WD Painting Masterclasses

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

Anjas technique is to choose one
area of the miniature and work on
that until its finished, before moving
on to another part of the model. This
requires extra care, so that you dont
get paint on already finished areas.
Anja started with the Terminator
armour, as this was the largest single

area on the figure defining the
colour palette for the whole model.
Red is a strong primary colour, but is
not the easiest colour to paint, so
weve included some top Eavy Metal
tips in the box below.
Red Armour
or this edition of Space Hulk, Alex Hedstrm has

provided us with a plethora of fantastic Citadel
miniatures all exclusively made for the game. To get
you gaming as fast as possible, the models come in two
colours: a rich, dark red as befitting the Terminators of the
Blood Angels Chapter and a deep purple, for the
Genestealers. However, such great-looking models are
crying out for an expert paint job.
So we turned to Eavy Metals Anja Wettergren for a
special Space Hulk Masterclass, to show you how to get
the best finish on your Space Hulk miniatures. The subjects
of our Masterclass series are normally character or
centrepiece models and this 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 to

play in the Sin of Damnation campaign.
With this in mind we could have used any of the
Terminators for this article, but we settled for Sergeant
Lorenzo. Before Anja got started she brushed up on
Sergeant Lorenzos background, as she was keen to apply
some techniques that might reinforce Lorenzos personality
as a dependable veteran who still seeks redemption for one
failed mission that happened over six hundred years ago.
To start with, Anja carefully removed the Sergeant
Lorenzo components from the frame, and stuck them
together by adding a small dab of Plastic Glue into the
sockets before pushing the parts together. When dry, the
model was undercoated with Chaos Black Spray.
You Will Need

For the techniques featured in this article, Anja has used
the following colours from the Citadel Colour, Wash and
Foundation ranges.
44 WHITE DWARF
SPACE HULK
Stage 1: For the basecoat, Anja

used a 1:1 mix of Blood Red and
Dark Flesh. This was applied in
thin layers until a solid coat of red
had formed.
Stage 2: Next, Anja added black to

create a 2:1:1 mix of Chaos Black,
Blood Red and Dark Flesh. This
was then carefully applied to the
recessed areas of armour.
Stage 3: For the initial highlight,

Anja used a 3:1 mix of Blood Red
and Dark Flesh, painted onto the
edges and raised areas of the
Terminator armour.
Stage 4: Pure Blood Red was then

layered on top of the previous
stage, to build up the highlight.
Stage 5: Next, Anja applied a

highlight of pure Blazing Orange,
painted over the Blood Red of the
previous stage.
Stage 6: For the final highlight a

2:1 Blazing Orange to Vomit
Brown mix was used, carefully
brushed on to the very edges.
Stage 7: To tie all the layers

together, watered-down Baal Red
was painted over the armour.
Stage 8: Anja then finished by

retouching the highlight with the
mix from Stage 6 once the wash
had dried.
Wash: W Foundation: F
PAINTING RED
Chaos Black Spray
Dwarf Flesh
Skull White
Blazing Orange
Golden Yellow
Vomit Brown
Bleached Bone
Fortress Grey
Blood Red
Hawk Turquoise
Astronomican Grey
Boltgun Metal
Ice Blue
Calthan Brown
Burnished Gold
Mithril Silver
Dheneb Stone
Codex Grey
Regal Blue
Iyanden Darksun
Chainmail
Scab Red
Tallarn Flesh
Chaos Black
Scorched Brown
Baal Red
Dark Angels Green
Scorpion Green
Badab Black
Dark Flesh
Shining Gold
Warlock Purple
Red hasnt always been an easy colour to paint. Being a

primary colour and a notoriously thin pigment, it has
always been difficult to highlight and shade, and to
cover darker tones, but the addition of Mechrite Red to
the Foundation range has really helped with these
problems. Eagle-eyed readers will notice that Anja
hasnt used it on Lorenzos armour; this is because
Eavy Metal use a tried and tested method for painting
Blood Angels that they have developed over the years.
Anja has used a mix of Dark Flesh and Blood Red as a
personal preference to give her that bit of extra control
over the exact pigment, proving that Eavy Metal
painters really are perfectionists!
As already mentioned, red can be hard to highlight
satisfactorily. One of the reasons is that mixing red with
white gives you pink, which doesnt work as a highlight.

Its best to highlight reds, especially when painting
Blood Angels, with oranges. Lighter highlights can be
achieved by adding neutral, ruddy tones to the oranges,
such as Dwarf Flesh and Elf Flesh.
Reds dont necessarily have to be shaded with black
or dark washes either. Green works for shading red
because it is situated on the opposite side of the colour
wheel. By the same token, a blue wash can give red a
purple tone, which will cool the colour, taking out
some of the severity if needed.
A Baal Red glaze is highly recommended after all
shading and highlighting has occurred, this will help
blend the layers and give the red the intensity needed
for the ceramite surface of Space Marine armour.
www.games-workshop.com 45
One of the distinguishing features of the

Sergeant Lorenzo model is the flowing
cloak. This was the area Anja focused on
after the Terminator armour. When
painting the cloak and its lining, it
doesnt matter in which order you paint
the areas; you just have to be careful not

to mark the other side. A steady hand is
needed here, especially when painting
the very edges of the lappets (the
streamers on the cloaks). If you take
your time it wont be a problem.
Cloak Lining
Stage 1: The lining of the

cloak was given a basecoat
of Calthan Brown.
Stage 2: A coat of Vomit

Brown, built up over thin
layers, was then applied
over the area.
Stage 3: Bleached Bone was

brushed onto the area in the
same manner as before, using
several thin layers.
Cloak & Loincloth
Stage 4: A 1:1 mix of Skull

