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

Stage 1: For the basecoat, Anjaused a 1:1 mix of Blood Red andDark Flesh. This was applied inthin layers until a solid coat of redhad formed.

Stage 2: Next, Anja added black tocreate a 2:1:1 mix of Chaos Black,Blood Red and Dark Flesh. Thiswas then carefully applied to therecessed areas of armour.

Stage 3: For the initial highlight,Anja used a 3:1 mix of Blood Redand Dark Flesh, painted onto theedges and raised areas of theTerminator armour.

Stage 4: Pure Blood Red was thenlayered on top of the previousstage, to build up the highlight.

Stage 5: Next, Anja applied ahighlight of pure Blazing Orange,painted over the Blood Red of theprevious stage.

Stage 6: For the final highlight a2:1 Blazing Orange to VomitBrown mix was used, carefullybrushed on to the very edges.

Stage 7: To tie all the layerstogether, watered-down Baal Redwas painted over the armour.

Stage 8: Anja then finished by retouching the highlight with themix from Stage 6 once the washhad dried.

For this edition of Space Hulk, Alex Hedstrm hasprovided us with a plethora of fantastic Citadelminiatures all exclusively made for the game. To getyou gaming as fast as possible, the models come in twocolours: a rich, dark red as befitting the Terminators of theBlood Angels Chapter and a deep purple, for theGenestealers. However, such great-looking models arecrying out for an expert paint job.

So we turned to Eavy Metals Anja Wettergren for aspecial Space Hulk Masterclass, to show you how to getthe best finish on your Space Hulk miniatures. The subjectsof our Masterclass series are normally character orcentrepiece models and this months figure is no exception.Each of the Blood Angels in Space Hulk, is a distinct

character with a detailed history and an important part toplay in the Sin of Damnation campaign.

With this in mind we could have used any of theTerminators for this article, but we settled for SergeantLorenzo. Before Anja got started she brushed up onSergeant Lorenzos background, as she was keen to applysome techniques that might reinforce Lorenzos personalityas a dependable veteran who still seeks redemption for onefailed mission that happened over six hundred years ago.

To start with, Anja carefully removed the SergeantLorenzo components from the frame, and stuck themtogether by adding a small dab of Plastic Glue into thesockets before pushing the parts together. When dry, themodel was undercoated with Chaos Black Spray.

PAINTING REDRed hasnt always been an easy colour to paint. Being aprimary colour and a notoriously thin pigment, it hasalways been difficult to highlight and shade, and tocover darker tones, but the addition of Mechrite Red tothe Foundation range has really helped with theseproblems. Eagle-eyed readers will notice that Anjahasnt used it on Lorenzos armour; this is becauseEavy Metal use a tried and tested method for paintingBlood Angels that they have developed over the years.Anja has used a mix of Dark Flesh and Blood Red as apersonal preference to give her that bit of extra controlover the exact pigment, proving that Eavy Metalpainters really are perfectionists!

As already mentioned, red can be hard to highlightsatisfactorily. One of the reasons is that mixing red with

white gives you pink, which doesnt work as a highlight.Its best to highlight reds, especially when paintingBlood Angels, with oranges. Lighter highlights can beachieved by adding neutral, ruddy tones to the oranges,such as Dwarf Flesh and Elf Flesh.

Reds dont necessarily have to be shaded with blackor dark washes either. Green works for shading redbecause it is situated on the opposite side of the colourwheel. By the same token, a blue wash can give red apurple tone, which will cool the colour, taking outsome of the severity if needed.

A Baal Red glaze is highly recommended after allshading and highlighting has occurred, this will helpblend the layers and give the red the intensity neededfor the ceramite surface of Space Marine armour.

PAINTING MASTERCLASSSERGEANT LORENZOEavy Metal were as keen as anyone to get their hands on the new Space Hulkminiatures, so we asked Anja Wettergren to paint Sergeant Lorenzo and show ushow to achieve a perfect finish on your Blood Angels.

Red Armour

PAINTING THE ARMOURAnjas technique is to choose onearea of the miniature and work onthat until its finished, before movingon to another part of the model. Thisrequires extra care, so that you dontget paint on already finished areas.Anja started with the Terminator

armour, as this was the largest singlearea on the figure defining thecolour palette for the whole model.Red is a strong primary colour, but isnot the easiest colour to paint, soweve included some top Eavy Metaltips in the box below.

Chaos Black Spray

Blazing Orange

Bleached Bone

Blood Red

Boltgun Metal

Burnished Gold

Codex Grey

Chainmail

Chaos Black

Dark Angels Green

Dark Flesh

Dwarf Flesh

Golden Yellow

Fortress Grey

Hawk Turquoise

Ice Blue

Mithril Silver

Regal Blue

Scab Red

Scorched Brown

Scorpion Green

Shining Gold

Skull White

Vomit Brown

Warlock Purple

Astronomican Grey

Calthan Brown

Dheneb Stone

Iyanden Darksun

Tallarn Flesh

Baal Red

Badab Black

You Will Need

For the techniques featured in this article, Anja has usedthe following colours from the Citadel Colour, Wash andFoundation ranges.

Wash: W Foundation: F

W

W

F

F

F

F

F

PAIN

TING

MA

STERC

LASS

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

PAIN

TING

MA

STERC

LASS

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

Stage 2: Anja then washed the areawith a 1:1 mix of Badab Black andChaos Black.

Stage 3: The area was thenhighlighted up, first withChainmail, which was applied tothe raised areas and edges.

Stage 4: Finally, Mithril Silver waspainted onto the very edge of thesilver areas.

Stage 1: The gold areas onthe Sergeant werebasecoated with a 1:1 mixof Shining Gold andScorched Brown.

Stage 2: The basecoat wasthen given a wash with a1:1 mix of ScorchedBrown and Badab Black.

Stage 3: A layer of ShiningGold was then brushedover the raised areas,avoiding the recesses.

Stage 4: Anja then paintedon Burnished Gold, againfocusing on the areas ofraised detail.

Stage 5: Mithril Silver wasused for the final highlight,applied only to the mostprominent areas, to createthe final highlight.

Metal

Gold

Stage 1: The Crux Terminatus wasbasecoated with a 1:1 mix ofScorched Brown and Codex Grey.The recessed areas were left black.

Stage 2: A liberal wash using a1:1:1 mix of Scorched Brown,Chaos Black and Badab Black wasthen applied over it.

Stage 3: Anja used Codex Grey tostart building up the layeredhighlights, again avoiding therecessed areas of the badge.

Stage 4: Fortress Grey was brushedon as a mid-level highlight,applying the paint to the raisedareas of detail.

Stage 6: A highlight using a 2:1mix of Dheneb Stone and SkullWhite was applied to just theraised areas.

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

Stage 7: The next layer used thesame mix as Stage 6, but withmore white, to create a 1:1 mix ofDheneb Stone and Skull White.

Stage 8: Finally, Anja used pureSkull White on the highest pointsof the badge such as the eye andnose ridges of the skull.

PAINTING THE CLOAKOne of the distinguishing features of theSergeant Lorenzo model is the flowingcloak. This was the area Anja focused onafter the Terminator armour. Whenpainting the cloak and its lining, itdoesnt matter in which order you paint

the areas; you just have to be careful notto mark the other side. A steady hand isneeded here, especially when paintingthe very edges of the lappets (thestreamers on the cloaks). If you take your time it wont be a problem.

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

painting it neatly. Remember to use a separate water potfor cleaning and thinning down metallic paint to avoidcontaminating your other colours.

PAINTING THE CRUX TERMINATUSThe Crux Terminatus is a badge of honour that allTerminators wear. Within each badge is bound a tinyfragment of the armour that the Emperor wore onboard

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

Stage 1: The lappets were leftblack, before applying an initialhighlight of a 1:1 mix of ChaosBlack and Codex Grey.

Stage 2: The next stage built uponthe first highlight, this time using a2:1 mix of Codex Grey and ChaosBlack applied to the edges.

Stage 3: Pure Bleached Bone wasbrushed onto the lining in thesame manner as before.

Stage 4: Anja then used a coat ofpure Codex Grey for the finalextreme highlight.

Stage 1: The lining of thecloak was given a basecoatof Calthan Brown.

Stage 2: A coat of VomitBrown, built up over thinlayers, was then appliedover the area.

Stage 3: Bleached Bone wasbrushed onto the area in thesame manner as before, usingseveral thin layers.

Stage 4: A 1:1 mix of SkullWhite and Bleached Bonewas then applied, but thiswas concentrated towardsthe edges of the lappets.

Stage 5: For the finalhighlight, pure Skull Whitewas used, applying it tothe very edges.

Cloak Lining

Cloak & Loincloth

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

PAIN

TING

MA

STERC

LASS

PAINTING THE FACE

Stage 1: For the face Anja startedwith a basecoat using a 1:1 mix ofTallarn Flesh and Calthan Brown.

Stage 2: A heavy wash of watered-down Dark Flesh was then appliedall over.

Stage 3: She then applied amidtone, starting with a 1:1 mix ofTallarn Flesh and Dwarf Flesh.

Stage 4: Anja then followed withanother wash, this time of thinned-down Scorched Brown.

The hair was first paintedAstronomican Grey and thenshaded with a 1:1 mix of CodexGrey and Chaos Black. Skull Whitewas used as a highlight.

