit For melting decals onto models : Micro Set
Step-by-Step Guide:
Prepare the Base Coat:Use an airbrush for efficiency in batch painting for your large Legions Imperialis faction.Mix Vallejo Neutral Gray with airbrush thinner (30 PSI, 50/50 ratio with thinner).Apply the base coat evenly to the entire tank. Consider using gray primer for a quicker and better result.Layering for Opaque Finish:Apply two or three layers of paint, especially for lighter colours like Pale Blue Gray Blue and Morrow White.Account for the drying effect, as colours may appear brighter when wet and darker when dry.Ensure a smooth and opaque finish by layering.
Weathering Techniques:Stipple Rhinox Hide for additional details, using a foam piece held by tweezers.Apply weathering heavily to achieve a worn and battle-hardened look.Consider the impact areas for realistic weathering, such as edges and front sections.
Adding Red Markings:Use Evil Suns Scarlet for red markings.Differentiate leader tanks by adding a red turret.Apply the red markings consistently across Legions Imperialis tanks for uniformity.
Metallic and Lens Details:Use Exhaust Manifold by Vallejo for metallic parts.Apply Agrax Earthshade for a wash over the metallic sections.Paint lenses black and highlight with a mix of black and white in three stages.
Final Touches:Add decals before applying any oil wash to blend them with the weathering.Consider adding additional details like hazard stripes or cables for higher-level detailing.Apply a final matte varnish or Games Workshop fixative to set the weathering powder and prevent rubbing off.
Optional Colour Variations:Experiment with different colours based on personal preferences.Lighter colours with heavy weathering can enhance contrast and visibility in smaller scale models.Customise the Legions Imperialis tanks according to your gaming preferences.
Final Assessment and Variations:Assess the overall look of the Legions Imperialis tank for any additional highlighting or weathering needed.Consider variations in colours and markings for a diverse tank fleet.Keep in mind that the level of detail can be adjusted based on personal preferences and the purpose of the painted tanks (e.g., gaming).!
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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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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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Here is a kit review for the New Trugg the Troggoth King from the Gloomspite Gitz army. I also show how to fill in gaps in the plastic using Sprue Glue.
Tools Used on Trugg the Troggoth King
Sprue glue (made from Tamia extra thin glue and waste sprue)
Tamiya extra thin glue
Tamiya sanding pads
Modelling putty (optional, mentioned as an alternative to sprue glue for a longer but more detailed process)
Sandpaper
Step by Step Guide
Begin by assembling the model, focusing on its open design to make painting easier.Glue the model together, leaving only the head separate for more detailed painting.
Notice join lines, especially on areas like horns, where the gaps are obvious and need attention
Prepare sprue glue by cutting waste sprue from a plastic kit.Place the sprue pieces into a container with Tamiya extra thin glue, ensuring the consistency is not too thin.
Use the sprue glue to fill join lines by blobbing it onto the gaps.Ensure the sprue glue is thick enough, containing sufficient plastic material.
After applying sprue glue, use Tamiya extra thin glue to blend and smooth the surface.Work the extra thin glue to create a seamless transition, eliminating hard, bumpy edges.
Cut off excess sprue glue after it has been applied and blended.Allow the model to dry overnight for the sprue glue to set completely.If desired, go back and sand over the top for a smoother finish.Use Tamiya sanding pads or similar tools for flexibility, especially on organic shapes
Prime the model after gap-filling to see how well the join lines have vanished.Note any minor indentations, which can be painted over as part of the organic shape.
If there are concerns with the sculpting of rock parts or moss details, sneakily mask them by adding additional textures using materials like sand or other textured elements.
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This video takes a look at the distortion on the marines and tries to fix the issue. Legions Imperialis was sent to me by Games Workshop as an early review copy.
In this video, I’m tackling a little issue with the Legions Imperialis Marines from the latest game. These guys are small, about 9 millimeters tall and they’ve got some quirks…
So, in this tutorial, I’m walking you through how I clean them up. I grab a trusty scalpel, trim off the excess plastic, and then work some magic with Tamia extra thin glue to make it all smooth and polished.
Steps to Fix the Legions Imperialis
Step 1: Identify IssuesStart by examining the Legions Imperialis Marines for any deformities or excess plastic.Note specific areas that need attention, such as the back of the gun, gaps between limbs, or any other noticeable imperfections.Step 2: Gather MaterialsObtain a scalpel, ensuring it is sharp for precision.Prepare Tamiya extra thin glue or a similar product for smoothing and blending the cut areas.Have your choice of paints ready for later stages.Step 3: Cut Excess PlasticCarefully use the scalpel to cut away excess plastic, following the natural lines of the model.Focus on areas where the deformities are most prominent, like the back of the gun or gaps between limbs.Be careful, as the models are small, and small, deliberate movements are essential.Step 4: Clean Up the CutsUse the scalpel to clean up the cut areas, creating a neat and smooth finish.Don’t worry too much about perfect precision, as the Tamiya glue will help blend and soften the edges later.Step 5: Address Specific IssuesPay extra attention to problematic areas, such as gaps between limbs or any distorted sections.Address these issues with precise cuts and clean-ups to improve the overall appearance.Step 6: Apply Tamiya Extra Thin GlueRun Tamiya extra thin glue over the cut areas to soften and blend the plastic.This step is crucial for achieving a seamless look and hiding any imperfections from the cuts.Step 7: PaintingOnce the glue has dried, proceed with painting the Legions Imperialis Marines! Why not follow one of my tutorials?
While this process may seem meticulous, it’s essential to note that the level of detail and effort put into fixing the models is a personal choice. Not everyone may find it necessary, especially for gaming purposes. However, for those who are particular about the appearance of their models, these steps offer a solution to improve the overall look of the Legions Imperialis Marines.
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In this free video you will be shown how to paint a Night Lords Praetor in terminator armour, from the Horus Heresy (make sure you are logged in to view!)
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: Night Lords Blue, Kantor Blue, Macragge Blue, Calgar Blue (optional), Mephiston Red, Evil Sunz Scarlet, Wild Rider Red, Firedragon Bright, Baneblade Brown, Cadian Fleshtone, Balor Brown, Mournfang Brown, Morghast Bone, Screaming Skull, Forge World Weathering Powder Dark Sand. Windsor and Newton oil paints: Burnt Siena, Black, Sansodor mineral spiritVallejo: Mecha Varnish Gloss, Mecha Varnish Matt, Metal Colour Burnt Iron Scale 75: Elven Gold (optional)P3: Morrow White (Any White will do)BrushesArtis Opus: Series S size 1 and 00, Small Drybrush
Step by Step : How to paint a Night Lords Praetor
Painting Steps:
Priming and Assembly: Assemble your model fully and prime it in black. In this case, the head is already glued in, making it slightly more challenging to paint.