White and Bleached Bone
was then applied, but this
was concentrated towards
the edges of the lappets.
Stage 5: For the final

highlight, pure Skull White
was used, applying it to
the very edges.
Stage 1: The gold areas on

the Sergeant were
basecoated with a 1:1 mix
of Shining Gold and
Scorched Brown.
Stage 2: The basecoat was

then given a wash with a
1:1 mix of Scorched
Brown and Badab Black.
Stage 3: A layer of Shining

Gold was then brushed
over the raised areas,
avoiding the recesses.
Stage 4: Anja then painted

on Burnished Gold, again
focusing on the areas of
raised detail.
Stage 5: Mithril Silver was

used for the final highlight,
applied only to the most
prominent areas, to create
the final highlight.
Gold
PAINTING THE CLOAK
PAINTING THE CRUX TERMINATUS
Stage 1: The lappets were left

black, before applying an initial
highlight of a 1:1 mix of Chaos
Black and Codex Grey.
Stage 2: The next stage built upon

the first highlight, this time using a
2:1 mix of Codex Grey and Chaos
Black applied to the edges.
Stage 3: Pure Bleached Bone was

brushed onto the lining in the
same manner as before.
The Crux Terminatus is a badge of honour that all

Terminators wear. Within each badge is bound a tiny
fragment of the armour that the Emperor wore onboard
Horus Battle Barge. Anja has reflected the importance of

this badge by painting it as stone, alluding to a regal,
almost monumental feel.
Stage 1: The Crux Terminatus was

basecoated with a 1:1 mix of
Scorched Brown and Codex Grey.
The recessed areas were left black.
Stage 2: A liberal wash using a

1:1:1 mix of Scorched Brown,
Chaos Black and Badab Black was
then applied over it.
Stage 3: Anja used Codex Grey to

start building up the layered
highlights, again avoiding the
recessed areas of the badge.
Stage 4: Fortress Grey was brushed

on as a mid-level highlight,
applying the paint to the raised
areas of detail.
Stage 5: Building up the highlights,

the next coat Anja applied was
Dheneb Stone.
Stage 6: A highlight using a 2:1

mix of Dheneb Stone and Skull
White was applied to just the
raised areas.
Stage 7: The next layer used the

same mix as Stage 6, but with
more white, to create a 1:1 mix of
Dheneb Stone and Skull White.
Stage 8: Finally, Anja used pure

Skull White on the highest points
of the badge such as the eye and
nose ridges of the skull.
Stage 4: Anja then used a coat of

pure Codex Grey for the final
extreme highlight.
PAINTING METAL
Most people paint the metal areas first, as they can be
quite messy, before touching up the surrounding basecoat,
but Anja was confident painting the metal after the armour,
painting it neatly. Remember to use a separate water pot

for cleaning and thinning down metallic paint to avoid
contaminating your other colours.
Metal
Stage 1: The metallic areas,

predominantly the storm bolter,
were given a 1:1 basecoat of
Boltgun Metal and Chaos Black.
46 WHITE DWARF
SPACE HULK
Stage 2: Anja then washed the area

with a 1:1 mix of Badab Black and
Chaos Black.
Stage 3: The area was then

highlighted up, first with
Chainmail, which was applied to
the raised areas and edges.
Stage 4: Finally, Mithril Silver was

painted onto the very edge of the
silver areas.
Anja has painted Sergeant Lorenzos face using an aging

technique, to reflect his background as a grizzled 650-yearold veteran. She started off by painting the face as normal,
THE FINISHED MODEL

before applying further highlights using mixes of Bleached
Bone and Skull White. These were applied to the ridges on
Lorenzos face, emphasising wrinkles and creases.
Stage 1: For the face Anja started

with a basecoat using a 1:1 mix of
Tallarn Flesh and Calthan Brown.
Stage 2: A heavy wash of watereddown Dark Flesh was then applied

all over.
Stage 3: She then applied a

midtone, starting with a 1:1 mix of
Tallarn Flesh and Dwarf Flesh.
Stage 4: Anja then followed with

another wash, this time of thinneddown Scorched Brown.
Stage 5: A highlight using a 1:1:1

mix of Tallarn Flesh, Dwarf Flesh
and Bleached Bone was then used.
Stage 6: Anja added more

Bleached Bone to the mix before
applying a further highlight.
Stage 7: For the next highlight Anja

then used pure Bleached Bone,
painted onto the most prominent
areas of the face.
Stage 8: For the final highlight, a

1:1 mix of Bleached Bone and
Skull White was applied.
The cybernetics were painted in

the same way as the metal parts of
the storm bolter. The red lens was
painted using the same method as
for the lumina (right).
SPECIAL DETAILS
The hair was first painted

Astronomican Grey and then
shaded with a 1:1 mix of Codex
Grey and Chaos Black. Skull White
was used as a highlight.
The lumina was first painted Scab

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

pad was painted using the same
method that Anja used for the Crux
Terminatus badge.
PAINTING THE FACE
Model shown slightly

larger than actual size.
Gems
Stage 1: The blood drops

were given a basecoat of
Warlock Purple.
Stage 2: A 2:1 mix of

Warlock Purple and Skull
White was painted in a line
down the side of the gem.
Stage 3: A 1:1 mix of