The cybernetics were painted inthe same way as the metal parts ofthe storm bolter. The red lens waspainted using the same method asfor the lumina (right).

The yellow stripes on the cablingstarted with a basecoat of IyandenDarksun and Vomit Brown. GoldenYellow was then used as a midtone,and this was highlighted furtherwith a 1:1 mix of Golden Yellowand Skull White.

The trophies on the Sergeants backwere painted using the goldtechnique from page 45. The greengem started with a Dark AngelsGreen basecoat and this wasworked up with Scorpion Greenand highlighted with Skull White.

The lumina was first painted ScabRed, followed by Blood Red andthen Blazing Orange. A 1:1 mix ofBlazing Orange and Skull Whitewas then applied as a highlight.Finally a dot of pure Skull Whitewas added to the top left.

The skull insignia on the left kneepad was painted using the samemethod that Anja used for the CruxTerminatus badge.

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

Stage 6: Anja added moreBleached Bone to the mix beforeapplying a further highlight.

Stage 7: For the next highlight Anjathen used pure Bleached Bone,painted onto the most prominentareas of the face.

Stage 8: For the final highlight, a1:1 mix of Bleached Bone andSkull White was applied.

Stage 1: The blood dropswere given a basecoat ofWarlock Purple.

Stage 2: A 2:1 mix ofWarlock Purple and SkullWhite was painted in a linedown the side of the gem.

Stage 3: A 1:1 mix ofWarlock Purple and SkullWhite was then paintedover the same area.

Stage 4: The highlightcontinued to be built upwith a 1:2 mix of WarlockPurple and Skull White.

Stage 5: Finally, a dot ofpure Skull White wascarefully placed on thehighest point of the gem.

Gems

Stage 1: While the swordblade remained black, a 1:1mix of Regal Blue and IceBlue was used as the basefor the energy lines.

Stage 2: Pure Ice Blue wasthen applied over theglowing energy lines.

Stage 3: Next, a highlightusing a 1:1 mix of Ice Blueand Skull White was used.

Stage 4: A glaze made witha thin 1:1 mix of HawkTurquoise and Dark AngelsGreen was then brushedover the whole of the blade.

Stage 5: Skull White wascarefully applied as thefinal highlight onto thevery edges of the blade.

Power Sword

SPECIAL DETAILS

Anja has painted Sergeant Lorenzos face using an agingtechnique, to reflect his background as a grizzled 650-year-old veteran. She started off by painting the face as normal,

before applying further highlights using mixes of BleachedBone and Skull White. These were applied to the ridges onLorenzos face, emphasising wrinkles and creases.

THE FINISHED MODEL

ASKHave you a painting dilemma, problem or question? Well the Eavy Metalteam are only too happy to help. You can ask them anything (related topainting miniatures, of course) and theyll have an answer. So whetherits about consistent basing techniques or how to paint the beard on aDwarf, send your query to Eavy Metals painting clinic. Bear in mind wework quite far in advance of publication so it will be a good few monthsbefore you see your query in print. Send in your question to:

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

Model shown slightlylarger than actual size.

AlNlN( 'A(< WLV

H|RR P>

Step 1, The shoulder pad was first painted with abaseoat of Tausept hre, The rim of the pad

was painted in the same waY as the armour.

rUR

Step 1. When painting the fur on the pelts oftenworn by the Spae Wolves, start with a baseoatof Sorhed Brown.

Step 2. highlight was applied to the raisedareas and edges of the moustahe using pureFortress Grev.

Step 2. The next stage was to give the armour awash using a l:1 mix of Sorhed Brown andFenris Grev.

Step 2. The yellow was then bloked in with a1:1 mix of Golden Yellow and Tausept hre.

Step 2. hris applid a heav drybrush of VomitBrown all over the fur loak'

Step 3. final highlight using pure Skull Whitewas then used to pik out the most prominentareas of the hair.

Step 3. Pure Space Wolves rey was used tohighlight the armour, applying it to the edges andraised areas.

Step 3. An equal amount of Skull White was thenadded to the previous mi. This was used as ahighlight, applied Iose to the rim.

Step 3. A final drybrush of Bleahed Bone wasthen applied, but this was worked towards theends of the oelt rather than over the whole area.

vv\-Azzo-{

1v\

www.8ams.workshoP.om 27

s w,v said before it is th fa of a miniatur that drawsthe eye to it and so some attention neds to b spent onand around i t , espeia||y on a modl suh as this on. NeiIhas paintd the Wolf Guard,s fae in Iighter tones, as thish|ps th eye immdiatIy define the foal point.

When painting a fae with suh a strong expression, it,simportant to kp your paint thin so that ou don,t los thdetai|, so it,s bst to use two or three thin |ayers for ahstag. lf the paint is too thik you not on|y risk obsuringth detaiI , but a|so adding in v is ib le brushstrokes that wiIIdtrat from the finishd fft.

he other point to note is how the hair meets the fae. faint l ine separates the two areas; again this h|ps th eyedefine th foal point of th miniature. When NeiI appliedthe baseoat |ayer to the fa he painted right up to thehair, but with the subsequent stages he didn't work thepaint up to th edge, threby rating a thin boundary Iineof darkr paint.

he teth were paintd B|eahed Bone. NeiI lft theeyes blak and then fi l|d in th white of th ye withB|ahd Bone, leaving a gap in th midd| to reat thpupil _ steady hands are needed hr!

he Fa

Step l. he face was basecoated with a 1 :l miof Vermin Brown and Sorhed Brown,

Step 2. Next, a 2:1 :1 mix of Dwarf Flesh, VerminBrown and Scorhed Brown was used. This wasapplied to all but the reessed areas.

Step 3. Pure Dwarf Flesh was then applied,brushed onto the face as a mid-tone - onceagain it was left out of the reessed areas.

Step 4. The face was then highlighted, first witha 1:I mix of Dwarf Flesh and Skull White,applied to the raised areas.

Step 5. 3:1 mi of SkullWhit and BleahedBone was then applied, followed b a 1:1 washof Gryphonne Sepia and Ogryn Flesh.

Step 6. The ees and teeth were paintd withBleached Bone, while the highlight wasretouhed using the mix from Step 5.

Th Hair

Step l. The hair was first painted with BestialBrown followed b a layer of Blazing Orange.

Step 2. The hair was then given tvvo conseutivewashes of Ogryn Flesh, followed by a highlightof Dwarf Flesh applied to eah hair strand.

Step 3. Bleahed Bone was then applied as afinal highlight. o finish, a glaze of Baal Redwas brushed over the whole area.

www.gams-workshop.om 89

uch of the power armouris obscured b details suhas the pelt - it's muchmore prominent on therear of the model.

The main part of thebackpack was paintedin the same wa as thepower armour,

her are a muItitude of methods for painting powerarmour, many of whih have been detailed in White Dwaf.The method employed by,avy eta| has evolved ovr agood few years and is provn to be very effetive. You startby buildin8 up a f|at oIour; this is the baseoat, appliedover several thin layers until you have a so|id, opaque oat. highIight is then appIied to the edges of ah segmntand a shade in the joints between the setions. he Iightsoure is assumed to be oming from diret|y overhead,and so the top edges have a more intense highIight. his isbest demonstrated on the fist shown in the steps below. Youan see in the later stages how the high|ight is applied

more heavi|y to the top of the fingers and aross the thumb;this l ifts the miniature and avoids onfusing the eye withmultip|e I ight soures.

That,s the method in its most general terms but you anadd to this with additionaI paint effets. For instan, we,]]be taking a |oser look at how to inflit extra battldamag, srathes and hips over the page. Spae Wolvespower armour is oftn aented by ye||ows and reds, asthey make good ontrasting o]ours. This is normallyapplied to the shoulder pads, as we,]] over in more detaiIIatr in the arti|e, and it,s not unknown for dags or stripeson th arms or legs to be painted onto the armour as wel].

h Power Armour

Step l. A 1 :I :1 basecoat mi of KommandoKhaki, Shadow crey and Space Wolves Grewas applied to the power armour.

Step 2. A 1:1 mix of Shadow crey and SorchedBrown was arefully brushed into the reessesbetween the armour setions.

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

Step 4. Pure Space Wolves Grey was workedonto the edges of the armour| reating ad i sti nct edge h igh I i ght.

Step 5. Devlan ud was washed into thereesses between the plates of armour'

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

90 WH!E DWARF ,VY L sRLss

The wolf tails getIighter as they tapertowards the end, butotherwise use thetechnique below.

Keeping the backpackseparate allows Nei/ topaint the tails withoutobstruction.

Painting fur is reIativeIy easy, as the textur is idal fordrybrushing, giving you a p|asing fft with minimaleffort. However, this is an ,avy etal-painted mod|/ so itWon/t surpris you to |arn that instead of drybrushing thefur, Neil piked out the separate lumps and high|ightdthem aordingly. The only exeption to this Was a Verylight drybrush in Steps 3 and 4, detailed below.

lt,s a|ways a good idea to get some real-world rferenebfore you start painting fur. Referen books on naturalhistory are a good starting point, as they often hav |ear,high-quality photos and, as a|ways, the Intrnt is a greattool for finding suitable images.

Using ra|-wor|d referne allows you to paint your furto |ook mor ralisti - for examp|e, the fur on th bak ofan animaI tends to be darkr, l ightening out towards thundrside. Similarly, wo|f tai|s tnd to l ighten towards theend and so Neil has rep|iated this efft on the two taiIsdangl ing from the bakpak. Bleahd Bone and SkuI lWhite were usd mor havily than on the pelts to ahievethis l ighter tone.