Base Layering: Start with Night Lords Blue, diluted roughly 50:50 with water. Use a small dry brush or makeup brush to stipple the paint onto the model, ensuring to get into all the recesses.
Progressive Highlights: Apply subsequent layers of Kantor Blue, then Macragge Blue. With each layer, be less vigorous and focus more on areas where light naturally hits.
Detailing with a Small Brush: For hard-to-reach areas like the chest, use a small brush to apply highlights.
Final Highlighting: If desired, add a final stage of highlighting with Calgar Blue, although its translucency can be less satisfying. A mix of Macragge Blue and white can be more effective.
Blocking in Other Colours: Apply base colours for other parts of the model, such as Mephiston Red for red areas, Baneblade Brown for leather straps, and Balor Brown for skulls and bones.
Metallics and Golds: Paint metallic areas with Vallejo Metal Colour Burnt Iron and golden areas with Scale 75 Elven Gold.
Gloss Varnish and Oil Wash: Once all base colors are blocked in, apply Vallejo Mecha Gloss Varnish. Follow this with a mix of Burnt Sienna and Black oil paint thinned with mineral spirits. Apply it liberally over the model and then remove excess with a clean brush dipped in mineral spirits.
Matte Varnish: After the oil wash has dried, apply Vallejo Mecha Matt Varnish to prepare the model for further acrylic painting.
Refining Highlights: Revisit areas with acrylic highlights, enhancing details and cleaning up where necessary.
Lightning Effect: Use a mix of Macragge Blue and white, then pure white, to paint lightning effects on armor panels.
Finishing Touches: Add final details to the model such as eye lenses, further skull highlighting, and final metallic edge highlights.
Base Detailing: For the base, use Forge World Weathering Powder Dark Sand over glued sand for a realistic texture.
Additional Tips on how to paint a Night Lords Praetor:
Keep the paint consistency thin to avoid losing details.
Use stippling and careful brushwork to create texture and depth.
Be patient with the oil wash and varnish steps, as they significantly enhance the final look.
Experiment with the lightning effect to create dynamic visual interest on the armor.
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These videos shows how to paint an Ork Beastboss to a high level tabletop standard.In them, we are aiming to achieve a rugged, battle-worn look, emphasising strong contrasts and weathered metallics.
Quick Jump to:
Video – How to Paint an Ork Beastboss : Part OneMaterials NeededStep-by-step Guide on How to Paint the Ork BeastbossVideo – How to Paint an Ork Beastboss : Part TwoPaints UsedStep-by-step Guide on How to Paint the Ork BeastbossPDF GuideFree Video Tutorials
There is also a detailed 26 page PDF guide for this model, which can be found here.
Video – How to Paint an Ork Beastboss : 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!).
Materials Needed
Ork Beastboss Miniature
Brushes: Various sizes for different techniques
Paints (Games Workshop): Mournfang Brown, Contrast Medium, Balor Brown, Trollslayer Orange, Yriel Yellow, Ork Flesh (Contrast), Skeleton Horde (Contrast), Black Templar (Contrast), Blood Angel Red (Contrast), Gryph-Hound Orange (Contrast), Flesh Tearers Red (Contrast), Volupus Pink (Contrast)
Vallejo Paints: Dark Sea Grey, Pale Grey Blue, Ice Yellow
P3 Paint: Morrow White (or any white will do)
Step-by-step Guide on How to Paint the Ork Beastboss
Priming and Zenithal Highlighting:
Prime the model black and apply a zenithal highlight using Vallejo Pale Grey Blue. This creates natural shadows and highlights, guiding future paint layers.
Skin Tones:
Paint the Ork’s flesh using a 50/50 mix of Ork Flesh Contrast and Contrast Medium. This enables some of the grey from the zenithal highlighting to show through, providing a guide for later highlights.
Fur and Details:
Apply Skeleton Horde Contrast directly for fur, ensuring highlights are visible.
Use Volupus Pink Contrast for lizard-like skin textures and Blood Angel Red Contrast for the top knot and tassel.
Armour and Metallics:
Paint areas intended to be bronzy or gold with Gryph-Hound Orange Contrast. This creates a dark orange base over the light grey zenithal highlights.
For black areas or parts you want darker, mix Black Templar Contrast with Contrast Medium and apply.
Bronze Metallics:
Start painting the skeleton head and other bronzy parts. Use scratchy, rough strokes to build up layers, starting from a darker base and gradually adding lighter colours for highlights.
Highlight Placement:
Follow the guide provided by the zenithal priming for light placement, enhancing it with further highlights where needed.
Steel Armor:
For a steel-like finish on certain armour parts, use a similar scratchy technique, starting with Vallejo Dark Sea Grey and building up to lighter greys and whites.
Weathering and Rust:
Add weathering using Mournfang Brown and Trollslayer Orange, focusing on recessed areas, rivets, and parts where rust naturally accumulates.
Video – How to Paint an Ork Beastboss : Part Two
Paints Used
Games Workshop: Mournfang Brown, Contrast Medium, Balor Brown, Trollslayer Orange, Yriel Yellow, Ork Flesh (Contrast), Skeleton Horde (Contrast), Black Templar (Contrast), Blood Angel Red (Contrast), Gryph-Hound Orange (Contrast), Flesh Tearers Red (Contrast), Volupus Pink (Contrast) Vallejo: Dark Sea Grey, Pale Grey Blue, Ice Yellow P3: Morrow White (Any white will do)
Step-by-step Guide on How to Paint the Ork Beastboss
Picking up from where we left off in the first guide…
1. Sword (Big Chopper) with Rusty Texture
Base Layer: Start with Rhinox Hide, using a scribbly and scratchy technique similar to the armour’s style. This creates a dark base for the flat of the blade. If Rhinox Hide is unavailable, mix Mournfang Brown with Black for a close approximation.
Stippling Technique: Apply Mournfang Brown with stippling, creating a rusty texture. Remember, the paint can be a bit thicker here to add texture.
Additional Rust Effect: Use Trollslayer Orange for more rust detail, focusing on areas like the top hook of the blade. This paint is slightly translucent, so you might need to layer it for a stronger effect.
2. Highlighting the Blade
Scratches and Cutting Edge: Use lighter colours like Pale Grey Blue and White to highlight and define scratches and the cutting edge of the blade. This gives a contrasting effect to the rusty areas.