Warlock Purple and Skull
White was then painted
over the same area.
Stage 4: The highlight

continued to be built up
with a 1:2 mix of Warlock
Purple and Skull White.
The yellow stripes on the cabling

started with a basecoat of Iyanden
Darksun and Vomit Brown. Golden
Yellow was then used as a midtone,
and this was highlighted further
with a 1:1 mix of Golden Yellow
and Skull White.
Stage 5: Finally, a dot of

pure Skull White was
carefully placed on the
highest point of the gem.
The trophies on the Sergeants back

were painted using the gold
technique from page 45. The green
gem started with a Dark Angels
Green basecoat and this was
worked up with Scorpion Green
and highlighted with Skull White.
Power Sword
ASK
Stage 1: While the sword

blade remained black, a 1:1
mix of Regal Blue and Ice
Blue was used as the base
for the energy lines.
48 WHITE DWARF
Stage 2: Pure Ice Blue was

then applied over the
glowing energy lines.
SPACE HULK
Stage 3: Next, a highlight

using a 1:1 mix of Ice Blue
and Skull White was used.
Stage 4: A glaze made with

a thin 1:1 mix of Hawk
Turquoise and Dark Angels
Green was then brushed
over the whole of the blade.
Stage 5: Skull White was

carefully applied as the
final highlight onto the
very edges of the blade.
Have you a painting dilemma, problem or question? Well the Eavy Metal
team are only too happy to help. You can ask them anything (related to
painting miniatures, of course) and theyll have an answer. So whether
its about consistent basing techniques or how to paint the beard on a
Dwarf, send your query to Eavy Metals painting clinic. Bear in mind we
work quite far in advance of publication so it will be a good few months
before you see your query in print. Send in your question to:
White Dwarf,
Games Workshop,
Design Studio,
Willow Road, Lenton,
Nottingham, NG7 2WS,
United Kingdom
'A(<WLV<'
AlNlN(
Studiohobby guru Chris Pah is an exprtat prparinga for for battlein a

timly yet fftivmanner.Here h sharswith us som thniqusfor gtting
your Grey Hunter paksonto th tabltopin no tim.
o help ou musteryour SpaeWo|vspak for War,W,V

askedhris Peahto om up with a quik yet fftiv
,avyt|st|.
way to paintyour SpaWolvs in th
lth ou ghh r i shas u s da s i m p |i f i td h n i q u t o g t a
foreon the tabletop,ther,splentyof opportunitto ra||y
pus hyou r pai n t i n gs k i ||sp a i n ti n gt h e m a n h a ra tr
m od | syou , | ln o do u b ti n l u d i n y o u r a r m y .
l n t h fo| | ow i n gx a m p I s, h ri sh a s u s dh i s t r usty
but ther,snothingstopping
for baseating,
paintbrushs
you t aki ngt h e i n form a t i oann d s a l i n gi t u p f o r u s w ith
yo u
th itad|Spr ayCun. W hn paintingin baths,
havto o nsidrth o r derin w hih yo u paintth mo dels.
th mo d|shao sBIak
hr is,adviis to fir stundr o at
and thn sprayon th armourbaseoat.Howver,on
smoothpowerarmour/it,sbstto appIyth wash by hand.
Th ntstagis to set up a produtionlin - hris
rommndspaintingth darkeraras/suh as th fur,first.
the
Yo u an thnstar tto pik o ut detaiI ssuh as mtalli s,
fa and any yel|owor rd aras.hen you just nedto
basthem up and they,||be readyfor ation.
R >H I R
Step I, To ahieve a stron7 tone for the hair, iirst

baseoat it with Vermin Brown.
Step 2, tslazing rang was used to highlight the

hair, fousing on th raised strands.
26 WHl DWARF SPAEWoLVEs DslN Nos
Step 3. The final highlight was mixed from equal

parts Blazing range and Skull White.
<RyH | R
v\
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itep 1. To paint the gre hair, hris started with a
baseoatof pure ode Grey.
Step 2. highlight was applied to the raised

areas and edges of the moustahe using pure
Fortress Grev.
Step 3. final highlight using pure Skull White

was then used to pik out the most prominent
areas of the hair.
Step 2. The next stage was to give the armour a

wash using a l:1 mix of Sorhed Brown and
Fenris Grev.
Step 3. Pure Space Wolves rey was used to

highlight the armour, applying it to the edges and
raised areas.
Step 2. The yellow was then bloked in with a

1:1mix of Golden Yellow and Tausepthre.
Step3. An equal amount of Skull White was then

added to the previous mi. This was used as a
highlight, applied Iose to the rim.
Step 2. hris applid a heav drybrush of Vomit