Nil has painted the undersid of th pe|ts red, startingwith a baseoat of pure Sab Red. tortress cry was addedto th mix in gradual stages as he bui|t up th layers untiIh was happy with the fina| |ook.

Th Fur

Step 1, The fur areas were first basecoated withScorched Brown. solid oat was created usinseveral thin layers.

Step 2. Bestial Brown was then used to pik outthe fur, this was more heavily applied towardsthe dges of the pelt.

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

Step 4. Bleahed Bone was lightly drybrushed inthe centre of the pelt, but paintd onto theclumps of fur around the edges.

Step 5, Skull White was the final highlight,applied over the whole pelt with a slightlheavier oating on the edges.

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

www.games.workshop.om 91

NiI has painted a br i|| iant frehand energy f ie ld designplying aross th woIf laws. You,Il se simiIar effets onmany ,Eav etal painted mod|s that fature powrWapons in on form or anothr.

NiI startd this thnique by ,b|othing,on thbasoat to the |aws. his mans the paint, whilrernaining thinned down, was app|id in an aImostunontrol|ed, roughshod way, letting that paint run onto thearea and dry in a naturaI state rathr than bing ontroIIdby the brush (se Step

,l, be|ow). Whn dry, this formed thebasis of the frhand design. h nxt stag was to paint onth initia| energy Iins; thes were paintd using th pattrn

We featured an alternative energy fieldoaftern in last month's masterclass - thiseffect *'ill n,ork with a varietY of olours,

reated in the prvious step as a guide. trom there it,s aas of bui|ding up the freehnd work b adding to theenrgy I ines with th subsqunt olours and mixs, ahstag should have a finr Iine than the previous on. Aftreah Iayr, NeiI app|ied an xtreme|y thin g|az of thsame o|our and washd it ovr the ntir |aw. his helpsrat th ,frosting,ffet and adds a rtain thralqual i ty to the look of th modl.

Ni l has painted th nergy l ines in a mor t ightIypaked and densr pattrn on the undersid of the laws,suggesting the power of the wolf Iaws is fousd on thearea of th weapon that wi|l do th most damag.

The pair of wolflaws are a realdefining feature ofthe Wolf Guard,and one paintedreally bring themodel together.

Both sides of the wolf laws were painted

with the energy effet, as the model,s openposture makes every angle visible.

he Wolf Claws

Step l. Thinned-down Regal Blue was applied tothe wolf laws in a haphazard, ,blotch,fashion,

as desribed above.

Step 2. Lines were painted onto the claws withHawk Turquoise, using the pattern created in theprevious stage as a guide.

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

Step 4, 1:1 mix of Bleahed Bone and HawkTurquoise was used on the lines, then turned intoa glaze and brushed over the area.

Step 5. Next, a :1 mix of Bleahed Bone andawk Turquoise was used. one again this wasthinned to a glaze and applied to the whole area.

Step 6. Finall SkullWhite was painted ontothe ver edges and points of the Iaws as anextreme highlight.

92 WHIE DWARF ,VY TAL AsRLAss

B]TIE lIAttlAG]Painting battIe damag onto power armour an add ralharater to a mod|, suggsting these are anient, well-worn suits of armour, rather than something that's new ormass-produed.

Th number of hips, marks or srathes you add isup to you; the more you apply, the more battle-worn thearmour wi]l look. Bar in mind that adding too muhbattle damage an distrat from the atual paint sheme.It,s also worth thinking about the loation of the marks.Most wear and tear wi|| happen around the joints of tharmour/ but ares suh as the greaves and boots wil| a|so

Step 1. Neil painted on the chips by firstreappling the power armour baseoat _ a1:l:1 mix of Kommando Khaki, Shadow Creyand Space Wolves cre - in small areas onthe armour. For deeper hips the mix wasdarkened b adding more Shadow Grey.

see a fair shar of sraths and hips from walkingamongst the debris of a batt|field. h armour on thearms and fists wiIl oftn b damaged as weIl, due toprevious los ombat enounters.

It's also important to vary the age of the battledamage on the power armour. lf evry srath and markis of th same typ, then it wil l give the impression thata|l damage has happened in just on battle rather thanthrough the ages. Creating deeper hips suggests olderdamage, whi|e l ight srathes or bright silver hips infermore reent inidents.

Step 2, Below the previous application pureSpace Wolves Crey was added. Again, thethickness of the line and amount used willdepend on the effect ou,re after, from the sizeof the hip to the age ou want to represent'

Step 3. Skull White was then used underneaththe hip, add a small amount just to highlightthe damage. You can inrease the amount tosuggest a more recent chip or sratch.

or Battle Damag Examples

Vehicles suh as tanks are often weathered and overed in scrathes,especially around areas of heavy use suh as ladders, hatches and on'dozer blades, as in this example.

This White Sars Vanguard Veteran wears an ancient suit ofpower armour, the age of which is suggested by the heavy chipping.

This Salamanders Dreadnought shows heav battlefield wearand tear. Severe metalli scratches an be achieved with abaseoat of Boltgun etal and then a following laer of ithrilSilver. A wash of Badab Black makes the chip look older.

www.8ams.workshop. om

With the main areas of the miniature now painted, Neilstartd work on th additiona| dtaiIs, suh as th shouIdrpads, gems and runes. Don't be tempted to rush throughthese Iast few bits _ give them as muh tim as you wou|dany other stage to ensure you maintain a high standardthroughout the proess.

he method NeiI used to paint the y||ow is apartiular|y interesting tehnique as it is on|y thr stags,but produes a very rih o|our. lt was a|so used on theother shoulder and kne pad of th mod|. Yellow was used elsewhere on the model as a ontrast to the grey armour.

Th Shouldr Pad

Step l. Bubonic Brown was painted in the areaof the shoulder pad betvveen the rim and theraised creat ompany symbol.

Step 2. This was highlighted with a 1:I mix ofBuboni Brown and Bleahed Bone' then washedwith ogryn Flesh and ryphonne Sepia.

Step 3. A highlight of Bleahed Bone, followedby a 1:1 mix of Bleahed Bone and Skull Whitewas applied. The icon was repainted black.

taI

Step l. The metal rims of the shoulder padsbaseoated with a layer of Boltgun etal.

Step 2. wash of Devlan ud was then appliedto the rim. Be careful when applying the wash sorun-off doesn,t contaminate the ellow area.

Step 3. A lvlithril Silver highlight was appliedto the edges of the rim, onto the rivets, andas small srathes on the metal areas'

Th Bakpak

Step l. The ornate wolf heads were first paintedwith a :1 baseoat mix of Shining cold andBestial Brown.

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

Step 3. highlight of Burnished Gold wasapplied, followed by a highlight with a 1:1mix of Burnished cold and ithril Silver.

94 WHl DWARF ,VY L MsRLss

he Wo|f Cuard,s belt rea|ly stands out due to the glowingrunes. This efft is ahivd by framing th glowing ara/in this as a rune, with a darker shade of the main olou.h subsequnt layer should then be Iighter in ton andshrink towrds the soure of the iIlumination.

Th skuII in th ntr of th be|t was first paintedBestia] Brown fo||owd by a layer of Snakbit Leather.h sond stage was bui|t up with a layer of Vomit Brownfo||owd by B|eahed Bon, then given a wash of ogrynF|sh bfore reeiving a final highlight of Skull White.

Blt and Runes

Step l. The runes were first painted RegalBlue and then worked up with a 3:1 mixof Regal BIue and lce Blue.

Step 2. Next, the were painted with a1:1 mix of Regal Blue and le Blue; thiswas followed by laer of pure le Blue.

Step 3. The runes were highlightedwith Space Wolves Crey and then afinal, extreme highlight of Skull White.

CablingThe cable stripes were painted Sab Red to reate ared and blak alternating pattern' A line of odexGrey was painted along the whole area to simulate areflection, whih was highlighted with Fortress Gre.

Sculpted Basehe orc icons on the base were painted in asimilar manner to the metal rims of the shoulderpads, the onl difference being that a BadabBlack wash was used instead of Devlan ud,

Chest Cemhe gems on the model were painted Red Gore, thenBlood Red. This was followed by highlights of BlazingOrange and Vomit Brown. An extreme highlight ofBleached Bone and finall Skull White was then applied.

SkuIsThese were painted using the samemthod as for the belt skull but aslightly heavier layer of Bleahed Bonewas used to give them a lighter tone.

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56 EAVY METAL MASTERCLASS

Daemon Prince. As such, his armourwas painted in the colours of the BlackLegion, black with gold trim on theshoulder guards and greaves. All of theraised areas of the black armour werehighlighted with a 50/50 mix of ChaosBlack and Codex Grey, then CodexGrey was used on its own, before a

final highlight of Fortress Grey wasapplied over the very top ridges of

the contours in the Daemonsarmour. Once these highlightshad been applied, thinned-downBlack Ink was washed over the

armour to tone down thebrightness of the highlights, blendthem with the armours maincolour and merge the joins

between all the different colours.The metallic trims around theDaemons shoulder guards andgreaves were painted with Tin Bitz and

then highlighted byusing a 50/50 mix ofTin Bitz and ShiningGold. A thinned-down coat ofChestnut Ink waswashed over this toblend the highlights

together.Once thishad dried, alittle ShiningGold wasused tohighlight themetal beforea 50/50 mixof ShiningGold andMithril Silverwas appliedto the veryedges of thetrims. As afinal touch, atiny amountof MithrilSilver waspainted ontothe furthestedges of thedetailingwhere thelight wouldcatch it.