Bounce Highlights: Consider adding bounce highlights to reflect the battlefield’s environment, like green reflections for a green terrain.
3. Horns and Fur
Base Colours: Use the same colours as the blade for consistency. Start with a mix of Rhinox Hide and Morghast Bone.
Highlighting: Gradually lighten the base with pure Morghast Bone and then Screaming Skull, focusing more on the base of the horns and the top of the fur for a natural gradient.
4. The Face
Initial Layers: Begin with a base of Warboss Green. You might need several layers due to its translucency. To reduce the shine from contrast paints, apply an ultra-matte varnish partway through the painting process.
Detailing: Add more detail than is sculpted, especially around the temple and eyes, to create a more menacing look. Use Warboss Green mixed with Screaming Skull for highlights, making the face a focal point.
5. Teeth and Bone Decorations
Base Colour: For teeth and bone-like decorations, start with a base of Balor Brown.
Texture Technique: Use a stippling and scratchy technique for texture, similar to the horns and fur.
6. Red Hair
Base and Highlights: Start with a base of Evil Sunz Scarlet. For highlighting, mix in a bit of white for a slightly pinkish hue, but be careful not to overdo it.
Detailing: Use vertical strokes to highlight, focusing on the strands without overly brightening the recesses.
7. Loin Cloth (Lizard Skin)
Base Layer: Use Xereus Purple over a base that was previously primed and given a coat of Volupus Pink.
Highlighting: Highlight selectively, focusing on larger scales and facets. Use lighter shades of purple mixed with white for the highlights, but remember to keep the overall area dark for contrast.
8. Verdigris Effect on Bronze Areas
Base Colour: Apply Sotek Green, watered down for a flowing effect into recesses.
Layering: Add white to Sotek Green for progressive highlights, focusing on the darker areas and avoiding the brightest highlights to maintain the metallic sheen.
9. Back to the Face
Detailed Texturing: Add more detailed textures to the face using the lighter green mixture, emphasizing areas where light hits directly.
Balancing Highlights: Alternate between highlighting and shading to balance the contrast and maintain the focus on the face.
10. Finishing the Eyes
Initial Layers: Start with a base of Pearl Grey Blue, then define the iris with Sotek Green.
Highlighting: Use lighter shades of blue for the lower parts of the eyes. For the final highlights, map out the placement with the first highlight blue, focusing on the top left to represent the light source.
11. Final Touches
Teeth and Tongue: Paint teeth in Balor Brown and adjust the tongue if needed.
Bone Decorations: Add final touches to bone decorations, ensuring they stand out against the hair.
Red Hair: Refine the highlights and ensure they blend well with the base colour.
And there you have it, your Ork Beastboss is now ready for battle, boasting a range of textures and colours, all contributing to its fierce and battle-worn appearance. For more detailed instruction, check out the PDF Guide!
PDF Guide
I have also created a detailed 26 page PDF guide on painting this model, that can be found here for full website members:
How to Paint an Ork Beastboss – PDF
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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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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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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 complete process for How to Paint a Nighthaunt Krulghast Cruciator from Games Workshop including a step by step text guide and full list of colours needed.
Paints and Tools
The following paints were used:Games Workshop: Warpstone Glow, Yriel Yellow, Sotek Green, Lothern Blue, Blue Horror, XV-88, Balor Brown, Rhinox Hide, Abaddon Black, Mournfang Brown, Mephiston Red, Evil Sunz Scarlet, Wild Rider Red, Fire Dragon Bright, Ushabti Bone Vallejo: Neutral Grey, Black, Pale Grey Blue, White Grey, Ice Yellow
How to Paint a Nighthaunt Krulghast Cruciator
Step 1: Base Coating with Airbrush
Ensure the model is completely built and primed.
Separate the model into two sections for easier painting.
Use an airbrush with a 0.4 sized nozzle to apply a base coat of red at the top and blue at the bottom.
Mask off areas to avoid overspray and focus on highlighting towards the head and shoulders.
Step 2: Adding Highlights with Airbrush
Use Mephiston Red for the red sections and Fire Dragon Bright for the blue sections.
Be cautious with lighter colours as they can be challenging to airbrush without speckles.
Pay attention to angles to avoid overspraying onto other parts of the model.
Gradually build up the highlights, especially on the tips of the tendrils.
Step 3: Transitioning Colours
Use White or Fire Dragon Bright for highlights, but be mindful not to turn the red into pink.
Consider the translucency of the paint and how it interacts with layers.
Be strategic in highlighting to maintain the desired colour intensity.
Step 4: Detailing with Brushes
Switch to a smaller brush for fine details and lines.
Use Vallejo’s White Gray or a similar colour for opaque and solid highlights.
Follow the sculpted details and angles on the model for a stylised effect.
Step 5: Creating Contrast and Highlights on the Helmet
Apply XV88 and Balor Brown to create contrast and define shapes.
Add edge highlights to enhance details and create shine spots.
Use Vallejo’s White Gray for additional highlights.
Step 6: Adding Filigree Details
Add filigree details to areas like the cross for a shiny effect
Reinforce the glare by going over edges with a blob of paint.
Ensure consistency and follow the sculpting direction for a polished look.
Step 7: Refining Highlights and Shadows
Glaze over the model to blend highlights and shadows.
Tidy up and pick out additional details using Blue Horror.
Use Wild Rider Red for final touches on certain areas.
Step 8: Painting Wood Effect
Cover everything with Rhinox Hide for the wood effect.
Be rough and don’t worry about spikes; paint over them and pick them out in black later.
Focus on pushing lightness towards the edges of each wood plank.
Step 9: Adding Green Flame
Use Warpstone Glow for the green flame.
Be aware of the paint’s bad coverage and apply multiple coats for saturation.
Add a small bright yellow dot for high contrast.
Step 10: Applying Matte VarnishFinish by applying a coat of ultra-matte varnish to even out the surface and remove shine.
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These videos show how to paint an Aeldari Howling Banshee to a high level tabletop standard, ideal for a commanding presence in your army or for smaller game systems like Kill Team.
Part One – How to Paint a Howling BansheeMaterials NeededPaints NeededStep-by-Step Tips and GuidePart Two: How to Paint a Howling Banshee WeaponMaterials NeededStep-by-Step Tips and Guide – Green NMMMore Video Tutorials
Part One – How to Paint a Howling Banshee
This session focuses on achieving a detailed, bone-coloured armour synonymous with Howling Banshees.
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
Aeldari Howling Banshee Miniature
Brushes: Various sizes, including a size two for base coating and size 00 Artist Opus (or equivalent) for detail work.
