I’ve been getting carried away with my squig hoppers and turning them into shiny Squig Hopper Knights. It might not quite fit their theme, but I like it! All of the base painting was done with Contrast paints, which sped up the process a lot, allowing me to just focus on having fun with highlighting and NMM.
Paints used on my Squig Hopper Knights
Base colours: (Contrast) Black Templars – armour and clothing, Flesh Tearers Red – squig body, Plaguebearer Flesh – rider skin, Skeleton Horde – squig teeth and helmet horns, Volupus Pink – squig gums. These were all applied over a zenithal coat of Wraithbone from my airbrush.
The squig body was highlighted up using Metphiston Red, Evil Sunz Scarlet, Wild Rider Red, Lugganath Orange.
The armour was painted with Vallejo Neutral Grey (try Codex Grey if you only have GW paints), Blue Horror and Ceramite White.
The robes were highlighted with Daemonette Hide and then adding some white.
Learn how I paint my Squigs with my tutorials!
Squigs
These videos show how to paint my Golden Demon winning Loonboss Knight on a Giant Cave Squig, with tips on NMM armour, woodgrain, banners, freehand and more. Scroll down to look at all the how to paint a Loonboss knight tutorials in order, or use the links below to quickly jump to a part of him, or a technique.
Techniques and Approaches – What do I mean?MaterialsVideo: Loonboss Armour and Yellow RobePaintsPreparing the ModelPainting the Armour (Non-Metallic Metal Technique)Painting the Yellow RobeVideo: Armour and Banner with FreehandMaterials Needed:Steps to Paint the Armour:Steps to Create and Paint the Pennant:Video: Lance NMM (Non Metallic Metal)Materials Needed:Steps to Paint the Armour:Steps to Paint the Lance/Spear Tip:Video: Woodgrain on the LanceMaterials List:Step-by-Step Guide:Additional Tips:Video: Banner WeatheringMaterials and Paints:Step-by-Step Guide:Additional Tips:Video : Loonboss NMM SickleMaterials NeededNMM Sickle – Step-by-Step GuideNeed to paint his trusty Squig steed?
Techniques and Approaches – What do I mean?
Non-Metallic Metal (NMM): A painting technique used to simulate the appearance of metal without using metallic paints, relying on grey tones and colours reflecting the environment.
Layering: Building up colour and intensity through multiple thin layers.
Glazing: Applying a transparent layer of paint to adjust colour intensity and tone.
Highlighting: Adding lighter colours to raised areas to simulate the effect of light hitting the surface.
Shading: Applying darker colours to recesses to create depth and contrast.
Materials
A range of fine detail brushes for precise paint application. I use the Artist Opus range, but any quality brush designed for miniature painting can be used.
A larger brush for base coating and applying glazes is also useful, especially for larger areas or when working with thin glazes.
Blu-tack/white tack: Used for temporarily attaching parts of the model for easy handling and painting.
Wet palette: Essential for keeping paints moist and workable, especially important for blending and glazing techniques.
Water or a medium for thinning paints: Essential for achieving the smooth, thin layers required for detailed miniature painting.
Mixing surface or palette: For mixing custom paint colours and dilutions.
Reference materials: Such as photographs of knights and armour.
Video: Loonboss Armour and Yellow Robe
All videos are recorded in HD 1080p or higher – use full screen for the full effect and let the video load completely.
Paints
Games Workshop (Citadel)
XV-88: Used as a base colour for the yellow robe.
Balor Brown: Applied for layering on the robe.
Yriel Yellow: Used for bright highlights on the robe.
Flash Gits Yellow: For the final highlights on the robe to enhance vibrancy.
Sotek Green: Used for reflective highlights on the armour.
Mephiston Red: Applied for reflections and details.
Mournfang Brown: For shading and adding depth to the yellow robe.
Vallejo
Neutral Grey: Used as the base colour for the armour.
Pale Grey Blue: Mixed with other colours for highlights on the armour.
P3 (Privateer Press)
Morrow White: Mixed with Vallejo’s Pale Grey Blue for armour highlights.
Preparing the Model
Initial Setup: The model is mounted using white tack (a type of white blu tack) to easily handle and paint hard-to-reach areas. The arms are not glued to allow for painting underneath and around them.
Painting the Armour (Non-Metallic Metal Technique)
Base Coat with Vallejo Neutral Grey: Start by painting the armour with Vallejo Neutral Grey to lay down the initial highlights and shadows. This stage is rough, focusing on the placement of light and dark areas to simulate metallic reflection.
Reflections and Highlights: Add reflections to the armour using colours from the model’s surroundings, such as Sotek Green for areas close to the squig and Mephiston Red for areas near red elements. This step involves carefully applying the paint to avoid damaging adjacent finished areas.
Enhancing the Metallic Effect: Use a mix of Vallejo Pale Grey Blue, P3 Morrow White, and a tiny amount of yellow to create a pale green for the top-facing highlights. This mix creates a subtle colour variation that enhances the metallic sheen without resorting to pure white, which is reserved for the brightest reflection points.
Refining Highlights and Shadows: Continue to refine the highlights and shadows, ensuring that the armour’s upper surfaces reflect more light and the lower surfaces remain darker, mimicking the effect of light coming from above. Smooth blending and correct highlight placement are crucial for a convincing NMM effect.
Final Adjustments: Add the highest points of reflection using a light blue steel colour, moving away from the mixed colours previously used. This simplifies the process while maintaining the desired effect.
Painting the Yellow Robe
Base Coat with XV-88: Apply a base coat of XV-88, which serves as a foundation for building up the yellow colour. Yellow paints often have poor coverage, so starting with a solid base is important.
Shading: Use Mournfang Brown to add depth to the shadows of the robe. This colour introduces warmth and contrast, making the subsequent yellow layers stand out more.
Layering: Apply layers of Balor Brown, focusing on the upward-facing sections and creases to create volume and shape in the fabric.
Brightening with Yriel Yellow: Use Yriel Yellow to highlight the raised areas and creases further, enhancing the vibrancy and contrast of the robe. This step may require multiple layers due to the translucency of yellow paint.
Final Highlights with Flash Gits Yellow: Add the brightest highlights with Flash Gits Yellow, concentrating on the most prominent parts of the robe to achieve a vibrant, sunlit effect. Keep these highlights limited to ensure the robe maintains its rich yellow colour.
Inking for Vibrancy (Optional): If additional vibrancy is needed, a yellow ink can be glazed over the painted areas to enrich the colour without affecting the underlying detail and shading.
Video: Armour and Banner with Freehand
Materials Needed:
Paints:
Games Workshop: Balor Brown, Yriel Yellow, Flash Gits Yellow, Temple Guard Blue, Mephiston Red, Mournfang Brown, Rhinox Hide, Borghast Bone, Neutral Grey, Black
Vallejo: Pale Grey Blue
P3: Morrow White
Other Materials: Plastic from a model clam pack for the pennant, green stuff for attachment, heat gun for shaping the pennant, model holder (optional for comfort), wet palette, water for thinning paints.
Steps to Paint the Armour:
Enhancing Reflections: Begin by using Yriel Yellow to stipple on the lower reflections of the armour, focusing above the yellow skirt. This technique involves using very small, controlled marks to blend the paint without creating noticeable dots. Aim for a subtle blend rather than a harsh stipple effect.