DAEMONIC FLESHThe Daemon Prince was once a mightyChaos Space Marine Champion, andhis flesh and armour have meldedtogether. This meant that the skin toneschosen for the model would need toblend back into the colour of hisarmour. Starting with the Daemonsneck, an 80/20 mix of Chaos Black andRed Gore was painted where thearmour and flesh join, to create theeffect that they had merged. This wasapplied down either side of the spineand across the shoulders towards theelbows where it fades to black again.

This effect was achieved by paintingaway from the armour and adding moreRed Gore to the mix as the brush strokesmoved further from the armour until theratio was 20/80 Chaos Black/Red Goreon the tops of the muscles and cheeks ofthe model. Once the basic blendedcolours had been applied, the raisedridges of flesh were highlighted with RedGore, then Blood Red before a final fineline of Blazing Orange was added.

To bring the brightness of the orangehighlights down and smooth the blendinglines, a watered-down glaze of Red Inkwas used. Starting from a point halfwaybetween where the red and blackmerge, the ink was painted towards, andover, the red areas of the model. It wasimportant not to go onto the black as theblended effect would be lost.

PREPARATIONBefore painting any multi-part model itsa good idea to check that all of theparts will be accessible to paint onceits assembled. In the case of theDaemon Prince, the shoulder guardsand hands were left off so that the hardto reach parts could be painted beforethey were glued to the rest of themodel. Once the rest of the DaemonPrince had been assembled, anundercoat was applied using ChaosBlack spray. When spraying the model,you need to make sure that you coverthe model thoroughly, but be carefulnot to obscure the details byoverloading the model with paint.

DAEMON ARMOURThe modelwas painted torepresent anExaltedChampion ofthe BlackLegion whohas beenelevated bythe powers ofChaos tobecome afearsome

BLACK LEGIONDAEMON PRINCE

MASTERCLASS

This months masterclass focuses on themenacing Daemon Prince of Chaosdesigned by Juan Diaz. This articleexplains how our Eavy Metal teampainted one for the Studio Black LegionChaos army and also takes us step bystep through an Iron Warrior DaemonPrince conversion.

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HORNS AND CLAWSThe Daemon Princes horns mergedwith the red flesh of his head and wereblended from red to black at the baseof the horns using the same method aswas used to blend the join of flesh andarmour. Using a combination ofgradually brighter colours created theeffect of the horn lightening from itsthickest part to the tip. Firstly a 50/50mix of Scorched Brown and ChaosBlack was painted in lines from theblack part of the horn to its tip. Thepaint on the horns was applied in linesdown the length of the horn, as this ishow real horns colour as they growfrom an animals head (for referencematerial, we sourced pictures ofHighland Cattle). Next, ScorchedBrown on its own was painted to thehorns tip, though the lines were startedfurther away from the base of the horn,so that some of the first coat was stillvisible there. The process wasrepeated using a 50/50 mix of

ScorchedBrown andBestialBrown,starting thelines evenfurther fromthe base sothat thepreviouscoat ofpaint wasstill visible.BestialBrown was

used next,followed bySnakebiteLeather thenBubonic Brown,each timestarting closerto the hornstip. Followingthis, a coat ofBleached Bone,followed bySkull Whitewas applied tothe very end ofthe horn.

DETAILING THE ARMOURThe metallic pipes on the DaemonPrinces belly were painted with Tin Bitzthen given a wash of equally mixedBlack and Brown Ink. Chainmail waslightly drybrushed across the pipes, justenough to highlight them yet still givethe impression of corrupted, rustymetal. There were a few areas on themodel that used the same green: thecaptured Space Marine helmet, thepiping on the Daemon Princes head

and arms andthe eye on hisshoulder guardand breastplate.These areaswere paintedwith a 50/50mix of DarkAngels Greenand ChaosBlack. This wasfirst highlightedwith DarkAngels Green,then a mix ofGoblin Greenand some DarkAngels Green,and lastly a finalhighlight ofGoblin Greenon its own.

The Space Marine helmet was givenan extra highlight of Goblin Green

equally mixed withBleached Bone. Allthese areas werethen given athinned-down glazeof Green Ink toblend all thehighlights together.

The bony ridges along the top edge ofthe Daemons backpack vanes and leftforearm were painted with a 50/50 mix

of ScorchedBrown andBestial Brown.These werethen highlightedwith BestialBrown followedby SnakebiteLeather thenBubonic Brown.Finally, someBleached Bonewas appliedfollowed bySkull White.

The skulls decorating theDaemon Princes armourwere painted with a 50/50mix of Codex Grey andFortress Grey thenhighlighted with FortressGrey. Final highlights wereadded by painting SkullWhite along the raisededges of the skulls.

DAEMON WEAPONThe Daemon Princes weapon glowswith inner fires, and this effect wasachieved relatively simply. A watered-down layer of Skull White was brushedinto the depressions of the runes along

the blades length and,once this had dried,Yellow Ink was used togive the runes theappearance of glowingheat. Orange Ink wasthen dabbed in thecorners to give theimpression that thecentre of the blade wasthe hottest (as metalglows brighter the hotterit is) and finally, a tinydot of Blood Red waspainted into the veryedge of each rune.Once the runes werepainted, any areaswhere the colours hadspilled over onto theblade were tidied upwith Chaos Black. Thesword blade itself waspainted by blending theChaos Black outwardswith Hawk Turquoisetowards the weaponsedges. The edges of thesword were thenhighlighted with a 50/50mix of Skull White wasadded and HawkTurquoise before a finalhighlight of Skull Whitealong the very tip andbarbs of the blade.

BASINGWatered-down PVA glue was spreadevenly over the models base beforebeing sprinkled with sand. Some stonechips were also glued to the base. Thiswas drybrushed with Codex Grey thenBleached Bone, though some of thelarger stones had Skull White brushedover them. Some small areas of StaticGrass were glued to the base with PVAglue, clustered at the base of the rocks,since this is where mosses and lichensgenerally prefer to grow.

56 EAVY METAL MASTERCLASS

ASSEMBLY AND CONVERSIONThe Iron Warriors Daemon Prince wasassembled as normal, but it wasconverted to make him stand out fromthe Black Legion Daemon Prince. Thegun barrel on the left arm wasextended using Green Stuff to make itmore prominent and emphasise themechanised nature of the IronWarriors. Then the sword blade and hiltwere clipped from the top and bottomof the Daemon Princes hand and ahole drilled through to allow theinsertion of an aluminium rod to serveas the haft of an axe. A blade from theBloodthirsters axe was clipped off andthe detailing on both sides of theblades filed flat. This was glued to thealuminium rod and the spear point fromthe skeleton warriors plastic regimentwas glued to the top. The back bladewas also from the Bloodthirsters axe,clipped and filed to fit on the back ofthe haft.

Since thisDaemon Princewas going tohave wingsinstead of thejump packvanes, the skullon the end ofone of thesevanes was

sawn in half and removed. These werethen glued to the flat of each side of

the axe blade andGreen Stuffsculpted aroundthem to give theimpression thatthe axe was raw,bloody and aliveitself. To finish offthe axe, the baseof the haft wasgiven a GreenStuff end piece.The left shoulderguard had theskulls and spikesclipped off,leaving only theedge trims. Thecentre of theshoulder guardwas filed flat andan Iron Warriorssymbol wassculpted on usingGreen Stuff.

To really emphasise that this DaemonPrince was once an Iron Warrior, it wasgiven a visor sculpted from GreenStuff. Once this had dried, it was filedinto its final, angular shape and holeswere drilled through in one side with apin vice to mirror the helmets of theIron Warriors themselves.

Last, but not least, the plastic dragonwings were glued into place on themodels back, with Green Stuffcovering the joins. These wings fit verywell into the recesses left when thebackpack isnt attached and gives themodel a very imposing look!

DAEMON ARMOURAs with the previous Daemon Prince,this model was first given an undercoatof Chaos Black spray. Once theundercoat had dried, the armour wasdrybrushed with Tin Bitz then BoltgunMetal. Next, the armour was given aglaze of watered-down 50/50 mix ofBrown and Black Inks. This was thenhighlighted with Boltgun Metal, blendedup from the darkness of the recessesof the armour around the edge trims.Final highlights of Mithril Silver wereapplied on the highest areas of thearmour, making sure that, over thesome of the more organic areas of themetal, the brushstrokes were painted

along the lineof the grain.This techniquewas used on allthe silver metalareas, such asthe axe blade,visor, Necronhead and IronWarriors icon.The edge trimsof the armourwere left at thispoint until afterthe DaemonPrinces fleshhad beentotally painted.

DAEMONIC FLESHThe techniquesused on the fleshyareas of theDaemon Princewere applied to allthe areas of themodel where itsflesh had morphedwith its armourand burst through,such as the wingmuscles, axe-flesh, hands,head, knee guardand arms.