Paints Needed
Games Workshop Paints:
Base Colours: Morghast Bone, Ushabti Bone, Screaming Skull, Mephiston Red, Sotek Green
Shades and Glazes: Mournfang Brown, Darkoath Flesh (Contrast), Contrast Medium
Highlight and Detail Colours: Evil Sunz Scarlet, Corvus Black (for black areas)
Vallejo Paints:
Basalt Grey, Pale Grey Blue, Ice Yellow (for non-metallic metals)
P3 Paint:
Morrow White (or any white for extreme highlights)
Step-by-Step Tips and Guide
Base Coating and Stippling:
Prime the miniature and begin with a stippling technique using Morghast Bone and Ushabti Bone.
Apply the paint thinly and evenly with a dry brush for a smooth base.
Adding Depth with Contrast Paint:
Mix Darkoath Flesh (Contrast) with Contrast Medium and apply over the stippled areas for added depth.
Refining Armour with Stippling:
Progressively build up highlights with Ushabti Bone, Screaming Skull, and Morrow White.
Focus on light placement to enhance features, keeping the paint watered down for a soft finish.
Glazing for Shadows:
Thin down Mournfang Brown considerably and apply in recesses to deepen shadows.
Painting the Eyes and Non-Metallic Metals:
Use Sotek Green, Ice Yellow, and Basalt Grey for non-metallic metal areas, ensuring the correct placement of light and reflections.
Hair and Cloth Details:
Base the hair with Mephiston Red, building up highlights with Evil Sunz Scarlet and white.
For the black areas, create subtle highlights with Basalt Grey and Pale Grey Blue, avoiding an overly grey appearance.
Final Touches:
Refine details, adjust highlights, and ensure a balanced, cohesive look.
Part Two: How to Paint a Howling Banshee Weapon
The Aeldari Howling Banshee’s power weapon will have a non-metallic, yet luminous green effect. This method involves intricate layering and stippling to simulate reflection. We’ll primarily utilise Cybrite Green from Games Workshop, blended with various quantities of black for shadows, and Vallejo’s Ice Yellow for the highlights.
Materials Needed
Cybrite Green (Games Workshop)
Black (Vallejo Model Colour)
Ice Yellow (Vallejo)
Evil Sunz Scarlet (Games Workshop)
Wild Rider Red (Games Workshop)
Fire Dragon Bright (Games Workshop)
Morrow White (P3 or any alternative white)
A fine brush
A wet palette
Step-by-Step Tips and Guide – Green NMM
Base Layer: Firstly, coat the power weapon in black, creating a pristine base.
Green Layering:
Blend Cybrite Green with a touch of black. Apply this darker green shade to parts of the weapon less exposed to light.
Incrementally integrate more black into the mixture for creating deeper shadows, ensuring smooth transitions.
Highlight Application:
Form lighter shades by mixing Cybrite Green with small increments of Ice Yellow. Gradually apply these on the weapon’s raised and edge areas, depicting where light naturally strikes.
Keep your paint mix slightly thinned for better control during layering. A recommended mix is two parts water to one part paint.
Texture via Stippling:
With the lighter green mixes, stipple the surface to generate a textured, reflective look. The density of the dots correlates with the opacity.
Reflections Definition:
Under a lamp, observe the natural light reflections on the blade. Mimic these on the blade’s upper portion using lighter green shades, ensuring they’re the most luminous parts.
Finalising Highlights:
Employ white or the palest green mix for the highest light points. Apply these sparingly as minute dots or slender lines to achieve a sparkling effect.
Gemstone Painting:
For red gems: Start with Evil Sunz Scarlet, augment with highlights using Wild Rider Red and Fire Dragon Bright, mainly on the gems’ lower areas. Cap off with an Ice Yellow or white dot atop each gem for reflection.
For the blue gem: Adopt a similar approach, starting with Sotek Green and progressively incorporating white for highlights.
Refinement and Adjustment:
If needed, use glazes (diluted paint) to soften transitions or reintroduce colour in areas where over-highlighting may have occurred.
Continuously evaluate and tweak the intensity and positioning of highlights to achieve a balanced and realistic reflective appearance.
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This video tutorial and step-by-step guide shows how to paint a Desolation Dark Angel, one of the new Desolation Marines from the Strike Force Agastus, which was sent to me by Games Workshop. Read on for a full video, lots of tips and full materials and paints list.
Video Tutorial – Desolation Dark Angel
Materials:
Vallejo Model Colour (New): Angel Green, Charcoal, Toxic Yellow, Black, Turquoise, Aquamarine, Grunge Brown, Orange Fire, Nocturnal Red, Scarlet Blood
Games Workshop: Darkoath Flesh (Contrast), Contrast Medium
Two Thin Coats: Plate Armour, Dragon’s Gold
P3: Morrow White
Steps:
Base Coat:Mix Angel Green and Charcoal (50:50 ratio).Apply this mix over the entire model using a large dry brush or makeup brush.Water the paint down slightly for a smoother application, aiming for a 50:50 water-to-paint ratio.
Layering:Apply straight Angel Green on top, using a kitchen roll to dab off excess paint for a thin layer.Focus on light volumes, covering flat surfaces more than edges.
Metallics:Paint metallic areas using Two Thin Coats’ Plate Armour and Dragon’s Gold.Thin these slightly for better flow and coverage.
Red Details:Use Nocturnal Red and Scarlet Blood for red areas, like the gun.Mix them for a base layer, then use Scarlet Blood mixed with a bit of white for highlights.
Adding Depth:Use Vallejo Black for shading and defining darker areas.
Highlighting Armour:Create three mixes on your palette: pure Angel Green, a 50:50 mix of Angel Green and Toxic Yellow, and a majority Toxic Yellow with a small amount of Angel Green.Apply these mixes progressively, starting with the darkest and moving to the lightest for highlights. Use a brush control technique similar to edge highlighting.
Contrast and Washes:Apply Darkoath Flesh (Contrast) selectively, followed by Contrast Medium for dilution in specific areas.Use Nuln Oil for metallic parts to create depth.
Detailing Metallics:Add highlights to metallic areas using a mix of Plate Armour and white.
Eyes and Lenses:Paint eyes with a base of Nocturnal Red, adding highlights with a mix of Scarlet Blood and white.Use a small white dot for reflection. For lenses, use Turquoise mixed with Charcoal, then highlight with Aquamarine and pure white.
Final Touches:Add fine scratches and details using lighter shades of the base colours.For the belt, use Grunge Brown base and Orange Fire for highlights.
Basing:Apply PVA glue and sand.Once dry, wash with Agrax Earthshade and apply weathering powder.