Mixing Colours: If you previously mixed colours such as Blue Horror with Uriel Yellow for specific shades, consider simplifying this process by sticking with a basic light blue for upward-facing areas. This approach minimises time spent on mixing while achieving a similar visual effect.
Steps to Create and Paint the Pennant:
Creating the Pennant: Cut a piece of plastic from a model clam pack into a long triangle shape. Attach it to the spear of the Goblin using green stuff, ensuring it has a realistic attachment point. Sand and prime it black before beginning to paint.
Shaping the Pennant: After priming, use a heat gun to carefully bend the pennant into a dynamic, swirling shape that suggests movement. Act quickly as the plastic cools and sets rapidly.
Base Coating: Apply a base coat of Neutral Grey across the pennant. This provides a better surface for the following colours than a black base would, reducing the number of coats needed for opaque coverage.
Applying the Main Colours: Start painting the pennant with the primary colours of your design. For this tutorial, we use a triadic colour scheme of purple, turquoise (Temple Guard Blue), and yellow. Apply the colours in blocks or patterns as desired, ensuring smooth, even coverage.
Freehand Details: Add freehand designs such as checkered patterns or symbols in contrasting colours. Paint these designs directly onto the pennant, adjusting the size and shape as necessary to fit the flowing fabric’s contours.
Finishing Touches: Use fine detail work to clean up any edges or to add highlights and shading to the freehand designs. This step brings depth and vibrancy to the pennant, making it stand out.
Video: Lance NMM (Non Metallic Metal)
Materials Needed:
Paints:
Games Workshop: Balor Brown, Yriel Yellow, Flash Gits Yellow, Mournfang Brown, Rhinox Hide, Baharroth Blue, Blue Horror
Vallejo: Neutral Grey, Black
Steps to Paint the Armour:
Base Coat: Begin with Vallejo Neutral Grey as a base coat. This colour provides a solid foundation for building up to the desired metallic effect.
Enhancing the Metallic Look: Apply Baharroth Blue and Blue Horror to introduce subtle blue reflections, simulating the sky’s reflection on the armour. These colours add depth and vibrancy, making the armour appear more dynamic.
Adding Highlights: Use P3 Morrow White for the brightest highlights, focusing on the edges and raised areas of the armour to mimic light reflecting off a shiny surface. Be careful with the application to ensure these highlights enhance the metallic effect without overpowering the blue tones.
Detailing with Rhinox Hide: Apply Rhinox Hide in selected areas to create depth and contrast, especially around the rivets and in crevices where dirt and grime would naturally accumulate.
Steps to Paint the Lance/Spear Tip:
Rough Texture Base: Start with a base coat of Neutral Grey, applied in a rough, stippled fashion to create texture. This approach simulates a worn, hammered metal rather than a smooth, polished finish.
Adding Depth with Rhinox Hide: Use Rhinox Hide to darken areas and add rust effects, enhancing the lance’s worn and used appearance. Apply the paint in patches to create a natural variation in texture and colour.
Highlighting Edges: With P3 Morrow White, highlight the edges and any raised details on the lance to accentuate its shape and texture. The contrast between the rusted areas and these highlights will give the lance a realistic metallic appearance.
Creating Contrast with Baharroth Blue and Blue Horror: Introduce slight blue tinges using Baharroth Blue and Blue Horror to suggest environmental reflections on the lance, adding to the realism of the metal.
Video: Woodgrain on the Lance
Materials List:
Primer: Black
Base Paints: Doombull Brown
Detailing Paints: XV-88, Zandri Dust, Morghast Bone
Glazing Paints: Mournfang Brown, Abaddon Black
Brushes: Fine tip brushes for detailed line work.
Step-by-Step Guide:
Prepare Your Model:
Start with a model primed in black. If the primer has been left for a long time and developed a shiny, hard surface that repels paint, consider applying a coat of matte varnish to improve paint adhesion.
Base Coat:
Apply a base coat of Doombull Brown. This colour might require multiple layers for full coverage, especially over a black primer. Allow each layer to dry thoroughly before applying the next.
Initial Wood Grain Detailing:
Using XV-88, begin painting the wood grain. Start with stylised curls and knots, especially on larger, flat surfaces for visual interest. Ensure these lines are somewhat thick to allow for later highlighting without losing the initial detail.
Consider the Wood’s Shape:
When drawing straight lines or adding to the wood grain pattern, follow the contours of the wood. Avoid straight lines that ignore the wood’s curvature, as this can look unnatural. The goal is to mimic natural wood grain, which follows the shape of the piece.
Highlighting:
Begin highlighting with Zandri Dust, focusing on making these lines thinner and more refined than the initial XV-88 lines. Highlight selectively, emphasising areas that would naturally catch more light and leaving others darker to create depth.
Final Highlights:
Use Morghast Bone for the final highlights, again focusing on thin, delicate lines to accentuate the wood grain’s details. This step adds further depth and realism to the wood effect.
Glazing:
Mix Mournfang Brown with water to create a glaze (approximately 1 part paint to 6 parts water, though adjust based on your preference and paint consistency). Apply this glaze selectively to tone down the brightness of the highlights and unify the wood grain effect. Glaze more heavily near the lance tip and where the hand grips the wood to create natural shading.
Optionally, add a glaze of Abaddon Black in the deepest recesses or where additional shading is needed to enhance the depth further.
Final Touches:
After glazing, you might find some lines or details need redefining or adjusting. Use the same detailed approach with XV-88, Zandri Dust, and Morghast Bone to fine-tune the wood grain effect.
Assessment and Adjustment:
Once the glazes have dried, assess the overall effect. If necessary, reapply highlights or glazes to achieve the desired depth and realism. The goal is to have a richly detailed wood texture that looks natural and varied.
Additional Tips:
Thin Lines: Practice achieving very thin lines for detailing and highlighting. The quality of these lines greatly contributes to the realism of the wood grain effect.
Glazing Technique: Mastery of glazing is crucial for this technique. Glazes should be thin enough to allow underlying details to show through while unifying the overall appearance.
Patience and Layers: Building up the wood grain effect requires patience and multiple layers. Allow each layer to dry thoroughly before proceeding to the next.
Reference Images: Having a reference image of real wood grain can be incredibly helpful for understanding how to simulate the look on your model.
Video: Banner Weathering
Materials and Paints:
Black Primer: For initial model preparation.
Weathering Paints:
Rhinox Hide
XV-88
Zandri Dust
Morghast Bone
Screaming Skull
Fine Detail Brushes: For precise application of weathering.
Matte Varnish: Optional, if paint adherence is an issue on previously primed areas.
Step-by-Step Guide:
Initial Observation:
Note any areas where paint adherence is poor, potentially due to oils or prolonged primer exposure. Apply a matte varnish coat if necessary to improve paint stickiness.
Base Weathering Layer:
Start with Rhinox Hide to apply the initial, broad weathering strokes. This layer sets the stage for depth and adds a first layer of grime. Apply in a seemingly haphazard manner, focusing on areas that would naturally accumulate dirt and wear.