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IRON WARRIORSDAEMON PRINCE

Firstly, a basecoat of Dark Flesh wasused as an undertone for the fleshcolours. This was then blended to theareas where it morphs back into thearmour by applying the paint thenusing a clean, damp brush to renderthe paint at the edges semi-transparentso that it will appear to blend with allthe colours underneath.

The first highlightwas applied usingDwarf Flesh, thena glaze of Red Inkand Flesh Washmixed with a littlewater was washedover all the fleshyparts of theDaemon Prince.This was alsoapplied over someof the metallicparts of the model,to emphasise theraw, impendingchanges warpingthrough theDaemon Princeand to suggestthat more fleshcould burstthrough his armourat any time.

The flesh was nowre-highlighted withDwarf Fleshfollowed byanother highlightof Dwarf Fleshmixed equally withBleached Bone.

A final highlightwas applied overthe highestportions of theflesh withBleached Bone.

ARMOUR TRIMSThe interiors of the shoulder guards wereleft black and the metallic trims aroundthe Daemons shoulder guards andgreaves were painted with Dwarf Bronze.These were then highlighted with ShiningGold before applying a glaze of FleshWash to blend the highlights together.

Once this haddried, ahighlight ofequally mixedShining Goldand MithrilSilver waspainted on thevery edges ofthe trims.

DETAILING THE ARMOUROne of the most obvious means ofidentifying a model as belonging to theIron Warriors is the painting of yellowand black chevrons on its armour orweapons. In this case, the cablesrunning over the Daemon Princes headand from his left arm were picked out inthese colours. They were painted VomitBrown first, and then highlighted withBleached Bone before being given awash of Yellow Ink. The black stripeswere then painted over the yellow pipes.

The skulls mounted on the modelsarmour were painted Snakebite Leather

then highlighted withBubonic Brown. This wasthen given a furtherhighlight of Bleached Bone,before a final highlight ofSkull White was applied.

The same method used to paint theyellow of the cables was applied to the

Space Marine helmet,with an extra highlightof Bleached Bone togive the edges of thehelmet more definition.

The eyes of theDaemon Prince aswell as those on hisarmour were pickedout in Snot Green thenhighlighted with BiliousGreen followed by afinal highlight of 50/50Bilious Green andBleached Bone. Thegreen eyes on themodels armour werealso given thin lines ofChaos Black for theslit pupils.

The gun barrel, chains and spine of themodel were painted Dwarf Bronze then

highlighted withShining Gold.Chestnut Ink waswashed over thisand a finalhighlight of MithrilSilver waspainted on thehighest areas.

WINGSAreas where the fleshy colours from theDaemon Princes wing muscles hadspilled onto the wing membranes

themselves were cleaned up withChaos Black. The scaled parts alongthe wing muscles were repainted blackwhere the painting of the flesh here hadgone over them. To highlight the wings,a fine line of Codex Grey and ChaosBlack was painted along the back edgeof the grooves in the wing membranes,as this is where they would catch thelight. To make this highlight subtler, afine line of Codex Grey was applied inthe very centre of this line before anextremely watered-down Black Ink was

glazed all overthe wingsmembranes. Tomake the hornsat the ends ofthe wings andthe scales standout, they weregiven a coat ofGloss Varnish.

HORNSWhere the Daemon Princes horns metits head, Bleached Bone mixed with a50/50 mix of Red Ink and Flesh Washwas applied. Then, moving furtheralong the horn, Bleached Bone waspainted and blended back towards theDaemon Princes head. This was doneagain, even further along the length ofthe horn, using Bleached Bone mixedwith a dot of Chaos Black. This processwas repeated, each time moving furtherdown the horn and adding more ChaosBlack to the mix until the tip was

completelyblack. To finishoff the horns,some GlossVarnish wasapplied to thevery tips.

BASINGThe Iron Warriors Daemon Prince wasbased in the same way as the BlackLegion one, using watered-down PVAglue spread evenly over the modelsbase, which was then sprinkled withsand. This was drybrushed with CodexGrey then Bleached Bone. Some smallareas of static grass were also glued tothe base with PVA glue to break up theuniform colour of the base and make itsuitable for use on both green andurban battlefields.

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In February 2009 wepublished an EavyMetal Masterclass onpainting faces. Darren Latham,assures us he hasmuch more to say onthe subject.

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FACE

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The face is always the most importantpart of any miniature; it is the firstpart anyone will look at and needstime and attention spent on it. It dictatesthe whole appearance of the finishedminiature. As such it deserves extraattention when it comes to painting, as itstricky to get right, which is why WhiteDwarf turned to the Eavy Metal team forhelp and advice. Last time we showed youhow to paint the skin and the hair, as wellas more advanced techniques such aspainting scars. But I think theres muchmore to say on the subject, so Im going todelve even deeper into the art of faces.

Before we start, its worth recappingsome of the basics discussed last time:always keep your paint thin and apply

several thin layers rather than one thickcoat of paint; remember that you canalways add paint to thin layers but youcant take away from one thick layer. Theother advantage is that thin layers will notobscure the detail on the face. You can addexpression with painting and give anindication as to the environment that thefigure is placed in. All of this will add tothe depth and background of the miniature.

One final thing to keep in mind is thatthe skin areas on your models are the onlyparts that will have colour underneaththem, something known as subcutaneouscolours. Skin is the living part of the figureand should have tones and nuances addedto it to give it life Ill cover this in moredetail in a moment.

MASTERCLASS

Back in February 2009 we showed you how to paint humanfaces and touched on other techniques. In this article DarrenLatham goes into even greater depth about painting faces theEavy Metal way, including more advanced techniques.

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

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

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

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Step 4. Next, a 1:1:1 mix of Dark Flesh, Vomitbrown and Kommando Khaki was applied as afirst highlight.

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

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Step 6. Finally, Bleached Bone was used as ahighlight, applied to accentuate the modelsdour expression.

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DARK SKIN IntermediateWhen painting dark faces it is difficult to get colour, lifeand expression into them because of the colours you areusing. To help solve this problem I didnt make the skintone too dark. This enabled me to wash the colour aroundthe lips, eyes and nose to bring the face to life. I then used

an edge highlights to give it definition, if the highlights arelayered up too much then the dark look of the face will belost. Remember that the face is very important and youmustnt lose it to the rest of the figure, so a fine highlight isneeded on dark skin tones to emphasise the expression.

Chaos Black Spray

Bleached Bone

Codex Grey

Chaos Black

Dark Flesh

Dwarf Flesh

Elf Flesh

Fortress Grey

Goblin Green

Kommando Khaki

Liche Purple

Regal Blue

Rotting Flesh

Scab Red

Scorched Brown

Shadow Grey

Skull White

Snakebite Leather

Space Wolves Grey

Vomit Brown

Warlock Purple

Fenris Grey

Knarloc Green

Orkhide Shade

Tallarn Flesh

Badab Black

Thraka Green

You Will Need

For the techniques featured in this article Darren hasused the following colours from the Citadel Colour,Wash and Foundation ranges.

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This model represents an olderversion of Griff the paint hasbeen applied in a sympatheticway, with grey tones to wash out

the colour. In the other example,Bilbos age has been alluded towith the addition of expressionlines and creases.

Ageing Showcase

With the two age examples shown here, the aim is toillustrate that even with the same head you can achieve acompletely different look with the use of a brush. One is ayoung man and the other an old veteran. The young facehas lots of warm colour within it and a smooth finish to theface with minimal lines added, all this adds to the look ofthe face being youthful and healthy. With the older face,greys were added to the skin highlights to wash out thecolour. Many thin expression lines were added to give awrinkled appearance.

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

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Step 2. This was followed by a wash of DarkFlesh and then followed by a further wash ofScorched Brown.

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

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Step 4. A further highlight of pure Elf Flesh wasthen applied.

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Step 5. The next highlight layer was a 2:1 mix ofElf Flesh and Skull White. The lips were paintedwith a 2:1 mix of Scab Red and Tallarn Flesh.The cheeks were painted with a 1:1:1 mix ofScab Red, Tallarn Flesh and Warlock Purple.

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Step 6. The eye shadow was painted withTanned Flesh. Finally the face was highlightedwith Skull White.

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Female/Elf Showcase

FEMALE FACES IntermediateWhen painting female faces, subtlety is the key. A muchsofter approach is needed for any female face, and this isespecially true for The Lord of The Rings figures. I decidedto use a white undercoat for Arwen to make sure that theskin did not end up too dark, as can sometimes happen ifa black undercoat is used. Once again I started with amidtone colour. This cuts down on the number of paintlayers, more of which would be needed if a darker tonewere used as a base. Colour was then washed over to addwarmth to the face and give me some direction as towhere I should place my highlights. Thin paint layers werethen applied to build up the light appearance.

The colour on the cheeks was painted on just underthe cheekbone to add depth and height. Its important tonote that if placed on the cheekbone itself it will flatten theface and give a flustered appearance. Just as vital are thelips the bottom lip is straightforward but the top lip cancause problems. One thin line is enough to add colour andfullness to female lips, any more than this and it will lookover the top and fake. A small highlight on the bottom lipis a good way of adding a different surface texture to theface. I also added some eyebrows this is usually a bigno-no in miniature painting, but with certain femalevisages it can enhance the look.

Step 1. The face was first basecoated withKnarloc Green.

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

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Step 3. This was followed by a second washusing a 2:2:1 mix of Scorched Brown, CatachanGreen and Chaos Black.

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

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

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

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

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Step 8. The raised areas were then highlightedwith Bleached Bone.