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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 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 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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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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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 free video shows how to paint a Blood Angel in new Mark VI armour, from the Horus Heresy (make sure you are logged in to view!)
Video: How to Paint A Blood Angel in MKVI 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!).
Paints and Materials:
Games Workshop: Mephiston Red, Evil Sunz Scarlet, Wild Rider Red, Warboss Green, Moot Green, Mournfang Brown, Darkoath Flesh (Contrast), Contrast Medium, Forge World Weathering Powder Dark Sand. Vallejo: Black, Mecha Varnish Gloss, Mecha Varnish Matt, Metal Colour Burnt IronP3: Morrow White (Any White will do)BrushesArtis Opus: Series S size 1 and 00, Small Drybrush
Step-by-Step: How to Paint A Blood Angel in MKVI Armour
Preparation
Clean Model: Ensure the model is cleaned of mold lines and primed. Drill the barrel for added realism if it hasn’t been done already.
Assembly: Fully assemble the model before starting to paint.
Base Coating
Red Armor:
First Layer: Start with Mephiston Red, diluting it to a 50/50 mix with water. Apply with a small drybrush or a large round soft brush, using a stippling motion to cover the armor.
Second Layer: Apply Evil Sunz Scarlet to areas where light naturally falls, like shoulders and helmet, using a gentler stippling motion.
Final Layer: Add Wild Rider Red to the brightest areas, but be careful as it’s a pinky-orange hue. This layer is just for the very highlights.
Detailing
Metallics:
Paint metallic areas with Vallejo Metal Colour Burnt Iron. These metallics have good coverage, so there’s no need for a black undercoat.
Once dry, apply a coat of gloss varnish (optional).
Eyes:
Start with Warboss Green for the base of the eye lenses.
Add Moot Green over the Warboss Green, leaving some of the darker green visible around the edges.
Mix Moot Green with a bit of white for the next layer, focusing on the central part of the lenses.
Finish with a small dot of white in the center for the glowing effect.
Black Areas:
Paint any black parts like the bolter and the eyes.
Shading
Wash:
Mix Darkoath Flesh (Contrast) with a bit of Contrast Medium and apply liberally over the model for shadows and depth.
Use a clean brush to remove excess wash, especially in recesses.
Highlights and Finishing Touches
Red Armor:
Revisit with Evil Sunz Scarlet and Wild Rider Red, focusing on areas where light hits to enhance the red color.
For chips and scratches, use Rhinox Hide with a fine brush, adding tiny dots and lines to simulate battle damage.
Metallics:
Re-highlight with Burnt Iron to restore the metallic sheen.
Base
Cover with PVA glue and sand. Once dry, apply a brown wash and let it dry.
Apply Forge World Weathering Powder
Dark Sand for a dusty, battle-worn look.
Varnishing
Finish with a coat of Vallejo Mecha Varnish Matt for protection and a matte finish.
Final Touches
Detailing: Add any final details like highlighting edges or correcting overspills.
Decals (Optional): If you have Blood Angels decals, apply them after the shading stage.
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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. We’ll cover everything from essential tools and materials to step-by-step assembly instructions, ensuring you achieve a flawless finish on your model.
Video: How to Build a Skaventide Grey Seer
How to Build a Skaventide Grey Seer – Step by Step
Gather Your Tools: You’ll need Godhand clippers (or similar), a scalpel, Tamiya Extra Thin Cement, and sprue glue (Tamiya Extra Thin Cement mixed with plastic sprue bits).Clean Your Model: Carefully clip out all the model pieces. Use your scalpel to scrape away any mould lines, always angling the blade away from the direction you’re moving to avoid cutting into the model. Take your time with this step.Remove Push-Fit Connections: Even though the model is push-fit, I cut off the connection points to avoid gaps and make painting easier. This makes for a cleaner fit.
Assembly:
Dry Fit: Before gluing, dry fit the pieces together to make sure everything lines up correctly.Glue Main Body: Apply a small amount of Tamiya Extra Thin Cement to the connection points and join the pieces together. Use gentle pressure to ensure a tight fit.Leave the Head: Don’t glue the head yet, as this will make painting easier.
Gap Filling:
Identify Gaps: Look for any gaps or seams in the model where the pieces join.Apply Sprue Glue: Carefully apply sprue glue to the gaps, being careful not to get any on areas you don’t want to fill. Use the tip of your scalpel to guide the glue and remove any excess.What’s Sprue Glue? Follow this link to learn more.Smooth Out: Once the sprue glue is dry, use a fine file or sandpaper to smooth out any rough edges.Your Grey Seer model is now ready for priming and painting!
Additional Tips:
Work in a well-ventilated area as the glues and paints can be toxic.
If you accidentally get sprue glue somewhere you don’t want it, you can try to quickly remove it with extra thin cement.
Take your time and don’t rush the process. The more care you take in the preparation stages, the better the final result will be.
If you’re painting a whole army, consider cutting some corners to save time, but still aim for a neat and tidy finish.
Now you’ve learnt How to Build a Skaventide Grey Seer, why not get started painting him?
How to Paint a Skaventide Grey Seer
My series of video tutorials on How to Paint a Skaventide Grey Seer!
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This video shows How to Paint Darkstrider, who is a Tau special character for 40k.We’re aiming for a stealthy and moody look, differing from the standard bright and clear artwork. Because of that, it’s essential to prime the figure in black for the deep, shadowy effect we’re going for.
How to Paint Darkstrider – 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 Needed:
Primer: Badger Ultimate Primer Black
Paints: Games Workshop (XV-88, Balor Brown, Mephiston Red, Evil Sunz Scarlet, Macragge Blue, Yriel Yellow), Vallejo (German Grey, Black, White, Ice Yellow, Neutral Grey)
Painting Steps:
Priming: Begin by priming your miniature in black. This will enhance the darker, stealthy look of the character.
Base Colours: Use XV-88 and Macragge Blue mixed with German Grey to create a desaturated base for the armour and cloth. This creates a dull, muted base, essential for the later stages of highlighting.
Blocking In: Apply Vallejo Neutral Grey to areas that will become white. For black regions, use German Grey as your initial highlight. Remember not to overdo it, or you’ll end up with grey instead of black.
Highlighting Armour: Start building highlights on the armour using a mix of XV-88 and German Grey, gradually adding less grey to each mix. Use a thin, 50:50 water-to-paint mix for a smooth transition. Focus on the chest and head for the brightest highlights, as they are the focal points.
Face and Detailing: For the face, start with a base of Macragge Blue mixed with German Grey. Gradually add more blue and then white for highlights. Pay attention to the unique features of the Tau’s face, using the sculpt as a guide. Add detail and texture through your brushwork.