Building Up Weathering:
Progressively use lighter browns, starting from XV-88 to Zandri Dust, then Morghast Bone, and finally Screaming Skull. Each successive layer should cover a smaller area than the last, creating a gradual transition from the darkest weathered areas to the lightest. The key is to create a detailed and layered effect that adds realism to the banner.
Technique for Application:
Use the tip of your brush for controlled application, keeping your strokes small and deliberate. As you move to lighter colours, your marks should become finer, simulating the detailed texture of weathered fabric.
Highlight and Define:
With Morghast Bone and Screaming Skull, focus on edges and high points where wear and tear would naturally highlight the banner. These colours also help to desaturate and blend the weathering with the rest of the banner, softening the overall effect.
Glazing for Cohesion:
Mix Screaming Skull with water to create a thin glaze. This step unifies the weathered effect, blending the layers together and ensuring that the weathering doesn’t overpower the underlying details of the banner. Apply sparingly over the weathered areas, paying attention not to obscure the detailed freehand work beneath.
Final Adjustments:
Revisit any areas that may require additional definition or where the weathering may have obscured too much detail. Use a fine brush to reapply base colours or add final highlights where necessary.
Assessment:
Step back and assess the overall effect. The weathering should add character and age to the banner without diminishing the vibrancy of the underlying colours or the clarity of the freehand details.
Protect Your Work:
Consider applying a protective varnish to seal the model and protect the weathering from handling and transport, especially important for competition pieces!
Additional Tips:
Subtlety is Key: Weathering should enhance, not detract. Aim for a realistic look that suggests wear rather than overwhelming the piece.
Consistency in Lighting: Ensure the highlighted areas of weathering are consistent with the light source affecting the entire model for a cohesive look.
Patience and Layers: Build up the weathering gradually. Rushing can lead to a muddled effect that lacks depth.
Video : Loonboss NMM Sickle
Materials Needed
Paints
Vallejo Paints
German Grey
Neutral Grey
Dark Blue Pale
Ice Yellow
Games Workshop Paints
Mournfang Brown
Abaddon Black
P3 Paints
Morrow White
Brushes
Artis Opus Size 00 brush, slightly worn for a softer tip. The worn tip is preferred for certain techniques like stippling and creating softer marks.
NMM Sickle – Step-by-Step Guide
Initial Blocking of Colours:Start by blocking in a few grey colours on the sickle. Use Vallejo’s German Grey as the first colour, then transition to Neutral Grey. This stage is about establishing the basic shape and light direction of the sickle.
Considering the Angle:Remember to consider how the Loonboss will hold the sickle. The angle of the sickle will impact the position of the reflections. The brightest highlight point should be at the top curve of the sickle.
Detailing the Surface:Pay attention to the texture of the sickle. It should appear chunky and uneven, typical of goblin craftsmanship. Use the undulations on the blade’s surface to add interest and realism.
Mixing Colours on the Wet Palette:Prepare a wet palette with a range of colours. Include variations of grey, both warm and cool tones. For instance, mix German Grey with Neutral Grey in different proportions. Also include Dark Blue Pale (a greenish-blue tone), Ice Yellow, and White. These colours will be used for creating various shades and highlights.
Creating Highlights and Texture:Work on the shine points using a stippling effect. This technique helps create softer edges for the highlights, making the blending process easier. Gradually refine these highlights to make them smoother and cleaner.
Refining with Glazes:Begin glazing with Mournfang Brown, watered down significantly (about 5-6 parts water to 1 part paint). This adds subtle colour and helps blend different tones together. It also imparts a slightly rusty look without adding texture.
Adding Details and Final Highlights:Continue to add finer details and highlights using the prepared paints. Focus on the sharp edge of the sickle, adding subtle reflections. Use a combination of Abaddon Black and Morrow White for the final highlights and shadows.
Final Touches:Keep refining the sickle, focusing on smoothing out transitions and ensuring the contrast between light and dark areas is pronounced. This step might require going back and forth between different shades to achieve a highly polished look.
Need to paint his trusty Squig steed?
How to Paint a Giant Cave Squig
A really fun experience playing with colour and texture! These videos show I created this bright little fellow.
Watch Now
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If you’d prefer to support me on Patreon, please visit: https://www.patreon.com/RichardGray [...]
A video tutorial and step by step guide on how I painted the Loonboss NMM Sickle (non-metallic metal) for the Loonboss on his Giant Cave Squig. Read on to watch and follow the steps, along with a full paints list.
Video : Loonboss NMM Sickle
Materials Needed
Paints
Vallejo Paints
German Grey
Neutral Grey
Dark Blue Pale
Ice Yellow
Games Workshop Paints
Mournfang Brown
Abaddon Black
P3 Paints
Morrow White
Brushes
Artis Opus Size 00 brush, slightly worn for a softer tip. The worn tip is preferred for certain techniques like stippling and creating softer marks.
Additional Materials
Wet Palette: Essential for mixing and maintaining the consistency of paints, especially when working with thin glazes and subtle colour transitions.
Water: For thinning paints, especially for glazing techniques. The video mentions using a ratio of about 5-6 parts water to 1 part paint for glazes.
Step-by-Step Guide
Initial Blocking of Colours:
Start by blocking in a few grey colours on the sickle. Use Vallejo’s German Grey as the first colour, then transition to Neutral Grey. This stage is about establishing the basic shape and light direction of the sickle.
Considering the Angle:
Remember to consider how the Loonboss will hold the sickle. The angle of the sickle will impact the position of the reflections. The brightest highlight point should be at the top curve of the sickle.
Detailing the Surface:
Pay attention to the texture of the sickle. It should appear chunky and uneven, typical of goblin craftsmanship. Use the undulations on the blade’s surface to add interest and realism.
Mixing Colours on the Wet Palette:
Prepare a wet palette with a range of colours. Include variations of grey, both warm and cool tones. For instance, mix German Grey with Neutral Grey in different proportions. Also include Dark Blue Pale (a greenish-blue tone), Ice Yellow, and White. These colours will be used for creating various shades and highlights.
Creating Highlights and Texture:
Work on the shine points using a stippling effect. This technique helps create softer edges for the highlights, making the blending process easier. Gradually refine these highlights to make them smoother and cleaner.
Refining with Glazes:
Begin glazing with Mournfang Brown, watered down significantly (about 5-6 parts water to 1 part paint). This adds subtle colour and helps blend different tones together. It also imparts a slightly rusty look without adding texture.
Adding Details and Final Highlights:
Continue to add finer details and highlights using the prepared paints. Focus on the sharp edge of the sickle, adding subtle reflections. Use a combination of Abaddon Black and Morrow White for the final highlights and shadows.
Final Touches:
Keep refining the sickle, focusing on smoothing out transitions and ensuring the contrast between light and dark areas is pronounced. This step might require going back and forth between different shades to achieve a highly polished look suitable for a Golden Demon entry.
Completion and Evaluation:
Once satisfied with the look, evaluate the sickle in context with the rest of the model. Ensure it stands out, yet integrates well with the overall colour scheme and theme of the Loonboss.
Loonboss on Giant Cave Squig – All Tutorials
To explore all of my tutorials for this model, go here!