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

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This greenskin method is more realistic than the four-stageexample in the previous article. I used a more naturalgreen with Knarloc Green rather than Goblin Green,which can sometimes appear too bright. For this stage bystage I started with a midtone green rather than a darkgreen and washed colour into the face for shade. I thenadded Vomit Brown to the base colour for a naturalwarmth, rather than adding yellow. This gives the face areal look rather than a cartoony appearance. Nuances

were added around the eyes, nose and lips to give the facelife and have the colour appear subcutaneous (see p92). Toget this effect a red was used to represent blood and greenadded to tie it to the rest of the face, applied to the lowerportion of the face. I used blue around the eyes to give theface some expression and focus. These areas were thenhighlighted to pull them into the surrounding face and tonethem down a little. This Ork face should be reserved forcharacters and special figures that require extra attention.

ADVANCED TECHNIQUE

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

To enhance thefantastical look ofWarhammer models,your painting needs to be bold and striking. You should still bemindful of the thingsweve already talkedabout, but you dontneed to ensure that theyare as life-like as TheLord of The Rings figures.

The Warhammer world and the galaxy of the 41st Millennium are inhabited bymore than just humans, but painting an alien face calls for a different technique.Lets start with a detailed Ork face before moving onto other creatures.

NON-HUMAN FACES

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Undead Showcase

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

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Step 2. This was followed by a wash using a1:1:1:1 mix of Scorched Brown, Liche Purple,Scab Red and Badab Black.

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

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

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Step 5. A 1:1 mix of Liche Purple and TallarnFlesh was washed around the eyes. At the sametime a 1:1 mix of Scab Red and Warlock Purplewas washed around the mouth and nose.

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

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UNDEAD SKIN IntermediateWhen painting Undead skin, the thing to remember is tokeep it pale; this way you can add lots of colour into theskin to make it interesting. For the Zombie face I addedpurple into the basecoat to give it a slightly dead tone, andadded washes to make it look like the flesh was oozing out

its colour. To give the skin an unnatural appearance Ihighlighted it with Rotting Flesh. The green in the RottingFlesh gives a nice contrast to all the warm tones and addsto the dead and pale look. And, because this is a Zombie, Iadded the requisite visceral splatter on the face.

Step 1. The entire face was first basecoated withFenris Grey.

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Step 2. A wash using a 1:1:1 mix of LichePurple, Scorched Brown and Badab Black wasthen applied all over.

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Step 3. The skin was then layered up withShadow Grey.

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Step 4. A highlight using a 1:1:1 mix of ShadowGrey, Fortress Grey and Kommando Khaki wasthen applied.

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Step 5. The skin was highlighted further withpure Kommando Khaki.

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

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Tau Showcase

TAU SKIN IntermediateFor Tau skin a different approach is needed I had to domy research for this and found out that Tau blood is purple(for very scientific reasons, Andy Hoare assures me)! Withthis in mind I washed a mix of purple over the skin tomake it look more lifelike, this adds good definition andtone to the skin. I then highlighted the skin by adding inKommando Khaki. This is a very good neutral tone with

some warmth to it, to make the skin look natural, but isnot not too harsh as to form a stark contrast. With Taubeing blue in skin tone, all of these different nuances withshade and highlight help emphasise the appearance that itis a living creature. If it was just shaded with a darker blueand highlighted with a light blue, the skin would lookunnatural and, therefore, unrealistic.

The face of Aunva, an ancient and powerful Ethereal, has been paintedusing Tau skin colours, but with the ageing techniques as describedover on page 93.

Commander Shadowsun, as a female Tau, has been given a deeperpurple wash, with Liche Purple added to Fenris Grey. This gives herskin a softer, subtler appearance. Unlike Aunva, her face containswarmer tones, to convey a youthful energy.

This Zombie has been painted in a more fleshy,pink tone. The gore aspect of the model onboth the body and face has been played downbut the lining around the face is excellent,especially around the eyes and teeth.

Joe Tomaszewskis brilliant Vampire has a facepainted in blue tones for a very washed out,long-dead look. Rotting Flesh has been used asthe blend to highlight with but this has beenapplied in a very subtle way.

The same techniques applied to the Zombie togive it a lifeless appearance can be applied to aGhoul too. The difference is with the bloodand gore spatter. On a Ghoul it should look alot fresher, as if the creature has just eaten.

www.games-workshop.com 9998 WHITE DWARF PAINTING FACES

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

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Step 2. This was followed with a wash using a1:1:1:1 mix of Tallarn Flesh, Codex Grey,Scorched Brown and Chaos Black.

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

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

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Step 2. Next, layers were built up with a washconsisting of a 1:1:1 mix of Scab Red, TallarnFlesh and Regal Blue.

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

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When painting stubble, the finished effect must seemnatural, as if the stubble is inside the skin. This is achievedby adding flesh colours and browns into the wash appliedover the face. The other thing to keep in mind is theplacement of the stubble if it is too high up the face or inthe wrong area then it will not look realistic. Darkerstubble can be achieved by simply adding in a touch more

black to your mixes, but dont go over the top or yourminiature will end up with a full beard! Once again, ahighlight over the finished stubble area will pull thestubble into the skin and knock it back a little for a naturalfinish. The same technique can be applied to a shavedhead too, but remember to follow the hairline on the heador the effect will look fake.

RUDDY-FACED DWARF BasicFor the Dwarf flesh I first painted the skin in the usual way,and then added washes over it. I mixed Tallarn Flesh intothe washes to give them a natural look. If I had usedstraight colour on the skin it would look too bright andfake. When washing colour over the face it is important tokeep your paint very thin and build the layers up slowly

until you reach the desired effect. After the colour wasadded to the nose and cheek the areas were then re-highlighted to pull the colours back into the skin and tonethem down a little. This effect can also be added to theears, lips, and knuckles on a model, but only works oncertain miniatures, so use it sparingly in your painting.

Painting spots and rotting flesh is the chance to have a bit of fun withpainting, you can wash and add almost any colour you like to rotting skin.This is usually done after painting the skin area and then washing colourover it (the Citadel Washes are great for this). Painting a spot is pretty simple just glaze the area with some Scab Red and then give it a little highlight ofBlood Red, and for that ready-to-burst look, add a yellow spot head withIyanden Darksun nice!

SPOTS AND ROT

Step 1. The outline of the tattoo was paintedusing a thin 1:1 mix of Scorched Brown andChaos Black.

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Step 2. Next, the outline was thickened up witha 1:1:1 mix of Tallarn Flesh, Regal Blue andChaos Black.

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Step 3. The tattoo was then highlighted with a1:1:1:1 mix of Tallarn Flesh, Regal Blue, ChaosBlack and Bleached Bone.

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When painting body hair you need to take a similar approach to paintingstubble, a little of the flesh colour mixed in with the hair colour will helpthe look. Painting hair on flesh is more about technique than colour though;you need to feather the hair on with a fine brush and build up the colourgradually. As with stubble, the hair needs to be placed in the correct areasor else it will not look natural. The usual place to see this effect is on theforearms and chest. This technique can also be used on animals that havefine hair, such as horses, to give a textured finish.

BODY HAIR

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MARAUDER TATTOO AdvancedIt is important to sketch out the design out on paper beforeyou start to paint the tattoo its easier to correct potentialmistakes on paper! Real-world reference can be useful the Internet or specialist tattoo books are obvious places tolook. Firstly, I lined in the tattoo with a thin mix ofScorched Brown and Chaos Black. This helps for theplacement and can be easily corrected because of thethinness of the mix. The design was then thickened with a

darker mix to which I added blue. The blue tone sitsnaturally on skin and gives a finish that is not as harsh aspure black. Other colours such as red and green are bestsaved for war paint effects. A highlight was added over thetattoo, with the skin colour mixed in to give it asubcutaneous appearance. You can darken or lighten yourtattoos to get different age effects or add more blue to alterthe pigmentation.

The thing to keep in mind with hair is that it is very reflective and usuallyshines. To get this effect on your miniatures simply mix a good amount ofwhite in with your hair colour and paint a halo ring around the top of thehair. This will give the appearance that the light is bouncing off the hair. Ofcourse, this technique should only be used on creatures that could beexpected to keep a certain level of hygiene and would actually wash theirhair, such as Elves or female models (Are you trying to suggest men dontwash? Ed). Greying hair is another way to add age and character to a face.To achieve a natural-looking grey it is best to add in either Bleached Boneor Kommando Khaki to the hair colour these are neutral tones and not asharsh as white. Once again, placement of the grey is important, it needs tosit either above the ears for slight grey or all over the hair.

HAIR SHINE & GREYING

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All faces tend to have common traitsthat lend expression, character and cluesto the models personality. Applyingsome or all of these details can adddepth to the model far beyond what thesculptor ever intended.

FACIAL DETAILS

CATACHAN STUBBLE Intermediate

ASKWeve covered painting faces in great detail in parts 1 & 2 of this article. If you have any more queriesabout painting faces or about anyother techniques for that matter remember that you can write toEavy Metal at the address below:

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

T'AU SEPT HUNTER CADRE Hobby Team Army Painters Steve Bowerman and Duncan Rhodes recently teamed up to paint a Tau Empire army. Here they show us the colours and techniques they used.