Non-Metallic Gold Elements: Use XV-88 as a base for gold elements, highlighting progressively with Balor Brown and Ice Yellow. Remember, the brighter and larger your highlight, the shinier the gold will appear.
How to Paint Darkstrider Lenses and Eyes: For the lens on the gun, start with Mephiston Red, adding Evil Sunz Scarlet and white for highlights. For Darkstrider’s eye, consider black with a yellow iris, as per the Warhammer animation.
Final Touches: Check the overall miniature for balance in colour and highlights. Adjust and add final details as necessary. Remember, the model should look cohesive from all angles.
Finishing: Once satisfied, you can finish your miniature with a suitable varnish to protect your work.
Tips:
Keep your brushwork consistent and controlled.
Use a wet palette to keep your paints workable.
Regularly step back and review your work for a balanced look.
This process should give you a Darkstrider miniature with a stealthy, dark look, different from the standard bright Tau colour schemes. Enjoy your painting!
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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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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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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 tutorial shows How to Paint a Legio Fureans Reaver (Tiger Eyes) from the Adeptus Titanicus game. I’ve done it as a gaming piece, but I’ll be doing a Warlord for a potential Golden Demon entry.
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 from Games Workshop (Yriel Yellow, Flash Gitz Yellow, Mournfang Brown, XV-88, Magos Purple Contrast, Technical Stormshield, Corvus Black, Sotek Green, Rhinox Hide), Vallejo (Dark Sea Grey, German Grey, Black, Metal Colour Burnt Iron, Metal Colour Chrome, Ice Yellow, White), and Scale 75 (Necro Gold).
Oil Colours: Winsor and Newton’s Sansodor mineral spirit, Black, and Burnt Sienna.
Primer: Badger Ultimate Primer in Black.
Airbrush: Infinity CR Plus, set at about 30-35 PSI.
Additional Tools: Mixing cups, a selection of brushes and a magnifying headset.
Step-by-Step Guide:
Priming: Start with a base coat of black primer.
Airbrushing the Carapace:
Dilute Yriel Yellow with Vallejo airbrush thinner. Apply several coats for a solid finish.
Optionally, start with a base of XV-88 for a quicker yellow hue.
Add depth with Mournfang Brown in recessed areas.
Reapply Yriel Yellow for a smooth blend.
Highlight the edges with Flash Gitz Yellow.
Mix a bit of Mournfang Brown with Yriel Yellow for a gentler transition.
Trim Painting:
Apply Necro Gold, thinned down to about a 50/50 mix with water.
Add depth with a wash of Aggrex Earthshade.
Detailing with Black Flames:
Hand-paint black flames using Model Color Black. Start with simple S-curves, then refine.
Applying Decals:
Apply a gloss varnish, then the decals with microset.
Seal with matt varnish after drying.
Oil Weathering:
Apply Burnt Sienna oil paint for realistic streaking effects.
Scratches and Dents:
Use Rhinox Hide for scratches, followed by Ice Yellow on the lower edges for a 3D effect.
Highlighting and Shading Trim:
Reapply Necro Gold, then blend with Vallejo Chrome for brighter highlights.
Use Wild Wood contrast paint for shading.
Main Structure Painting:
Stipple on Burnt Iron metallic colour.
Add depth with a Magos Purple wash, followed by a diluted Mournfang Brown wash.
Painting the Head and Lenses:
Start with a black base, then layer up highlights with German Grey and Dark Sea Grey.
Glaze over with Corvus Black to tone down and blend highlights.
Paint the lenses with Sotek Green and white highlights.
Finishing Touches:
Apply final weathering, varnishing, and any additional detailing as needed.
Richard’s Pro Tips:
Patience is key when airbrushing. Build up the layers gently for a more professional finish.
Experiment with brush strokes and blending to achieve your desired effect.
Each miniature is a canvas for creativity – don’t be afraid to add your own flair!
Always thin your paints for smoother application and a more refined look.
Take breaks! Detail work can be taxing on the eyes and hands.
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In this guide you will be shown how to paint a Plastic Contemptor Dreadnought in Imperial First colours from the new Horus Heresy boxed game. Many of you were asking for help painting a model in this style without using an airbrush or oils – so here he is!
Video: How to Paint a Plastic Contemptor Dreadnought
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: Mournfang Brown, Yriel Yellow, Darkoath Flesh (Contrast), Contrast Medium, Sotek Green, Forge World Weathering Powder Dark Sand. Vallejo: Black, Mecha Varnish Gloss, Mecha Varnish Matt, Metal Colour Burnt Iron P3: Morrow White (Any White will do)
Step by Step Guide: How to Paint a Plastic Contemptor Dreadnought
Initial Preparation
Begin with assembling the Plastic Contemptor Dreadnought. Keep arms and backpack separate for easier painting. Prime your Plastic Contemptor Dreadnought in black to set the stage for the upcoming colours.
Base Coating with Mournfang Brown Start with Mournfang Brown, heavily diluted with water for a translucent effect. Using a large brush, apply the paint in a stippling motion. This technique creates a mottled, weathered look on the model. Multiple thin coats are needed, around three or four, to achieve the desired coverage.
Creating Highlights Mix P3 Morrow White (or any available white paint) with Mournfang Brown. This mixture is used for creating highlights on the model. Apply with a smaller dry brush for more controlled and precise placement of highlights, especially on areas like the chest and upper stomach.
Adding Layers and Textures Progress with the painting by layering and texturing the model. Focus on building up colours gradually. Use the stippling method to apply these layers, which enhances the weathered and battle-worn appearance.
Incorporating Uriel Yellow Uriel Yellow, diluted in a similar fashion to Mournfang Brown, is used next. It’s important to keep the brush damp, not wet, to avoid the paint running. Apply in a dabbing motion, focusing on areas where light naturally falls. This stage is crucial for developing the yellow hue characteristic of the Imperial Fist.
Glazing and Fine Details Move to glazing layers using Uriel Yellow. This involves a thinner consistency and focuses on the model’s focal points like the head and chest. Pay attention to edges and hard lines, using a fine brush for precise application.
Weathering and Final Touches For weathering effects, employ Rhinox Hide for chipping and damage marks. Apply these strategically across the model to create a realistic battle-damaged effect. Focus on edges and areas likely to receive wear.
Enhancing Eyes and Metal Details Sotek Green is used for the eyes, creating a layered effect with a transition from green-blue to pure white. For metal parts, use Vallejo Metal Color Exhaust Manifold and Copper, applying carefully due to their fluid nature.