Loonboss on Giant Cave Squig – Golden Demon Entry
The Squig needed a Knight, so here’s my shiny NMM fellow, with tips on the banner, woodgrain, NMM and more.
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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 [...]
Learn how to paint an Ork Squigosaur (shark squig!) with my selection of tutorial videos, paints and top tips plus a detailed PDF on how I paint.
How to Paint an Ork Squigosaur Skin, Teeth and Eyes
All videos are recorded in HD 1080p or higher – use full screen for the full effect and let the video load completely. You can also click the little “cog” and change the speed of the video, if I am going too fast (or slow!).
The following paints were used: Games Workshop: Warboss Green, Moot Green, Khorne Red, Mephiston Red, Mournfang Brown, XV-88, Balor Brown, Morghast Bone, Screaming Skull, Pink Horror Vallejo: Black, Basalt Grey, Neutral Grey, Dark Sea Grey, Pale Grey Blue P3: Morrow White (Any White will do)
How to Paint an Ork Squigosaur Tips!
Inside the Mouth: Utilise an airbrush to paint the inside of the mouth for a clean and efficient finish.Opt for dark grey shades, ensuring subtle highlights.Adding Spot Colours: Introduce spot colours on the shark squig to break up the desaturated black and grey appearance.Consider using Dark Sea Grey for added interest.Matte Varnish: Apply matte varnish to areas with overspray to reduce shine and enhance focus during highlighting.Choosing Greys: Experiment with greys like Neutral Grey, Black, and Basalt Grey for various effects.Create your own versions of greys using Black and White if needed.Texture Marks: Add scratches and texture marks to simulate battle damage and wear on the model.Follow the shape of organic surfaces for a more natural look.Squiggly Lines: Create squiggly lines and scratches quickly for a battle-worn effect.Vary the length and direction of the lines for a more authentic appearance.Control brush pressure for varying line thickness.Use a thinner brush for more intricate details.Glazing: Thin down Basalt Grey for glazing to correct areas that need additional highlights.Achieve a smooth blend with thin layers of glaze.Teeth Painting: Paint teeth bone-coloured for high contrast.Darken the tips of upper row teeth and lighten the tips of the lower row teeth for realism.Eye Detailing: Paint the eyeball with Dark Sea Grey or similar colours.Gradually transition from dark to bright greens for a realistic eye effect.Add a touch of white at the bottom of the eye for a shiny appearance.Layering and Highlights: Layer highlights on scars and skin texture to add de
How to Paint a Leather Belt
The following paints were used:
Games Workshop: Rhinox Hide, Troll Slayer Orange, Bugman’s Glow, Kislev Flesh, Screaming Skull, Mournfang Brown
Leather Belt Top Tips!
Base Coat: Begin with Rhinox Hide to establish the base colour for the leather belt. Ensure complete coverage, particularly around edges that meet the skin.
Texturing Technique: Utilise an old brush with approximately a third of it trimmed off to create a diminutive dry brush. Load it with Troll Slayer Orange (thick paint) and press it onto the model. This technique produces thick, heavily textured orange marks.
Scratchy Marks with Bugman’s Glow: Employ Bugman’s Glow to form scratchy, vertical marks on the leather belt. Flip the model upside down for better control when applying marks on the upper edges.
Building Texture: Gradually build up the texture with small, controlled marks. Avoid going too heavy, both in terms of the number of marks and the pressure applied with the brush.
Highlighting with Kislev Flesh: Apply Kislev Flesh for highlighting, focusing on worn edges and areas that need more weathering. This adds depth and contrast to the leather.
Refinement with Screaming Skull: The final highlight is done with Screaming Skull for subtle refinements. These highlights add a bit more contrast and make details stand out.
Glazing Technique: Conclude by glazing over the leather belt with thinned Mournfang Brown. This adds a strong colour while maintaining translucency. If you prefer a neater glaze, use a wet palette.
Remember, the key is to be purposefully chaotic with the marks to create unique and interesting textures. Don’t be afraid to experiment and vary your approach for a more dynamic result.
Chrome Exhaust
Games Workshop: Mournfang Brown, Calgar BlueVallejo: Black, German Grey, Basalt Grey, Neutral Grey, Dark Sea Grey, Pale Grey BlueP3: Morrow White
Chrome Top Tips!
Colour Palette: Utilise a wet palette with shades such as neutral grey, basalt grey, dark sea grey, pale grey blue, blue-black, and German grey for achieving the chrome effect.Incorporate Mournfang Brown to emulate ground reflections.Primary Highlight: Initiate the process with a substantial primary highlight along the central axis of the exhaust to establish the main chrome effect.Blend neutral grey and German grey to facilitate a seamless transition between shades.Random Reflections: Introduce random secondary bounce highlights to imitate reflections on the chrome surface.Reflect the surroundings, rider, and ground on the chrome, while considering the cylindrical shape.Golden Angle: Ensure that the primary highlight is discernible from the golden angle of the model, particularly on the face of the shark squig.Surface Texture: Diversify the texture on distinct surfaces; employ scribbly marks for the engine compartment and controlled lines for the exhaust pipe.Edge Highlights: Illuminate the edges of the exhaust to impart a heightened reflective quality, as light tends to accentuate edges.Adding Colour: Infuse Mournfang Brown for ground reflections, creating a nuanced separation from the model’s skin.Apply Kalgar Blue as a glaze for a touch of colour, ensuring it doesn’t overpower the overall moody aesthetic.Final Highlights: Gradually layer on highlights using lighter shades such as dark sea grey, pale grey blue, and eventually white for the highest points.Neatening Up: Dedicate time to refining the chrome effect for a polished finish, especially concentrating on edges and highlight points.Pay meticulous attention to detail, rectifying any imperfections such as bumps or sprue marks.Optional Enhancements: Contemplate incorporating ice yellow for a sunlit effect, if desired.Experiment with alternative colours for reflections, keeping in mind the overall mood and theme of the model.
How to Paint an Ork Squigosaur Skin, Teeth and Eyes – PDF
In this guide you will be shown how to paint an Ork Sharksquig (squigosaur) from Warhammer40,000, focusing on the skin, eyes and teeth.
How to Paint Sharksquig Skin, Teeth and Eyes – PDF
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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 an Ork Sharksquig (squigosaur) from Warhammer40’000, focusing on the skin, eyes and teeth.
What’s Covered in the Guide:
Base Coating and Priming: Learn how to prepare your Shark Squig model with proper priming techniques and base coats to set the foundation for a vibrant finish.
Layering and Blending: Discover the art of layering and blending colours to create smooth transitions and realistic textures on the model’s skin and features.
Highlighting Techniques: Master the techniques for applying highlights to emphasize the details and contours of the Shark Squig, bringing out its character and depth.
Drybrushing for Texture: Explore drybrushing methods to enhance the textures on the model, making scales, skin, and other features pop.
Advanced Detailing: Delve into detailed painting techniques for intricate areas like the eyes, teeth, and other fine details that give the Shark Squig its unique personality.
Shading and Glazing: Use shading and glazing techniques to add depth and realism, creating dynamic contrasts that bring the model to life.
Final Touches and Finishing: Learn how to apply the final touches, including edge highlights and finishing details, to achieve a polished and professional look.