Brown all over the fur loak'
Step3. A final drybrushof Bleahed Bone was

then applied, but this was worked towards the
ends of the oelt ratherthanover the whole area.
1
v\
ROUR
PovR
Step l, The power armour was given a Senerous

basecoat using a 1:1 mix of Shadow Grey and
Spae Wolf Grey,
iUL>RP>
Step 1, The shoulder pad was first painted with a

baseoat 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 often

worn by the Spae Wolves, startwith a baseoat
of Sorhed Brown.
www.8ams.workshoP.om 27
s w,vsaid beforeit is th fa of a miniaturthatdraws

the eye to it and so some attentionnedsto b spenton
o n a m o d ls u h a s th i son. NeiI
an d ar ou ndi t ,e sp e i a ||y
has paintdthe Wolf Guard,sfae in Iightertones,as this
definethe foal point.
h|psth eye immdiatIy
When paintinga fae with suh a strongexpression,it,s
importantto kpyour paintthin so thatou don,tlosth
detai|,so it,sbstto use two or threethin |ayersfor ah
stag.lf the paintis too thik you not on|y riskobsuring
that
s w iI I
th de t ai I,but a| s oa d d i n gi n v i s i b l eb r u s h s tr o k e
dtratfrom the finishdfft.
he otherpointto note is how the hair meetsthe fae.

the two areas;againthis h|psth eye
faint line separates
defineth foal pointof th miniature.When NeiI applied
the baseoat|ayerto the fa he paintedrightup to the
stageshe didn'twork the
hair,but with the subsequent
paintup to th edge,threbyratinga thin boundaryIine
of darkrpaint.
he tethwere paintdB|eahedBone.NeiI lftthe
eyesblak and thenfil|din th white of th ye with
B|ahdBone,leavinga gap in th midd|to reatth
pupil _ steadyhandsare neededhr!
he Fa
Step l. he face was basecoated with a 1:l mi

of Vermin Brown and Sorhed Brown,
Step2. Next,a 2:1:1 mix of Dwarf Flesh,Vermin

Brown and Scorhed Brown was used. This was
applied to all but the reessedareas.
Step 3. Pure Dwarf Flesh was then applied,

brushed onto the face as a mid-tone - once
again it was left out of the reessedareas.
Step 4. The face was then highlighted, first with

a 1:I mix of Dwarf Fleshand Skull White,
applied to the raised areas.
Step5. 3:1 mi of SkullWhit and Bleahed

Bone was then applied, followed b a 1:1 wash
of Gryphonne Sepia and Ogryn Flesh.
Step 6. The ees and teethwere paintd with

Bleached Bone, while the highlight was
retouhed using the mix from Step5.
Step2. The hair was then given tvvoconseutive

washes of Ogryn Flesh,followed by a highlight
of Dwarf Flesh applied to eah hair strand.
Step 3. Bleahed Bone was then applied as a

final highlight. o finish, a glaze of Baal Red
was brushed over the whole area.
Th Hair
Step l. The hair was first painted with Bestial

Brown followed b a layer of Blazing Orange.
www.gams-workshop.om 89
The main part of the

backpack was painted
in the same wa as the
power armour,
uch of the power armour

is obscured b details suh
as the pelt - it's much
more prominent on the
rear of the model.
her are a muItitudeof methodsfor paintingpower

armour,many of whih have been detailedin White Dwaf.
The methodemployedby,avy eta| has evolvedovr a
good few years and is provn to be very effetive.You start
by buildin8up a f|atoIour;this is the baseoat,applied
over severalthin layersuntil you have a so|id,opaque oat.
highIightis then appIiedto the edgesof ah segmnt
and a shade in the joints betweenthe setions.he Iight
soureis assumedto be oming from diret|yoverhead,
his is
and so the top edgeshavea more intensehighIight.
on the fist shown in the stepsbelow.You
bestdemonstrated
an see in the laterstageshow the high|ightis applied
more heavi|yto the top of the fingersand arossthe thumb;

this liftsthe miniatureand avoidsonfusingthe eye with
multip|eIightsoures.
That,sthe methodin its most generaltermsbut you an
add to this with additionaIpaint effets.For instan,we,]]
be takinga |oserlook at how to inflitextrabattl
damag,srathesand hips over the page.SpaeWolves
power armouris oftnaentedby ye||owsand reds,as
o]ours.This is normally
they makegood ontrasting
appliedto the shoulderpads,as we,]]over in moredetaiI
Iatrin the arti|e,and it,snot unknownfor dagsor stripes
on th armsor legsto be paintedonto the armouras wel].
h Power Armour
Step l. A 1:I :1 basecoatmi of Kommando

Khaki, Shadow crey and Space Wolves Gre
was applied to the power armour.
Step 4. Pure Space Wolves Grey was worked

onto the edges of the armour| reating a
d i stinct edge highIight.
Step2. A 1:1 mix of Shadow crey and Sorched

Brown was arefully brushed into the reesses
between the armour setions.
Step5. Devlan ud was washed into the

reesses between the plates of armour'
90 WH!EDWARF ,VYLsRLss
Step 3. Next, a 2:1:1 Space Wolves Grey,

Shadow Grey and Kommando Khaki was
applied towards the edges of the armour.
Step 6. A final highlight using a 1:1 mix of Space

Wolves Crey and Skull White was applied, with
a stronger application on the top edges.
The wolf tails get

Iighteras they taper
towards the end, but
otherwise use the
technique below.
easy,as the texturis idalfor