Applying Transfers and Final Varnishing After applying decals or transfers, coat them with gloss varnish to blend them seamlessly into the model. Use Micro Set for applying and setting the transfers.
Base Details Finish by creating a cohesive base using Forge World Weathering Powder Dark Sand. Apply multiple layers, interspersed with matte varnish, to build up a textured, grimy effect that complements your Contemptor Dreadnought
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 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 this guide you will be shown how to paint MKVI Imperial Fists in Beakie armour, from the Horus Heresy.
Video – How to Paint MKVI Imperial Fists
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 Used
Games Workshop: Mournfang Brown, Balor Brown, Yriel Yellow, Mephiston Red, Wild Rider Red, Sotek Green, Forge World Weathering Powder Dark Sand. Vallejo: German Grey, Neutral GreyWindsor and Newton oil paints: Burnt Siena, Black, Sansodor mineral spiritVallejo: Mecha Varnish Gloss, Mecha Varnish Matt, Metal Exhaust ManifoldP3: Morrow White (Any White will do).
BrushesArtis Opus: Series S size 1 and 00.
Step by Step Guide – How to Paint MKVI Imperial Fists
Base Coating with Mournfang BrownBegin by airbrushing or hand painting Mournfang Brown onto the miniatures, creating a solid base for subsequent layers.
Highlight Placement Lighten Mournfang Brown with a bit of white, applying it to areas of natural highlights like upward-facing surfaces.
Applying Yriel Yellow Over the pre-shaded miniatures, apply thinned Yriel Yellow, bringing out the Imperial Fists’ iconic yellow.
Detailing with Mephiston Red Use Mephiston Red for the sergeant’s red head stripe, distinguishing the squad leader.
Eyes and Weapons Paint eyes and weapon details black, setting the stage for later detailing.
Metallic Elements Apply Vallejo Metal Exhaust Manifold to metallic areas, focusing on weapon coils and armour studs.
Gloss Varnishing for Decals Apply a coat of gloss varnish over the miniatures to smooth the surface for decal application.
Decal Application Carefully apply Imperial Fist decals, using microset for proper adherence and fit.
Oil Washes for Depth Create a wash with Burnt Sienna, Black, and Sansodor mineral spirit, enhancing depth and worn appearance.
Matte Varnishing After the oil wash dries, apply a coat of matte varnish to seal previous layers and prepare for final detailing.
Enhancing Yellow Highlights Revisit yellow areas with thinned-down Yriel Yellow, creating bright focal points.
Eyes and Plasma Effect Create glowing effects with Sotek Green mixed with white, applying to eyes and plasma details.
Weathering with Rhinox Hide Add a battle-worn effect using Rhinox Hide for scratches and chips across the armour.
Final Touches Add highlights to the red plume, enhance yellow details, and complete any final touches.
Base Decoration Decorate the base with sand, PVA glue, Agrax Earthshade, and weathering powder for a realistic ground effect.
Final Sealing Seal the model with a final layer of matte varnish to protect your work.
Show it off!
As you progress, feel free to adapt and tweak techniques to suit your style. Good luck! When you’ve finished the how to paint MKVI Imperial Fists tutorial, why not pop into our Discord and show it off to other website members? 🙂
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This video shows how to paint an Aeldari Howling Banshee Triskele Weapon to a high level tabletop standard.
The Aeldari Howling Banshee’s power weapon (the ‘triskele’ weapon) will have a non-metallic, yet luminous green effect. This method involves intricate layering and stippling to simulate reflection. We’ll primarily utilise Cybrite Green from Games Workshop, blended with various quantities of black for shadows, and Vallejo’s Ice Yellow for the highlights.
Materials Needed
Cybrite Green (Games Workshop)
Black (Vallejo Model Colour)
Ice Yellow (Vallejo)
Evil Sunz Scarlet (Games Workshop)
Wild Rider Red (Games Workshop)
Fire Dragon Bright (Games Workshop)
Morrow White (P3 or any alternative white)
A fine brush
A wet palette
Step-by-Step Tips and Guide – Green NMM
Base Layer: Firstly, coat the triskele weapon in black, creating a pristine base.
Green Layering:
Blend Cybrite Green with a touch of black. Apply this darker green shade to parts of the triskele weaponless exposed to light.
Incrementally integrate more black into the mixture for creating deeper shadows, ensuring smooth transitions.
Highlight Application:
Form lighter shades by mixing Cybrite Green with small increments of Ice Yellow. Gradually apply these on the triskele weapon’s raised and edge areas, depicting where light naturally strikes.
Keep your paint mix slightly thinned for better control during layering. A recommended mix is two parts water to one part paint.
Texture via Stippling:
With the lighter green mixes, stipple the surface to generate a textured, reflective look. The density of the dots correlates with the opacity.
Reflections Definition:
Under a lamp, observe the natural light reflections on the blade. Mimic these on the blade’s upper portion using lighter green shades, ensuring they’re the most luminous parts.
Finalising Highlights:
Employ white or the palest green mix for the highest light points. Apply these sparingly as minute dots or slender lines to achieve a sparkling effect.
Gemstone Painting:
For red gems: Start with Evil Sunz Scarlet, augment with highlights using Wild Rider Red and Fire Dragon Bright, mainly on the gems’ lower areas. Cap off with an Ice Yellow or white dot atop each gem for reflection.
For the blue gem: Adopt a similar approach, starting with Sotek Green and progressively incorporating white for highlights.
Refinement and Adjustment:
If needed, use glazes (diluted paint) to soften transitions or reintroduce colour in areas where over-highlighting may have occurred.
Continuously evaluate and tweak the intensity and positioning of highlights to achieve a balanced and realistic reflective appearance on the triskele weapon.
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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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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.
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This free video shows the Plastic Leviathan Dreadnought from Games Workshop and shows how to paint it using Imperial Fist Contrast paint and oil paint.
Video: How to Paint the Leviathan Dreadnought
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 Used:
Airbrush with a 0.4 needle
Paints from Games Workshop (GW), Vallejo, Winsor and Newton, and P3
Winsor and Newton Sansodoor mineral spirit
Vallejo Mecha Varnish (Gloss and Matt)
Abteilung 502 Desert and Sand Pigment set
Micro Set for decals
Various brushes, including a small dry brush and a size 2 brush
Water jar and wet palette
Paints:
GW: Mournfang Brown, Yriel Yellow, Sotek Green, Mephiston Red, Evil Sunz Scarlet, Wild Rider Red, Imperial Fist (Contrast), Rhinox Hide, Abaddon Black
Vallejo: Neutral Grey, Black, Dark Blue Pale, Exhaust Manifold, Chrome
Winsor and Newton: Burnt Sienna (oil paint), Black
P3: Morrow White
Step by Step Guide to Painting the Leviathan Dreadnought
1. Base Coating:
Start by airbrushing Mournfang Brown on all armor panels. Thin the paint with Tamiya X-20A thinner for better flow. Airbrush at around 30 PSI.