Sometimes the PDF will take a few mins to load below – You can also click this link.
sharksquig1
The following paints were used:Games Workshop: Warboss Green, Moot Green, Khorne Red, Mephiston Red,Mournfang Brown, XV-88, Balor Brown, Morghast Bone, Screaming Skull, Pink HorrorVallejo: Black, Basalt Grey, Neutral Grey, Dark Sea Grey, Pale Grey BlueP3: Morrow White (Any White will do)
More Squig Tutorials!
If you don’t have an account, please sign up here! The website currently has over 350 video tutorials with steps and tips, plus a selection of PDFs. If you are not sure about joining, you can explore my free videos with a free membership, or take the plunge and become a full subscriber for full access.
If you’d prefer to support me on Patreon, please visit: https://www.patreon.com/RichardGray [...]
Two videos on how to paint Ork Squigosaur Leather Belt and Chrome Exhaust, with full paint list and step by step top tips!
How to Paint Ork Squigosaur Leather Belt
Use full screen for the full effect and let the video load completely. You can also click the little “cog” and change the speed of the video, if I am going too fast (or slow!).
The following paints were used: Games Workshop: Rhinox Hide, Troll Slayer Orange, Bugman’s Glow, Kislev Flesh, Screaming Skull, Mournfang Brown
Leather Belt Top Tips!
Base Coat: Begin with Rhinox Hide to establish the base colour for the leather belt. Ensure complete coverage, particularly around edges that meet the skin.
Texturing Technique: Utilise an old brush with approximately a third of it trimmed off to create a diminutive dry brush. Load it with Troll Slayer Orange (thick paint) and press it onto the model. This technique produces thick, heavily textured orange marks.
Scratchy Marks with Bugman’s Glow: Employ Bugman’s Glow to form scratchy, vertical marks on the leather belt. Flip the model upside down for better control when applying marks on the upper edges.
Building Texture: Gradually build up the texture with small, controlled marks. Avoid going too heavy, both in terms of the number of marks and the pressure applied with the brush.
Highlighting with Kislev Flesh: Apply Kislev Flesh for highlighting, focusing on worn edges and areas that need more weathering. This adds depth and contrast to the leather.
Refinement with Screaming Skull: The final highlight is done with Screaming Skull for subtle refinements. These highlights add a bit more contrast and make details stand out.
Glazing Technique: Conclude by glazing over the leather belt with thinned Mournfang Brown. This adds a strong colour while maintaining translucency. If you prefer a neater glaze, use a wet palette.
Remember, the key is to be purposefully chaotic with the marks to create unique and interesting textures. Don’t be afraid to experiment and vary your approach for a more dynamic result.
How to Paint Ork Squigosaur Chrome Exhaust
Games Workshop: Mournfang Brown, Calgar Blue Vallejo: Black, German Grey, Basalt Grey, Neutral Grey, Dark Sea Grey, Pale Grey Blue P3: Morrow White
Chrome Top Tips!
Colour Palette: Utilise a wet palette with shades such as neutral grey, basalt grey, dark sea grey, pale grey blue, blue-black, and German grey for achieving the chrome effect.Incorporate Mournfang Brown to emulate ground reflections.Primary Highlight: Initiate the process with a substantial primary highlight along the central axis of the exhaust to establish the main chrome effect.Blend neutral grey and German grey to facilitate a seamless transition between shades.Random Reflections: Introduce random secondary bounce highlights to imitate reflections on the chrome surface.Reflect the surroundings, rider, and ground on the chrome, while considering the cylindrical shape.Golden Angle: Ensure that the primary highlight is discernible from the golden angle of the model, particularly on the face of the shark squig.Surface Texture: Diversify the texture on distinct surfaces; employ scribbly marks for the engine compartment and controlled lines for the exhaust pipe.Edge Highlights: Illuminate the edges of the exhaust to impart a heightened reflective quality, as light tends to accentuate edges.Adding Colour: Infuse Mournfang Brown for ground reflections, creating a nuanced separation from the model’s skin.Apply Kalgar Blue as a glaze for a touch of colour, ensuring it doesn’t overpower the overall moody aesthetic.Final Highlights: Gradually layer on highlights using lighter shades such as dark sea grey, pale grey blue, and eventually white for the highest points.Neatening Up: Dedicate time to refining the chrome effect for a polished finish, especially concentrating on edges and highlight points.Pay meticulous attention to detail, rectifying any imperfections such as bumps or sprue marks.Optional Enhancements: Contemplate incorporating ice yellow for a sunlit effect, if desired.Experiment with alternative colours for reflections, keeping in mind the overall mood and theme of the model.
More Squig Videos to Explore!
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I’ve created a short series for how to paint an Ork Squigosaur (shark squig)!
Easy peasy tiny eye!
Click below to explore these and a PDF guide, too (make sure you are logged in to watch videos):
Ork Squigosaur (shark squig)! Tutorials!
Free Video Tutorials
Free videos for logged in members – just sign up as a ‘friend’ to view and click any of the thumbs.To explore all of these, visit this page!
If you don’t have an account, please sign up here! The website currently has over 350 video tutorials, plus step by step guides and PDFs. You can explore more free videos with a free “freebies” membership, or take the plunge and become a full subscriber for full access.
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The first in a series on How to Paint an Ork Squigosaur (shark squig)! This video contains How to Paint an Ork Squigosaur skin, teeth and his eyes.
All videos are recorded in HD 1080p or higher – use full screen for the full effect and let the video load completely. You can also click the little “cog” and change the speed of the video, if I am going too fast (or slow!).
The following paints were used: Games Workshop: Warboss Green, Moot Green, Khorne Red, Mephiston Red, Mournfang Brown, XV-88, Balor Brown, Morghast Bone, Screaming Skull, Pink Horror Vallejo: Black, Basalt Grey, Neutral Grey, Dark Sea Grey, Pale Grey Blue P3: Morrow White (Any White will do)
How to Paint an Ork Squigosaur Skin Tips!
Inside the Mouth: Utilise an airbrush to paint the inside of the mouth for a clean and efficient finish.Opt for dark grey shades, ensuring subtle highlights.Adding Spot Colours: Introduce spot colours on the shark squig to break up the desaturated black and grey appearance.Consider using Dark Sea Grey for added interest.Matte Varnish: Apply matte varnish to areas with overspray to reduce shine and enhance focus during highlighting.Choosing Greys: Experiment with greys like Neutral Grey, Black, and Basalt Grey for various effects.Create your own versions of greys using Black and White if needed.Texture Marks: Add scratches and texture marks to simulate battle damage and wear on the model.Follow the shape of organic surfaces for a more natural look.Squiggly Lines: Create squiggly lines and scratches quickly for a battle-worn effect.Vary the length and direction of the lines for a more authentic appearance.Control brush pressure for varying line thickness.Use a thinner brush for more intricate details.Glazing: Thin down Basalt Grey for glazing to correct areas that need additional highlights.Achieve a smooth blend with thin layers of glaze.Teeth Painting: Paint teeth bone-coloured for high contrast.Darken the tips of upper row teeth and lighten the tips of the lower row teeth for realism.Eye Detailing: Paint the eyeball with Dark Sea Grey or similar colours.Gradually transition from dark to bright greens for a realistic eye effect.Add a touch of white at the bottom of the eye for a shiny appearance.Layering and Highlights: Layer highlights on scars and skin texture to add depth.Adjust opacity by making the highlighted area smaller for a realistic effect.