Paintingfur is reIativeIy
givingyou a p|asingfftwith minimal
drybrushing,
effort.However,this is an ,avyetal-paintedmod|/so it
Won/tsurprisyou to |arnthat insteadof drybrushing
the
fur,Neil pikedout the separatelumpsand high|ightd
The only exeptionto this Wasa Very
them aordingly.
lightdrybrushin Steps3 and 4, detailedbelow.
lt,sa|waysa good idea to get some real-worldrferene
bforeyou startpaintingfur. Referenbooks on natural
historyare a good startingpoint,as they often hav |ear,
photosand, as a|ways,the Intrntis a great
high-quality
tool for findingsuitableimages.
Keeping the backpack

separateallows Nei/ to
paint the tails without
obstruction.
Using ra|-wor|d
referneallowsyou to paintyour fur
to |ookmor ralisti- for examp|e,the fur on th bak of
an animaItendsto be darkr,lighteningout towardsth
undrside.Similarly,wo|ftai|stndto lightentowardsthe
end and so Neil has rep|iated
this effton the two taiIs
danglingfr o mthe bakpak.BleahdBo neand SkuIl
White were usdmor havilythan on the peltsto ahieve
this lightertone.
Nil has paintedthe undersidof th pe|tsred,starting
with a baseoatof pure Sab Red. tortresscry was added
to th mix in gradualstagesas he bui|tup th layersuntiI
h was happywith the fina||ook.
Th Fur
Step 1, The fur areas were first basecoated with

Scorched Brown. solid oat was created usin
several thin layers.
Step 2. Bestial Brown was then used to pik out

the fur, this was more heavily applied towards
the 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 in

the centre of the pelt, but paintd onto the
clumps of fur around the edges.
Step 5, Skull White was the final highlight,

applied over the whole pelt with a slightl
heavier oating on the edges.
Step 6, Two washes were then brushed over

the pelt; the first was Gryphonne Sepia,followed
by Ogryn Flesh when the first wash had dried.
www.games.workshop.om 91
The pair of wolf

laws are a real
defining featureof
the Wolf Guard,
and one painted
really bring the
model together.
Both sides of the wolf laws were painted

with the energy effet, as the model,s open
posture makes every angle visible.
N i I h as pai nt e da b ri ||i a nf tr e h a n de n e rg yf i e l dd esign

plyingarossth woIf laws.You,Ilse simiIareffetson
many ,Eavetal paintedmod|sthatfaturepowr
Waponsin on form or anothr.
t h i st h n i q u eb y ,b |o t h i n g ,otnh
N i I s t ar t d
basoatto the |aws.his mansthe paint,whil
t h i nne dd o wn ,wa s a p p |i di n a n a I m o s t
re r nai n i ng
roughshodway, lettingthatpaintrun onto the
unontrol|ed,
staterathrthan bingontroIId
areaand dry in a naturaI
,l,
by the brush(seStep be|ow).Whn dry,this formedthe
basisof the frhanddesign.h nxtstagwas to painton
th initia|energyIins;theswere paintdusingth pattrn
We featured an alternative energy field

oaftern in last month's masterclass - this
effect *'ill n,ork with a varietY of olours,
reatedin the prviousstepas a guide.trom thereit,sa

asof bui|dingup the freehndwork b addingto the
o lo ur sand mix s,ah
enr gyI inesw ith th subsqunt
stagshouldhavea finr Iinethanthe previouson. Aftr
thin g|azof th
eah Iayr,NeiI app|iedan xtreme|y
sameo|ourand washdit ovr the ntir|aw.his helps
and addsa rtainthral
ratth ,frosting,ffet
qualityto the lo o k o f th mo dl.
Nil has paintedth ner gylinesin a mo r tightIy
pakedand densrpattrnon the undersidof the laws,
the powerof the wolf Iawsis fousdon the
suggesting
areaof th weaponthatwi|l do th mostdamag.
he Wolf Claws
Step l. Thinned-down Regal Blue was applied to

the wolf laws in a haphazard, ,blotch,fashion,
as desribed above.
Step 2. Lines were painted onto the claws with

Hawk Turquoise, using the pattern created in the
previous stage as a guide.
Step 3, :1 mix of Hawk Turquoise and

Bleahed Bone was painted over the lines.
glaze of the same mix was then applied.
Step4, 1:1 mix of Bleahed Bone and Hawk

Turquoisewas used on the lines, then turned into
a glaze and brushed over the area.
Step5. Next,a :1 mix of Bleahed Bone and

awk Turquoisewas used. one again this was
thinned to a glaze and applied to the whole area.
Step 6. Finall SkullWhite was painted onto

the ver edges and points of the Iaws as an
extreme highlight.
92 WHIE DWARF
,VY TAL AsRLAss
lIAttlAG]
B]TIE
PaintingbattIedamagonto power armouran add ral

haraterto a mod|,suggstingtheseare anient,wellworn suitsof armour,ratherthan somethingthat'snew or
mass-produed.
Th numberof hips,marksor srathesyou add is
up to you; the more you apply,the more battle-wornthe
armourwi]l look. Bar in mind thataddingtoo muh
battledamagean distratfrom the atual paint sheme.
It,salso worththinkingaboutthe loationof the marks.
Most wear and tearwi||happenaroundthe jointsof th
armour/but aressuh as the greavesand bootswil| a|so
Step 1. Neil painted on the chips by first

reappling the power armour baseoat _ a
1:l:1 mix of Kommando Khaki,Shadow Crey
and Space Wolves cre - in small areason
the armour. For deeper hips the mix was
darkened b adding more Shadow Grey.
see a fair sharof srathsand hips from walking

h armouron the
amongstthe debrisof a batt|field.
armsand fistswiIl oftnb damagedas weIl,due to
previouslos ombatenounters.
It'salso importantto vary the age of the battle
damageon the power armour.lf evry srathand mark
is of th sametyp,then it will give the impressionthat
a|l damagehas happenedin juston battleratherthan
older
throughthe ages.Creatingdeeperhips suggests
damage,whi|e lightsrathesor brightsilverhips infer
more reentinidents.
Step 2, Below the previous application pure