2. Adding Highlights:
Mix some P3 Morrow White into the Mournfang Brown along with a bit more thinner. Airbrush areas you want to appear brighter. This will affect the final yellow hue after applying Imperial Fist contrast paint. Precision is key for this step.
3. Final Highlights:
Use P3 Morrow White (thinned) for the last layer of highlights. Aim for a smooth application, although some speckling is tolerable as the contrast paint will cover minor imperfections.
4. Applying Contrast Paint:
Apply Imperial Fist Contrast paint over the armor. This will tie in all the layers and give a vibrant yellow finish.
5. Painting Black Areas:
Start with Abaddon Black, gradually adding small amounts of white and thinner for highlights. Focus on curved areas for a natural lighting effect.
6. Metallic Sections:
Paint all metallic areas with Vallejo Metal Color Exhaust Manifold. Apply it directly without undercoating in black to save time.
7. Adding Decals and Chipping:
Apply decals using Micro Set on gloss-varnished areas. Then, paint chipping using Rhinox Hide. Be mindful of the order; it’s easier to apply yellow glazes before adding decals and chipping.
8. Weathering with Oils:
Use Burnt Sienna oil paint for streaking effects. Apply the paint in blobs and streak down using a brush dampened with mineral spirits.
For pin washing, use a mix of Burnt Sienna and Black thinned with mineral spirits. Focus on recesses and rivets.
9. Painting the Head:
Airbrush the head with Mephiston Red. Freehand a stripe using Vallejo Dark Blue Pale mixed with white. Highlight the red areas with Evil Sunz Scarlet and Wild Rider Red.
10. Eye Lenses:
Paint the lenses with Sotek Green, followed by a mix of Sotek Green and white for highlights.
11. Glazing Yellow Highlights:
Use a glaze of Yriel Yellow mixed with water (4-5 parts water to 1 part paint) for bright highlights on the top of shoulders and other upward-facing surfaces.
12. Highlighting Chips:
Mix Yriel Yellow with white and highlight the lower edges of chips. This is time-consuming but adds depth.
13. Claw and Exhaust Weathering:
Dry brush the claw using a mix of Vallejo Chrome and Exhaust Manifold. Focus on the blade edges.
Apply the same mix to the exhaust sections.
14. Applying Weathering Powder:
Use the Abteilung 502 Desert and Sand Pigment set for the base and lower parts of the Leviathan Dreadnought.
15. Sealing with Varnish:
Finish by covering the entire model with Vallejo Mecha Matt Varnish for a uniform and protected finish on your Leviathan Dreadnought.
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I’m excited to share my journey of painting the Warmaster Iconoclast Titan, a majestic model sent to me by Games Workshop. My focus is to highlight the crucial role of airbrushing in bringing this titan to life with the vibrant colours of the Legio Astorum, also known as the Warp Runners.
Watch the Video
The Importance of Airbrushing: Airbrushing is a game-changer in miniature painting, offering unparalleled smoothness and efficiency. It’s especially valuable when painting large models like the Iconoclast Titan, where traditional brushing might fall short. The fluidity of airbrush paints, like Vallejo’s Metal Color series, is perfect for both airbrushing and regular brushwork.
The following paints were used: Games Workshop: Night Lords Blue, Calgar Blue, Mephiston Red, Balor Brown, Hashut Copper, Yriel YellowVallejo: Dark Sea Grey, White, Metal Colour Burnt Iron, Metal Colour Gold, Metal Colour Chrome, Mecha Gloss VarnishScale 75: Necro GoldAmmo: Ultra-Matt Lucky VarnishWinsor and Newton: Sansodor mineral spirit, oil colour Black, oil colour Burnt Sienna Badger: Ultimate Primer Black
Initial Steps: Before diving into painting, it’s essential to prepare the model. I left off the armor plates of the titan to separately paint the skeleton with metallic colours and the armor panels with the distinctive Warp Runner scheme.
Airbrushing Techniques:
Base Coating: Starting with Vallejo’s Burnt Iron, I applied the base coat to the skeleton. Despite being formulated for airbrushing, its fluid nature worked well with a large, soft brush for a non-textured finish.
Detailing with Copper: For the hips, I used Games Workshop’s metallic colour, applying it straight from the pot. This step required multiple thin coats for a consistent finish.
Creating Verdigris Effects: I used oil paints to simulate the verdigris effect on the copper parts. Stippling the paint onto the model, I focused on crevices and rivets, where oxidation naturally occurs.
Oil Washes: An overall wash of oil paints, mixed with spirits, added depth to the metallic parts. This technique requires patience, as it’s essential to allow the wash to dry completely, typically 24 hours.
Highlighting with Chrome: Vallejo’s Chrome, another airbrush-focused paint, was used for highlights. Its liquid consistency demanded careful application to avoid flooding recessed areas.
Colouring the Armor Panels: The real challenge and joy of airbrushing came alive while painting the armor panels. I started with Night Lords Blue, followed by Macragge Blue, both thinned with Vallejo airbrush thinner. The process involved covering entire panels with the darker blue, then focusing on upper sections and curves for the lighter blue, creating a pleasing visual gradient.
Stripe and Flame Patterns: For detailed patterns like stripes and flames, I relied on masking techniques and freehand painting. Tamiya tape helped in creating crisp, clean lines for stripes, while freehanding flames allowed for a more organic and fitting look on the armor panels.
Applying Decals and Weathering: After the base colours and patterns, I applied decals for additional detailing. This step required a steady hand and patience, especially when dealing with folded decals. Weathering was achieved with oil paints, enhancing the realism of the titan.
Final Touches: Matte varnishing the model brought all elements together, providing a uniform look and protecting the paint job. For the trim, I chose to paint it with Scale 75’s Necro Gold, followed by weathering and sealing with a matte varnish.
Airbrushing the Iconoclast Titan was a rewarding experience, showcasing the versatility and efficiency of this painting method. The ability to layer colours, create gradients, and apply washes and weathering with ease made airbrushing an indispensable tool in my painting arsenal. Whether you’re a seasoned veteran or a beginner, incorporating airbrushing into your miniature painting can elevate your models to new heights.
More Free Video Tutorials
More 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 [...]
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