More Squigs!
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Two video tutorials on how to paint a red squig, a friendly little fella who is a member of Zarbags Gits! Keep reading to watch the videos and explore the full paints and materials list, plus a step by step guide on how to paint a red squig.
Video – How to Paint a Red Squig: Part One
All videos are recorded in HD 1080p or higher – use full screen for the full effect and let the video load completely.
Paints and Materials Used
Paints:
Mephiston Red (Games Workshop) – Your primary base colour.
Evil Suns Scarlet (Games Workshop) – For brighter tones and highlights.
Abaddon Black (Games Workshop) – Used for mixing shadows and darker tones.
Ratskin Flesh (Games Workshop) – Employed for highlighting and detailing.
Ushabti Bone (Games Workshop) – For final, bright highlights.
Ceramite White (Games Workshop) – Used sparingly for the brightest points.
Brushes:
A selection of fine detail brushes. I typically use a range of Artis Opus brushes from sizes 00 to 1. The key here is to have a brush that keeps a good point for fine details and another for broader base coating.
It’s essential to have brushes you’re comfortable with, especially when working on finer details like striations and facial features.
Primer:
Alclad Black Primer: Used for priming the model. Remember, this primer is a bit hazardous, so ensure good ventilation and use a mask.
Other Materials:
Palette: For mixing your colours. A wet palette can be especially helpful in keeping your paint at the right consistency.
Varnish: AK Interactive Ultra Matte Varnish for spraying over the model to reduce the shininess of the primer.
Mask and Ventilation Equipment: Necessary when using Alclad Black Primer due to its hazardous nature.
Water Cup: For cleaning your brushes.
Paper Towels or Cloth: For brush maintenance during painting.
Optional:
Airbrush Thinner or Flow Improver: These can be mixed with your paints to alter consistency, especially if you’re finding a particular paint too thick or difficult to work with.
Step by Step Guide
Step 1: Priming Your Model
First things first, prime your model. In this case, I’ve experimented with Alclad Black Primer. It’s a bit more hazardous than others, so make sure you have good ventilation and wear a mask. It’s a bit shiny, but don’t worry, we’ll address that as we go along.
Step 2: Applying the Base Coat
Begin by applying a base coat of Mephiston Red. This is your foundational layer. When applying this, pay attention to the direction of your brushstrokes. Follow the muscle shapes and striations of the model. This technique is crucial as the paint isn’t completely opaque, and the direction of your brushstrokes will subtly influence the final look.
Step 3: Creating Shadows
Now, let’s mix a bit of Abaddon Black with Mephiston Red to create a dark, reddish-black colour. Use this to start adding shadows to your model. Remember, a bit of messiness here can actually add to the natural variation in tones, so don’t worry about being too neat.
Step 4: Preparing Your Palette
It’s time to prepare your palette with six colours. These are Ratskin Flesh, Evil Suns Scarlet, Mephiston Red, Abaddon Black, and two custom mixes – one that’s mainly Abaddon Black with a touch of Mephiston Red, and the other predominantly Mephiston Red with a small amount of Abaddon Black. These mixes are vital for creating smooth transitions and depth.
Step 5: Working on the Shadows
Start with the shade mixture that’s primarily Mephiston Red with a bit of Abaddon Black. Work this into some of the shadow areas. Don’t worry too much about covering the deepest shadows, as the slight opacity of the paint aids in blending and creating transitions.
Step 6: Adding Darker Shades
Gradually move to the darker shade – the mix that has more Abaddon Black. Apply this to the darker areas. When doing this, think about the direction of your brushstrokes. Painting towards the shadows helps create a more natural look.
Step 7: Building up Striations
As you continue, look for the brush marks you’ve made and use them to guide where you apply the striations. You want these lines to look organic and slightly irregular – too uniform, and it loses its natural feel. Use Ratskin Flesh to start painting these striations more clearly.
Step 8: Working with Brighter Tones
Use Evil Suns Scarlet to enhance the brighter areas. Blend it with Ratskin Flesh to create a mid-tone that smoothly transitions between colours.
Step 9: Top-Down Highlighting
Focus on top-down highlighting. The brightest points will be at the top of the model, fading down. But remember, the direction in which you remove the brush is crucial. You want the brightest part of the stroke to align with the direction of the light.
Step 10: Applying Final Highlights
Finally, introduce Ushabti Bone and Ceramite White to your palette. Use these for the very brightest points, but sparingly. The focus here is on creating highlights that draw attention to the focal points of the model, like the face.
Video – How to Paint a Red Squig: Part Two
Paints Used
Paints:
Mephiston Red (Games Workshop) – Used as the main base colour.
Evil Sunz Scarlet (Games Workshop) – For glazing and enhancing the red vibrancy.
Wild Rider Red (Games Workshop) – Used for additional glazing.
Incubi Darkness (Games Workshop) – Employed for creating contrasting shadows.
Yriel Yellow (Games Workshop) – Utilised for the eyes.
Balor Brown (Games Workshop) – Used for painting teeth and non-metallic gold effects.
Ceramite White (Games Workshop) – Applied for the brightest highlights on the teeth and eyes.
Pink Horror (Games Workshop) – The base colour for the gums.
Emperor’s Children (Games Workshop) – Used for highlighting the gums.
Ushabti Bone (Games Workshop) – Employed for highlighting teeth and non-metallic gold effects.
AK Interactive Ultra Matte Varnish – Used to reduce shine from the primer and flatten the colours.
Step by Step Guide
Step 1: Glazing Over Highlights
Begin by applying a glaze of Evil Sunz Scarlet over the striations and highlights from your previous session. This glaze will help tone down the harshness of the highlights and restore the red vibrancy to the model. Be cautious with glazing; too much can render the colour opaque and flat.
Step 2: Adding Contrast with Incubi Darkness
Use Incubi Darkness to add contrasting shadows. This colour, a dark, desaturated green-blue, is excellent for creating contrast against the red without being overpoweringly green.
Step 3: Spraying Matte Varnish
Apply a coat of AK Interactive Ultra Matte Varnish to the model. This step addresses the shine from the primer and flattens the colours, making them suitable for photography. Keep in mind that matte varnish can make colours appear faded.
Step 4: Glazing with Wildrider Red
Use Wildrider Red to continue glazing. The difference between Wildrider Red and Evil Sunz Scarlet is subtle, so the choice between them is not crucial. The primary goal is to add layers of glaze attentively to enhance the model’s colour without losing detail.
Step 5: Painting the Gums
Paint the gums with Pink Horror, a desaturated red that harmonises with the main body colour. As this is a layer paint over a black base, it might require multiple coats for even coverage. Be neat, especially around the teeth, to maintain a clear definition.
Step 6: Highlighting the Gums
Highlight the gums using Emperor’s Children. Focus the highlights on the midpoint of curves rather than painting all edges. This approach ensures the highlights correspond with the light direction used on the rest of the body.