Space Wolves Crey was added. Again, the
thicknessof the line and amount used will
depend on the effect ou,re after, from the size
of the hip to the age ou want to represent'
Step 3. Skull White was then used underneath

the hip, add a small amount justto highlight
the damage. You can inrease the amount to
suggesta more recent chip or sratch.
or Battle Damag Examples
Vehicles suh as tanksare often weatheredand overed in scrathes,

especially around areasof heavy use suh as ladders, hatchesand on
'dozer blades, as in this example.
This White Sars Vanguard Veteranwears an ancient suit of

power armour, the age of which is suggestedby the heavy chipping.
This SalamandersDreadnought shows heav battlefield wear

and tear.Severe metalli scratchesan be achieved with a
baseoatof Boltgun etal and then a following laer of ithril
Silver. A wash of Badab Black makesthe chip look older.
www.8ams.workshop.om
With the main areasof the miniaturenow painted,Neil

startdwork on th additiona|dtaiIs,suh as th shouIdr
pads,gemsand runes.Don't be temptedto rushthrough
theseIastfew bits_ give them as muh tim as you wou|d
any otherstageto ensureyou maintaina high standard
throughoutthe proess.
he methodNeiI usedto paintthe y||owis a
partiular|y
interesting
tehniqueas it is on|ythrstags,
but produesa very rih o|our.lt was a|sousedon the
othershoulderand kne pad of th mod|.
Yellow was used elsewhere on the model as a ontrast to the grey armour.
Th ShouldrPad
Step l. Bubonic Brown was painted in the area

of the shoulder pad betvveenthe rim and the
raised creat ompany symbol.
Step 2. This was highlighted with a 1:I mix of

Buboni Brown and Bleahed Bone' then washed
with ogryn Flesh and ryphonne Sepia.
Step 3. A highlight of Bleahed Bone, followed

by a 1:1mix of Bleahed Bone and Skull White
was applied. The icon was repainted black.
Step 2. wash of Devlan ud was then applied

to the rim. Be careful when applying the wash so
run-off doesn,t contaminate the ellow area.
Step 3. A lvlithril Silver highlight was applied

to the edges of the rim, onto the rivets, and
as small sratheson the metal areas'
Step 2. The heads were highlighted with Shining

Gold, followed by a wash of Ogryn Flesh.
Step 3. highlight of Burnished Gold was

applied, followed by a highlight with a 1:1
mix of Burnished cold and ithril Silver.
taI
Step l. The metal rims of the shoulder pads

baseoated with a layer of Boltgun etal.
Th Bakpak
Step l. The ornate wolf heads were firstpainted

with a :1 baseoat mix of Shining cold and
Bestial Brown.
94 WHl DWARF
,VY L MsRLss
he Wo|f Cuard,sbelt rea|lystandsout due to the glowing

runes.This efftis ahivdby framingth glowingara/
in this as a rune,with a darkershadeof the main olou.
layershouldthen be Iighterin ton and
hsubsequnt
shrinktowrdsthe soureof the iIlumination.
Th skuIIin th ntrof th be|twas firstpainted

Bestia]Brown fo||owdby a layerof SnakbitLeather.
h sondstagewas bui|tup with a layerof Vomit Brown
fo||owdby B|eahedBon,then givena wash of ogryn
F|shbforereeivinga final highlightof Skull White.
Blt and Runes
Step l. The runeswere first painted Regal

Blue and then worked up with a 3:1 mix
of Regal BIue and lce Blue.
Step 2. Next, the were painted with a

1:1 mix of Regal Blue and le Blue; this
was followed by laer of pure le Blue.
Cabling
The cable stripeswere painted Sab Red to reate a
red and blak alternating pattern'A line of odex
Grey was painted along the whole area to simulate a
reflection, whih was highlighted with Fortress Gre.
Chest Cem
he gems on the model were painted Red Gore, then
Blood Red. This was followed by highlights of Blazing
Orange and Vomit Brown. An extreme highlight of
Bleached Bone and finall Skull White was then applied.
Step 3. The runeswere highlighted

with Space Wolves Crey and then a
final, extreme highlight of Skull White.
Sculpted Base
he orc icons on the base were painted in a
similar manner to the metal rims of the shoulder
pads, the onl difference being that a Badab
Black wash was used insteadof Devlan ud,
SkuIs
These were painted using the same
mthod as for the belt skull but a
slightly heavier layer of Bleahed Bone
was used to give them a lighter tone.
www.games-workshop.om 95
This months masterclass focuses on the