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

PREPARATION After undercoating the models with Chaos Black Spray, we used the Citadel Spray Gun to apply the basecoat and first Layer stages on the Fire Warriors, Devilfish and Crisis Battlesuit. We used the same method to paint the blue skin of the Vespid Stingwings. However, in the case of the Ethereal, we painted the first two stages with a Basecoat Brush, as only his hands and face were exposed.

Codex: Tau Empire includes the full background o f the army, detailing their race's evolution, rapid expansion and assimilation of many other alien species.

The aspect of the Tau that appealed to Duncan and Steve were the myriad different species and crea tures that can be found in the Tau Empire army.

FIRE WARRIOR (!) ARMOUR (D T 'AU SEPT SYMBOL i FATIGUES

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KROOT DETAILS CD LACES (I) GOLD SILVER

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For this issues EavyMetal Masterclassweve really gotsomething reallyspecial as JoeTomaszewski paintsthe 2009 GamesDay Miniature.

www.games-workshop.com

DISP

LAYM

ODELS

If youre attending this years GamesDay, be it in the UK, the US, Europe oranywhere else, then youll be in theenviable position to purchase this fantasticGames Day-exclusive miniature. The 2009model is a mighty Chaos Lord sculpted byMartin Footitt.

A miniature like this is the perfectsubject to be picked out for some specialtreatment, and we tasked Eavy Metals Joe Tomaszewski to really go to town on it.Joe saw this as an exquisite display model,something for show rather than the rigoursof gaming.

With this in mind, Joe wanted to givethe model a scenic base to make it evenmore imposing and paint it in a veryadvanced technique that is particularlysuitable for displaying miniatures. Thetechnique is non-metallic metal. This ischallenging to achieve but in the hands ofan Eavy Metal painter the finished effectwill be stunning. Thats not to say you haveto be an expert, on the following pageswell show and explain exactly how Joeachieved the armour effect, so the step-by-steps along with some painting experienceand a steady brush will see you through.

MASTERCLASS

TM

CHAOS LORD

Chaos Black Spray

Bleached Bone

Codex Grey

Chaos Black

Hawk Turquoise

Kommando Khaki

Liche Purple

Regal Blue

Scab Red

Scorched Brown

Skull White

Snakebite Leather

Astronomican Grey

Dheneb Stone

Baal Red

You Will Need

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

Wash: W Foundation: F

F

F

W

When painting a model purely for display you shouldalways consider the direction from which the model willbe viewed. This is not only to position the model in thebest aspect but will also have a factor on how light sourceswill play off and reflect onto a model. This is especiallyimportant when painting in a non-metallic metal scheme,

as incorrectly judging how the light works couldcompromise the paint job. In this case Joe wanted themodel to be viewed straight on so he highlighted andshaded the armour to reflect that.

Once the armour was fully painted, Joe used colouredglazes to give it an almost unearthly hue.

Step 1. After undercoating theentire model Chaos Black, Joebegan by basecoating the armourplates with Codex Grey.

Step 2. Watered-down ChaosBlack was applied as a rough,heavy wash around the joins andraised areas of the armour.

Step 3. After the wash, Codex Greywas applied again to the raisedareas to neaten up and form thebasis of the highlight stages.

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Step 1. A glaze, made fromwatered-down Liche Purple,was applied around the bottomportions of the armour plates.

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Painting Metal Without Metallics

Step 4. A 2:1 mix of Codex Greyand Skull White was next, finelyapplied along the angle lines of thearmour plates.

Step 5. For the next layer the mixwas reversed, so it was a 2:1 mixof Skull White and Codex Grey,again working up the highlightlines already established.

Step 6. Dots of pure Skull Whitewere then applied at points wherethe highlight lines met to representpoints of direct reflection.

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Step 2. A light glaze using HawkTurquoise overlaid this. Its avery subtle layer but gives thearmour an arcane quality.

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Glazing the Armour

Painting the Armour

Scenic BaseThe base was taken from asmall glass jar lid that wassprayed black. Slate wasthen glued on it to createa stepped pile. For furthertexture a lone skull wasstuck on and some GreenStuff used to fill in theunsightly gaps.

The chain mail was simplypainted black, and then CodexGrey was applied to the bottom ofthe links, which was in turnhighlighted with Skull White.

The fur was basecoatedAstronomican Grey and thengiven a wash using a 1:1 mix ofHawk Turquoise and ChaosBlack. It was highlighted backup to Astronomican Grey, andthen highlighted further withSkull White.

9392 WHITE DWARF PAINTING MASTERCLASS

When you paint horns you can go from dark at the baseand lighter at the tip, or shade in the opposite direction,having a lighter base and darkening at the top. Eithermethod can be effective and depends on your style andthe model itself. For this project Joe has chosen to lightenthe base of the horns. This is because, bearing in mind its

a display model, he wants the eyes of the spectator to bedrawn towards the face the lightest part of the model.

This is just one of the tricks an experienced painter canuse to grab the viewers attention and subconsciously drawtheir eyes to parts of the model they want the spectator toacknowledge first, before they appraise the entire model.

Step 1. The shield was first paintedusing a 1:1 mix of Codex Grey andChaos Black. Joe painted carefullyaround the accoutrements hangingfrom the shield.

Step 2. Pure Codex Grey was builtup in many thin layers verticallyalong the shields curvature. A thinoutline of Codex Grey was alsoapplied to the shields edge.

Step 3. Fortress Grey was thenapplied over the same areas in theprevious step. Thin layers carefullyblending with the previous coat ofpaint is the key.

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Step 4. Skull White was used toadd nuanced highlights on theshield, applied mainly along theedges but also to create tinyscratches on the surface.

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Painting the Shield

Step 1. Snakebite Leather wasapplied as thin stripes along thelength of the horns; brush controlis needed to keep the stripesseparate and neat.

Step 2. Next, Bleached Bone wasoverlaid along the SnakebiteLeather stripes, tapering outtowards the tips.

Step 3. Skull White was thenadded in thin layers over theBleached Bone stripes, keeping themajority of the layers close to thebase of the four horns.

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Step 4. Joe then added nicks andchips with carefully applied ChaosBlack and Skull White. Finally, athin wash of Chaos Black wasbrushed over the ends of the horns.

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Painting the Horns

Painting the Horns and Shield

The process known as non-metallic metal is a techniquethat uses paints without metallic pigments to createreflective, mostly metal-looking surfaces. Shades andhighlights are created in a pictorial fashion using thesame methods that artists have been doing on canvas forcenturies. In effect, youre using a two dimensionaltechnique on a three dimensional model. Thats quite achallenging prospect and for this reason painting withnon-metallic metal is a very advanced technique thatrequires mastery of many other expert techniques, suchas rich blending and advanced colour theory.Nevertheless, the Eavy Metal team get asked a lot abouthow to achieve such an effect and so well attempt tocover the basics here. Whilst reading this page will giveyou some foundation in the technique, practice and solidbrush control are the keys to getting this effect right.

Models painted up in non-metallic metals areprimarily for display. Its rarely used on models intendedfor use in the gaming environment where the chance ofsuch a precisely painted model being chipped is muchhigher. The best way to showcase a miniature with non-metallic metal painting is in a lighted display cabinet,where the dedicated spotlights accentuate theexaggerations painted onto the model. Consideringwhere the light shines upon the model and how itreflects off surfaces is actually a good place to start.

Light Sourcing Metallic objects reflect light differently to other surfacesand this needs to be exaggerated when applying paint toa miniature. On metallic objects light dramaticallychanges from dark to light when the surface changesshape. So to achieve the non-metallic metal effect youneed to imagine, or even draw a plan, where your lightpoints are around the model so you can place yourhighlights and shade. Four points of light around a figureare generally best; you then plot how each area of non-metallic metal will react according to where the lightpoints are on the miniature. The geometric diagrams onthis page illustrate how light reflects off different shapes.

Illustrations, from fantasy art in particular, also show howartists achieve reflective surfaces in two-dimensionalform. In this case real world references are not veryuseful, as they dont convey the exaggerated highlightingand shading you need to make the technique effective.Following a real-world reference will just leave you witha drab grey or yellow area rather than the metallic-lookyoure trying to achieve.

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

The other facet to this process is that you should addcolour to the surface to bring it to life. Metal surfacesreflect the environment around them so, if the model ismeant to be in a cave, your colour scheme will not be asbright as a miniature in strong daylight. The contrast,coupled with adding light spots (bearing in mind whereyour light points are on the model), will exaggerate thereflective quality of the metal. When you actually applythe paint you must do it in thin layers and then create aseamless blend, starting with the midtone and shadingdown and before highlighting up.

Have a GoThese are just guidelines, the real results will come frompractice and learning the theory. Dont forget artists havebeen doing this for years in pictures so take inspirationfrom them and dont be afraid to just give it a go.

NON-METALLIC METAL

Left. Dave Gallaghersillustration is a perfectexample of how artistspaint metal in two-dimensional form.

Below. A graphicalrepresentation of howlight falls on simplegeometric shapes,giving you a roughguide about how toadd highlights andshading to your non-metallic metals.