Step 7: Painting the Teeth
Start painting the teeth with Balor Brown. This step involves creating a basic blend, not focusing too much on individual strands.
Step 8: Applying Highlights to Teeth
Highlight the teeth using Ushabti Bone for a softer transition. For the brightest highlights, apply Ceramite White, especially at the tips of the teeth to mimic a shiny, glossy look.
Step 9: Painting the Eyes
Use Yriel Yellow for the eyes, painting them as shiny orbs. Add a small dot of Ceramite White at the top of each eye to create a reflective effect, bringing life to the eyes.
Step 10: Non-metallic Metal Effects
For the golden trinkets, start with Balor Brown and progress through shades to Ushabti Bone, and finally, Ceramite White. Focus on light placement and maintaining enough dark areas to create the impression of a shiny, metallic surface.
By following these steps on how to paint a Red Squig, you’ll be able to achieve a vibrant and detailed Red Squig, applying various techniques to enhance its appearance. Remember, the key is in the details and the careful layering of colours.
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I’ve really enjoyed working on this model – it’s been a really fun experience playing with colour and texture, both on the Squig and the goblin armour! This set of tutorials was aimed specifically at preparing this model for the Golden Demon competition – you can read about how I did here.
Scroll down to explore all the how to paint a giant cave squig videos in order, along with step-by-step instructions, paints and materials, or you can quick-jump to a stage by clicking on the below appropriate contents:
Video: How to Paint a Giant Cave Squig Part OneMaterials Needed:Step by Step GuideModel PreparationBase PaintingInitial HighlightsAdditional Colour and HighlightsVideo: How to Paint a Giant Cave Squig Part TwoMaterials Needed:Step-by-Step Guide:Adding Pink to the FaceModifying the Gum LineDetailing and TextureRevisiting and Glazing the Red AreasAdjusting Blue Highlights and TransitionsVideo: How to Paint a Giant Cave Squig Part ThreePaints Needed:Step-by-Step Guide:Preparing Glazes and Base CoatsEnhancing the Model with GlazesDetailing the TongueFinal TouchesVideo: How to Paint a Giant Cave Squig Part Four – Teeth and HornsPaints RequiredPainting the TeethPainting the HornsVideo: How to Paint a Giant Cave Squig – Updated HornsMaterials Needed:Step by Step GuideAdditional Tips:
Video: How to Paint a Giant Cave Squig Part One
This tutorial sets the foundation for painting a Loonboss on Giant Squig, focusing on building up from a solid base to intricate highlights and detailed textures.
Materials Needed:
Model: Loonboss on Giant Squig (with slight modifications as described)
Primer: Black
Paints:
Reds: Mephiston Red, Evil Sunz Scarlet, Wild Rider Red, Fire Dragon Bright
Blues: Ahriman Blue, Temple Guard Blue, Baharroth Blue, Blue Horror
Brushes: A worn-out Size 1 brush for base work and finer brushes for detail work. I use the Artist Opus range of brushes.
Palette: Wet palette recommended for mixing and diluting paints
Varnish: Matte varnish (optional, for primer issues)
Step by Step Guide
Model Preparation
Use green stuff to fill any gaps. Sand down for smoothness.
Apply a black primer to the entire model to ensure a uniform starting surface.
Base Painting
Use an older, worn-out brush for this base work. Save your finer, more expensive brushes for detailed work to come!
Red Areas: Start with Mephiston Red, applying it broadly across areas intended to be red. This stage is about coverage rather than perfection. Ensure your brush strokes follow the musculature and contours of the model for a more natural appearance.
Blue Areas: Proceed with Ahriman Blue for the blue sections, following the same principle of letting your brushwork complement the model’s sculpted details.
Initial Highlights
Begin highlighting the red and blue areas to start building up depth. Use Evil Sunz Scarlet for red areas, focusing on raised sections and aspects that would catch the light.
For blue areas, use Temple Guard Blue to highlight, again focusing on raised details and textures.
Additional Colour and Highlights
Introduce Wild Rider Red and Fire Dragon Bright for further highlights on the red areas. These colours will add vibrancy and depth, but be mindful of maintaining the red’s saturation.
Continue with Baharroth Blue and Blue Horror for blue highlights, aiming for a smooth transition between hues.
After applying initial highlights, begin glazing with thinned Mephiston Red over the red areas to enhance saturation and blend the highlights seamlessly.
Similarly, glaze with Ahriman Blue over the blue areas, pulling the paint towards the base colour to avoid muddying the transitions.
With the base colours and initial highlights established, start refining the details. This includes adding very fine highlights and beginning the process of detailing textures and features not sculpted onto the model.
Video: How to Paint a Giant Cave Squig Part Two
This section dives deeper into adding intricacies and adjustments to the model’s face and integrating additional colours.
Materials Needed:
Paints: Ahriman Blue, Temple Guard Blue, Baharroth Blue, Mephiston Red, Wild Rider Red, Yriel Yellow, Pink Horror, Emperor’s Children, Fulgrim Pink, Incubi Darkness
Step-by-Step Guide:
Adding Pink to the Face
Initial Layer: Begin with Emperor’s Children, focusing on the gums and transitioning gently into the red areas of the face. This stage doesn’t require perfect smoothness but aim for a natural transition from the red of the squig’s body to the pink of its face.
Highlighting: Use Fulgrim Pink for highlighting. Since these paints are light and somewhat translucent, they allow for the underpainting to influence their final appearance, contributing to a more integrated look.
Blending: Employ Pink Horror to bridge between Emperor’s Children and Fulgrim Pink, enhancing the depth and complexity of the face.
Modifying the Gum Line
Paint the gum line and inner mouth with a base of Emperor’s Children, moving towards Fulgrim Pink for highlights. Adjust the opacity by adding white to Fulgrim Pink if needed, but be cautious of maintaining the pink’s vibrancy.
Detailing and Texture
Utilise Emperor’s Children and Fulgrim Pink to create detailed textures around the mouth and face, applying paint in small, controlled strokes. This technique is time-consuming but offers significant control over the model’s final appearance.
Revisiting and Glazing the Red Areas
Reapply glazes of Mephiston Red over the red areas to enhance saturation and integrate the new pink areas into the overall colour scheme. This step is crucial for maintaining the vibrancy of the red while blending it seamlessly with the newly added pinks.
Adjusting Blue Highlights and Transitions
Avoid using Macragge Blue as it can create an unwanted tonal jump. Instead, focus on Ahriman Blue and blend with Incubi Darkness for darker spots, ensuring smoother transitions between the blue and red areas.
Continuously assess your work, adding final touches like glazes to unify and smooth out the colour transitions. Use Incubi Darkness to tone down overly bright blues and integrate them better into the model’s overall colour scheme.
Video: How to Paint a Giant Cave Squig Part Three
In this third video we focus on refining the blending of the model’s spots and the detailing the tongue with a rich, dynamic purple hue.
Paints Needed:
Base Paints: Naggaroth Night, Abaddon Black
Highlight Paints: Mephiston Red, Evil Sunz Scarlet, Wild Rider Red, Fulgrim Pink, Ushabti Bone
Step-by-Step Guide:
Preparing Glazes and Base Coats
Mix Glazes: Prepare glazes of Mephiston Red and Ushabti Bone on your wet palette. These will be used to unify the colour tones across both red and blue sections of the model, ensuring consistent lighting and tonality.