menacing Daemon Prince of Chaos
designed by Juan Diaz. This article
explains how our Eavy Metal team
painted one for the Studio Black Legion
Chaos army and also takes us step by
step through an Iron Warrior Daemon
Prince conversion.
Painted by Kirsten Mickelburgh
BLACK LEGION
DAEMON PRINCE
PREPARATION
Before painting any multi-part model its
a good idea to check that all of the
parts will be accessible to paint once
its assembled. In the case of the
Daemon Prince, the shoulder guards
and hands were left off so that the hard
to reach parts could be painted before
they were glued to the rest of the
model. Once the rest of the Daemon
Prince had been assembled, an
undercoat was applied using Chaos
Black spray. When spraying the model,
you need to make sure that you cover
the model thoroughly, but be careful
not to obscure the details by
overloading the model with paint.
DAEMON ARMOUR
The model
was painted to
represent an
Exalted
Champion of
the Black
Legion who
has been
elevated by
the powers of
Chaos to
become a
fearsome
56 EAVY METAL MASTERCLASS
MASTERCLASS
Daemon Prince. As such, his armour
was painted in the colours of the Black
Legion, black with gold trim on the
shoulder guards and greaves. All of the
raised areas of the black armour were
highlighted with a 50/50 mix of Chaos
Black and Codex Grey, then Codex
Grey was used on its own, before a
final highlight of Fortress Grey was
applied over the very top ridges of
the contours in the Daemons
armour. Once these highlights
had been applied, thinned-down
Black Ink was washed over the
armour to tone down the
brightness of the highlights, blend
them with the armours main
colour and merge the joins
between all the different colours.
The metallic trims around the
Daemons shoulder guards and
greaves were painted with Tin Bitz and
then highlighted by
using a 50/50 mix of
Tin Bitz and Shining
Gold. A thinneddown coat of
Chestnut Ink was
washed over this to
blend the highlights
together.
Once this
had dried, a
little Shining
Gold was
used to
highlight the
metal before
a 50/50 mix
of Shining
Gold and
Mithril Silver
was applied
to the very
edges of the
trims. As a
final touch, a
tiny amount
of Mithril
Silver was
painted onto
the furthest
edges of the
detailing
where the
light would
catch it.
DAEMONIC FLESH
The Daemon Prince was once a mighty
Chaos Space Marine Champion, and
his flesh and armour have melded
together. This meant that the skin tones
chosen for the model would need to
blend back into the colour of his
armour. Starting with the Daemons
neck, an 80/20 mix of Chaos Black and
Red Gore was painted where the
armour and flesh join, to create the
effect that they had merged. This was
applied down either side of the spine
and across the shoulders towards the
elbows where it fades to black again.
This effect was achieved by painting

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

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

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

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

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

once this had dried,
Yellow Ink was used to
give the runes the
appearance of glowing
heat. Orange Ink was
then dabbed in the
corners to give the
impression that the
centre of the blade was
the hottest (as metal
glows brighter the hotter
it is) and finally, a tiny
dot of Blood Red was
painted into the very
edge of each rune.
Once the runes were
painted, any areas
where the colours had
spilled over onto the
blade were tidied up
with Chaos Black. The
sword blade itself was
painted by blending the
Chaos Black outwards
with Hawk Turquoise
towards the weapons
edges. The edges of the
sword were then
highlighted with a 50/50
mix of Skull White was
added and Hawk
Turquoise before a final
highlight of Skull White
along the very tip and
barbs of the blade.
BASING
Watered-down PVA glue was spread
evenly over the models base before
being sprinkled with sand. Some stone
chips were also glued to the base. This
was drybrushed with Codex Grey then
Bleached Bone, though some of the
larger stones had Skull White brushed
over them. Some small areas of Static
Grass were glued to the base with PVA
glue, clustered at the base of the rocks,
since this is where mosses and lichens
generally prefer to grow.
The skulls decorating the

Daemon Princes armour
were painted with a 50/50
mix of Codex Grey and
Fortress Grey then
highlighted with Fortress
Grey. Final highlights were
added by painting Skull
White along the raised
edges of the skulls.
DAEMON WEAPON
The Daemon Princes weapon glows
with inner fires, and this effect was
achieved relatively simply. A watereddown layer of Skull White was brushed
into the depressions of the runes along
56
IRON WARRIORS
DAEMON PRINCE
Last, but not least, the plastic dragon

wings were glued into place on the
models back, with Green Stuff
covering the joins. These wings fit very
well into the recesses left when the
backpack isnt attached and gives the
model a very imposing look!
Painted and converted by Tammy Haye
DAEMON ARMOUR
ASSEMBLY
AND CONVERSION
The Iron Warriors Daemon Prince was
assembled as normal, but it was
converted to make him stand out from
the Black Legion Daemon Prince. The
gun barrel on the left arm was
extended using Green Stuff to make it
more prominent and emphasise the
mechanised nature of the Iron
Warriors. Then the sword blade and hilt
were clipped from the top and bottom
of the Daemon Princes hand and a
hole drilled through to allow the
insertion of an aluminium rod to serve
as the haft of an axe. A blade from the
Bloodthirsters axe was clipped off and
the detailing on both sides of the
blades filed flat. This was glued to the
aluminium rod and the spear point from
the skeleton warriors plastic regiment
was glued to the top. The back blade
was also from the Bloodthirsters axe,
clipped and filed to fit on the back of
the haft.
Since this
Daemon Prince
was going to
have wings
instead of the
jump pack
vanes, the skull
on the end of
one of these
vanes was
56 EAVY METAL MASTERCLASS
sawn in half and removed. These were