When he painted his Harry theHammer, Darren Lathamimagined four light sourcesaround the miniature. Thishelped him visualise where thehighlights and shades should be.

www.games-workshop.com

www.games-workshop.com 9594 WHITE DWARF PAINTING MASTERCLASS

A lot of Joes methods involve starting with a basecoatmidtone, then shading down with a wash, beforelightening back up to the midtone and beyond to thehighlight colour. Joe does it this way because it gives him asmoother blend between layers, and its easier thanpainstakingly blending to a darker shade. Another good tip

is, when using a colour like khaki to highlight a multi-coloured area such as the cloak, you should mix thehighlight with the colour on the lower layer, rather thanstraight across. So, in the case of the cloak, the khakihighlight was blended with Regal Blue and then Scab Redas Joe worked the highlights to the edge.

To really showcase his astounding skills Joe has addedsome freehand design onto the Chaos Warriors armourand weapons. Applying an intricate design onto a surfaceyou ve already spent hours painting to look like shiningmagical armour is not for the faint-hearted! Freehanddesigns are usually painted onto a neutral surface,

something that can easily be painted over if a mistake ismade, but obviously Joe didnt have that luxury here. Hefirst drew his design on paper and then slowly andaccurately translated it onto the figures armour andweapons. We can only recommend patience and pinpointaccuracy with a brush if you try this yourself.

Step 1. The lining of the cloak was first given a basecoat ofAstronomican Grey. This was asolid layer that covered the entirearea of the cloak lining.

Step 2. Separate washes of RegalBlue, Liche Purple and ChaosBlack were painted into therecessed areas. Joe randomlyapplied each colour wash.

Step 3. Joe then worked up theraised areas back to AstronomicanGrey, this was followed by a 1:1mix of Skull White andAstronomican Grey.

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Step 4. A final strong highlightlayer of Skull White was thenapplied to finish off the cloak. Thiswas built up over many thin layers.

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Painting the Inner Cloak

Step 1. The outside of the cloakwas first basecoated with a solidcoat of Regal Blue.

Step 2. Starting with the RegalBlue, Joe added Scab Red to themix, slowly and consistentlyadding more with each layer untilhe had blended to pure Scab Red.

Step 3. The recesses and deepfolds of the cloak were shadedwith a wash of Chaos Black.

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Step 4. The cloak was highlightedwith Kommando Khaki, mixedwith each colour it covered. Thiswas then given a final highlight ofSkull White.

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Painting the Outer Cloak

Step 1. The helmet was painted ina similar method to the gold leaf,starting with a basecoat ofSnakebite Leather.

Step 2. This was followed by ashade into the recesses with awash of Chaos Black.

Step 3. The Snakebite midtone wasreapplied and then worked up byadding an increasing amount ofSkull White over several layers.

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Step 4. Pure Skull White wasapplied to the raised areas, andpurple and turquoise glazes wereused to achieve the same subtleeffect as the armour.

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Painting the Helmet

Step 1. Joes non-metallic gold leafstarts with a basecoat of SnakebiteLeather. A thin line of Chaos Blackwas used to enhance and separatethe design from its surroundings.

Step 2. The Snakebite Leather wasthen shaded with a very thin washof Chaos Black.

Step 3. Joe started to build up thedesign using a mix of SnakebiteLeather and Skull White, addingmore white into the mix overseveral layers.

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Step 4. Skull White was used toedge the design. This was dividedfrom the design with a thin line ofCodex Grey, creating theimpression of a silver edge.

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Painting the Gold Leaf

The intricate freehand design onthe axe head was replicated onboth the axes and across variousparts of the Chaos Lords armour.

The skulls were painted using avery similar method to thebandages, the only differencebeing the wash, which was pureDevlan Mud instead of Baal Red.

Painting the Cloak Painting the Armour Details

The bandages were painted withDheneb Stone followed by a BaalRed and Devlan Mud wash. Thearea was then highlighted withDheneb Stone, with a finalhighlight of Skull White.

The loincloth started with a RegalBlue basecoat, which had ScabRed slowly blended into it for thefirst highlights. It was thenhighlighted with KommandoKhaki, before Skull White wasadded to the mix for a final,layered highlight.

96 WHITE DWARF PAINTING MASTERCLASS

The shield straps were painted in asimple three-stage method: a base ofScorched Brown, followed by alayer of Vermin Brown and thenBleached Bone.

The axe haft was given a basecolour of Scorched Brown. Joemixed this colour with BleachedBone, painting on the wood grain in progressively lighter mixes.

The pendant was painted using thesame technique that Joe used for theChaos Lords golden helm.

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

ASK

This month weve received a questionfrom Denis (no surname supplied) whoresides in Avernes, France. He askedabout the new White Dwarf modelspecifically how to paint his large beard.Over to Eavy Metals Keith Robertson.

If youve ever wanted to ask an expertpainter a question or you have a paintingproblem that needs solving, then sendyour query to the address below.

Keith: Painting beards is just like painting hair. Itseasier than many things as the rough texture ofmodelled hair provides the paint lots of ridges tocling to, naturally giving you shading andhighlighting to some extent. For a white or grey-tinged beard I would start with a coat ofAstronomican Grey. Shade with a wash of BadabBlack, and when dry shade again with Devlan Mud.Then you need to bring back the midtone so brushover another coat of Astronomican Grey, avoidingthe recesses. You can then highlight from there; youmay wish to go for an Astronomican Grey and SkullWhite mix, working up towards pure white, orbypass that layer and go straight to Skull White.

When painting beards be careful where the hairmeets the face you dont want a thick black linearound the join as this will make the paint schemelook artificial.

The White Dwarf model is only available bypurchasing a Sub-in-a-Box, which youll find in most

Games Workshop Hobby Centres.

Final Details

The pouch was painted AstronomicanGrey and then given a Badab Blackwash. The Astronomican Grey wasreapplied and then highlighted withpure Skull White.

PRINCE IlTHRIN

AHigh Elf army is a thing of beauty-ranks of perfectly dressed, elegantsoldiers in bright, crisp colours.Marching along with the rank and file arethe charismatic leaders of the High Elves-the Nobles and Princes. Whilst the High Elfnobility will dabble in politics and intrigueat court, on the battlefield they lead fromthe front, using their preternatural speedand aim to slay the enemy in droves. Forthat's what they have to do, a High Elfmust kill many times his own number asthey are a dwindling race, and whilehighly skilled in craft and war they will beoutnumbered on the battlefield.

When Darren, and indeed all of 'EavyMetal, come to paint High Elves it's alwayswith these traits in mind. The High Elves inthe Studio collection, whether a Spearman,Silver Helm or Archmage, all follow thesame principles. Their garments arepainted white, with a secondary colour ofblue. The blue complements the white,adding a defining tone to give the modeldepth and shape. Finally, red tends to beused as a third tone and spot colour. Mail,

armour and other details are painted insuitable colours, so you'll also see lots ofbright silver and gold. This palette is usedbecause they are the colours of Ulthuan,and helps give the whole collection auniform look. But don't mistake a cohesivewhole for looking monotonous or dull. Theplacement of the colours and the varyingshades make each model different from thelast. Elven characters are perfect examplesof this; rich golds and reds are used forarmour and jewels, while cloaks arepainted with fine patterns to look bespokeand worthy of the character's stature.

In this Masterclass Darren paints PrinceAlthran on foot. What makes thisMasterclass different is the subjectrepresents a character that already exists ina different form - whilst rare inWarhammer, this is the normal state ofaffairs in The Lord of the Rings, wheremodels are often painted both on foot andmounted. Needless to say, the methodsdescribed here can be applied to both, andit's often best to paint both at the sametime to make sure they look similar.

Seeing DoubleDarren took his painting cues from themounted version of Prince Althran that hehad already painted. But you can neverstop a figure painter tinkering, so for thisversion of Prince Althran, Darren createdan even more intricate pattern for thecloak lining and used the inclusion of theshield to incorporate more red onto themodel. However, before we get onto that,let's take a look at Althran's proud mount,Sharpclaw, to provide you withinformation on how to paint both models.

Sharpclaw the GriffonAs the Griffon was based upon tworeal world animals, Darren used lots ofreference; wildlife photography booksand images from the Internet proved tobe great resources in this respect.

1. Brian Nelson designed the front end of theGriffon to be a falcon so that's how Darrenpainted it. Using lots of reference, he noticed howthe front of the beak is a dark blue-grey and thebase is much lighter in colour. The eye is worthyof mention as it is a painstaking recreation of areal falcon's. Notice the bright blue iris thatsurrounds the whole cornea, and the large blackpupil in the centre - perfect for spotting prey.

2. Figure painters tend to paint claws in lightcolours, often in the same style as the beak. But,looking at wildlife pictures you notice just howdark they actually are. With this in mind, thetalons were painted brown with black claws.

3. The Griffon's plumage was painted inalternating light and dark brown colours, usingphotographs of falcons as reference. Quills andfeather highlights were painted on with BleachedBone and Skull White.

4. For the rear half of the creature, Darrenimmersed himself in pictures of big cats. Theblack tone of the creature's markings was halfChaos Black mixed with the main colour of thecoat. This makes the markings look like part of thecreature instead of just painted on top.

www.games-workshop.com 73

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Painting the Armour

Armour Plates

When using metallics, Darrenadvises building one layer upover many thin coats. This willgive you a streaky effect at first,but as you continue it willgradually form into a solid,vibrant layer. This is how hehas painted all the stages on hisarmour. So, when the step callsfor a layer of Burnished Gold,that hasn't been painted as onesolid coat, but over lots of thinapplications. Due to thepigment, gold takes longer todo than silver in this respect.However, persist, as you'll get amuch better finish.

Step 6. Finally, pure