Base Coat for the Tongue: Apply a base coat of Naggaroth Night to the tongue. This may require several layers to achieve an opaque finish over the black primer, especially within the mouth’s interior, which can be challenging to paint.
Enhancing the Model with Glazes
Applying Red Glazes: Use the Mephiston Red glaze over both the red and blue areas of the model, including the spots on the legs. This step introduces a slight purplish tone to the blue areas and enriches the red sections.
Applying Ushabti Bone Glaze: Glaze over both the red and blue sections with Ushabti Bone to harmonise the highlight tones across the model. This subtle addition of a yellow tint to the blue areas ensures the lighting is consistent across the model.
Detailing the Tongue
Creating a Gradient: Mix varying shades of Naggaroth Night with Abaddon Black to create a gradient on the wet palette, from pure Naggaroth Night to a 50/50 mix with Abaddon Black, and finally, to pure Abaddon Black.
Applying the Gradient: Start with Naggaroth Night at the base of the tongue, blending into the darker mixes as you move towards the tip. This creates a visually interesting transition from the purple base to a dark, almost black tip.
Stippling and Highlighting: Utilise stippling techniques with Fulgrim Pink mixed with Morrow White to create fine, detailed lines along the tongue, mimicking natural texture. Focus these highlights more towards the base and middle of the tongue, allowing for a smooth transition to the darker tip.
Refining Details: Add further highlights by mixing Fulgrim Pink with more Morrow White, focusing on the most raised areas and textures to enhance the tongue’s dimensional appearance.
Final Touches
Adjusting the Highlights: Revisit areas that require more definition or where the transitions between colours need softening. Use the prepared glazes to blend these areas seamlessly.
Glazing for Depth: Apply a final glaze of Mephiston Red towards the tip of the tongue to deepen the colour, ensuring not to overshadow the highlights previously applied.
Video: How to Paint a Giant Cave Squig Part Four – Teeth and Horns
Paints Required
Paints: Citadel’s Deathclaw Brown, Morghast Bone, Screaming Skull, Rhinox Hide, Abaddon Black, and Seraphim Sepia
Painting the Teeth
Base Layer: Start with Deathclaw Brown to paint the teeth. Thin your paint adequately to ensure smooth application and avoid clumps. It might require multiple coats to achieve a solid base.
Smooth Finish: Aim for a smooth, shiny finish rather than the textured, ridge-heavy look commonly seen. Use real-life references like a lion’s teeth for a more natural effect.
Adding Depth: Once the base layer is complete and dry, apply Seraphim Sepia wash to add depth and a natural gradient to the teeth. This step enhances the realism by simulating natural colouration and shadowing.
Highlighting: Use Morghast Bone to highlight the teeth, focusing on the tips and any prominent ridges or defects for added realism. Ensure the paint is dragged downwards towards the tips to mimic natural light reflection.
Final Highlights: Apply Screaming Skull carefully to the very tips and raised details of the teeth. This step is crucial for adding a subtle sheen to them. The key here is restraint to maintain the natural look.
Glazing: Mix a glaze of Screaming Skull to soften the transitions between Morghast Bone and Screaming Skull, enhancing the smooth gradient effect.
Painting the Horns
Base Coat: Apply Rhinox Hide up to the point where the horn meets the body. This darker base will help create a gradient effect towards the tip.
Building Up: Layer Deathclaw Brown over the Rhinox Hide, again focusing on dragging the paint towards the base of the horn where it connects to the body.
Detailing: With a fine brush, add lines along the horn with Deathclaw Brown to simulate texture. These lines should follow the natural curvature of the horn.
Enhancing Texture: Apply Morghast Bone to highlight these texture lines, following the same paths to maintain consistency.
Highest Highlights: Use Screaming Skull to highlight the very beginnings of each texture line, enhancing the detail work and creating a sharper contrast.
Blending Edges: Glaze with Rhinox Hide towards the tip of the horn to soften the transition between the base and the painted texture lines.
Final Touches: Apply Abaddon Black to glaze and reinforce the dark tip of the horn, followed by targeted highlights with Morghast Bone and Screaming Skull to accentuate the light catching the edges and textures.
Video: How to Paint a Giant Cave Squig – Updated Horns
Materials Needed:
Miniature: Giant Cave Squig (previously painted for Golden Demon Chicago 2019)
Paints: Vallejo Model Color Black, Games Workshop’s Mournfang Brown, XV-88, Baelor Brown, Morghast Bone, Screaming Skull, and P3’s Morrow White
Brushes: Size 00 Artist Opus brush or similar fine detail brush
Miscellaneous: Water for thinning paints, a palette, and kitchen roll or similar for dabbing excess paint
Step by Step Guide
Base Preparation: Begin by overpainting the previously painted horns with Vallejo Model Color Black to blank them out and provide a uniform base for the new texture. While pure black horns offer a striking contrast against the Squig’s red body, we aim for a detailed finish.
Initial Texturing: Apply Mournfang Brown using a stippling and scribbling technique. The paint should be thinned to about a 50/50 mix with water, allowing for gel-like consistency. This step lays down the foundation for the texture, creating the initial depth.
Building Up Texture: Progress to XV-88, maintaining the stippling method but with a focus on refining the texture. This lighter brown will start to make the texture more pronounced. Again, keep the paint mix similar to the first step and use very little paint on the brush for precise application.
Enhancing Details: Introduce Baelor Brown to accentuate the textures further. Look for natural shapes and imperfections formed by the previous layers and enhance them. Focus the detailing towards where the horn meets the head, as this area should be the brightest due to the lighting.
Highlighting: Use Morghast Bone to begin the highlighting process, following the textured patterns you’ve established. Screaming Skull is then applied for finer highlights, focusing on the most raised parts of the texture to simulate light reflection.
Final Highlights and Refinement: The last paint used is Morrow White for the brightest highlights. These should be used sparingly, only on the very tips and edges where light would naturally be strongest. Water down the paint more for this step to ensure a soft application that blends well with the underlying colours.
Additional Tips:
Paint Consistency: Mastering the consistency of your paint is crucial for this technique. Experiment on a palette to find the right balance between water and paint for each layer.
Brush Control: Use the very tip of your fine detail brush for all applications. This ensures precision and prevents the paint from flooding the model’s details.
Layering: Build the texture gradually. It’s easier to add more layers than to correct overly heavy ones.
Now you need to paint the Loonboss on top! Follow the link below to watch those tutorials:
Loonboss on Giant Cave Squig – Golden Demon 2024 Silver Demon Winner!
The Squig needed a Knight, so here’s my shiny NMM fellow, with tips on the banner, woodgrain, NMM and more.
Watch Now
If you don’t have an account, please sign up here! The website currently has over 350 video tutorials with steps and tips, plus a selection of PDFs. If you are not sure about joining, you can explore my free videos with a free membership, or take the plunge and become a full subscriber for full access.
If you’d prefer to support me on Patreon, please visit: https://www.patreon.com/RichardGray [...]
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