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

this model was first given an undercoat
of Chaos Black spray. Once the
undercoat had dried, the armour was
drybrushed with Tin Bitz then Boltgun
Metal. Next, the armour was given a
glaze of watered-down 50/50 mix of
Brown and Black Inks. This was then
highlighted with Boltgun Metal, blended
up from the darkness of the recesses
of the armour around the edge trims.
Final highlights of Mithril Silver were
applied on the highest areas of the
armour, making sure that, over the
some of the more organic areas of the
metal, the brushstrokes were painted
along the line
of the grain.
This technique
was used on all
the silver metal
areas, such as
the axe blade,
visor, Necron
head and Iron
Warriors icon.
The edge trims
of the armour
were left at this
point until after
the Daemon
Princes flesh
had been
totally painted.
DAEMONIC FLESH
The techniques
used on the fleshy
areas of the
Daemon Prince
were applied to all
the areas of the
model where its
flesh had morphed
with its armour
and burst through,
such as the wing
muscles, axeflesh, hands,
head, knee guard
and arms.
Firstly, a basecoat of Dark Flesh was

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

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

armour were painted Snakebite Leather
then highlighted with
Bubonic Brown. This was
then given a further
highlight of Bleached Bone,
before a final highlight of
Skull White was applied.
The same method used to paint the
yellow of the cables was applied to the
Space Marine helmet,
with an extra highlight
of Bleached Bone to
give the edges of the
helmet more definition.
The eyes of the
Daemon Prince as
well as those on his
armour were picked
out in Snot Green then
highlighted with Bilious
Green followed by a
final highlight of 50/50
Bilious Green and
Bleached Bone. The
green eyes on the
models armour were
also given thin lines of
Chaos Black for the
slit pupils.
A final highlight
was applied over
the highest
portions of the
flesh with
Bleached Bone.
ARMOUR TRIMS
The interiors of the shoulder guards were
left black and the metallic trims around
the Daemons shoulder guards and
greaves were painted with Dwarf Bronze.
These were then highlighted with Shining
Gold before applying a glaze of Flesh
Wash to blend the highlights together.
Once this had
dried, a
highlight of
equally mixed
Shining Gold
and Mithril
Silver was
painted on the
very edges of
the trims.
The gun barrel, chains and spine of the

model were painted Dwarf Bronze then
highlighted with
Shining Gold.
Chestnut Ink was
washed over this
and a final
highlight of Mithril
Silver was
painted on the
highest areas.
WINGS
Areas where the fleshy colours from the
Daemon Princes wing muscles had
spilled onto the wing membranes
themselves were cleaned up with

Chaos Black. The scaled parts along
the wing muscles were repainted black
where the painting of the flesh here had
gone over them. To highlight the wings,
a fine line of Codex Grey and Chaos
Black was painted along the back edge
of the grooves in the wing membranes,
as this is where they would catch the
light. To make this highlight subtler, a
fine line of Codex Grey was applied in
the very centre of this line before an
extremely watered-down Black Ink was
glazed all over
the wings
membranes. To
make the horns
at the ends of
the wings and
the scales stand
out, they were
given a coat of
Gloss Varnish.
HORNS
Where the Daemon Princes horns met
its head, Bleached Bone mixed with a
50/50 mix of Red Ink and Flesh Wash
was applied. Then, moving further
along the horn, Bleached Bone was
painted and blended back towards the
Daemon Princes head. This was done
again, even further along the length of
the horn, using Bleached Bone mixed
with a dot of Chaos Black. This process
was repeated, each time moving further
down the horn and adding more Chaos
Black to the mix until the tip was
completely
black. To finish
off the horns,
some Gloss
Varnish was
applied to the
very tips.
BASING
The Iron Warriors Daemon Prince was
based in the same way as the Black
Legion one, using watered-down PVA
glue spread evenly over the models
base, which was then sprinkled with
sand. This was drybrushed with Codex
Grey then Bleached Bone. Some small
areas of static grass were also glued to
the base with PVA glue to break up the
uniform colour of the base and make it
suitable for use on both green and
urban battlefields.
DARK SKIN Intermediate
MASTERCLASS
FACES REDUX
When painting dark faces it is difficult to get colour, life

and expression into them because of the colours you are
using. To help solve this problem I didnt make the skin
tone too dark. This enabled me to wash the colour around
the lips, eyes and nose to bring the face to life. I then used
Back in February 2009 we showed you how to paint human

faces and touched on other techniques. In this article Darren
Latham goes into even greater depth about painting faces the
Eavy Metal way, including more advanced techniques.
he face is always the most important

part of any miniature; it is the first
part anyone will look at and needs
time and attention spent on it. It dictates
the whole appearance of the finished
miniature. As such it deserves extra
attention when it comes to painting, as its
tricky to get right, which is why White
Dwarf turned to the Eavy Metal team for
help and advice. Last time we showed you
how to paint the skin and the hair, as well
as more advanced techniques such as
painting scars. But I think theres much
more to say on the subject, so Im going to
delve even deeper into the art of faces.
Before we start, its worth recapping
some of the basics discussed last time:
always keep your paint thin and apply
several thin layers rather than one thick

coat of paint; remember that you can
always add paint to thin layers but you
cant take away from one thick layer. The
other advantage is that thin layers will not
obscure the detail on the face. You can add
expression with painting and give an
indication as to the environment that the
figure is placed in. All of this will add to
the depth and background of the miniature.
One final thing to keep in mind is that
the skin areas on your models are the only
parts that will have colour underneath
them, something known as subcutaneous
colours. Skin is the living part of the figure
and should have tones and nuances added
to it to give it life Ill cover this in more
detail in a moment.
You Will Need

For the techniques featured in this article Darren has
used the following colours from the Citadel Colour,
Wash and Foundation ranges.
TM
In February 2009 we
published an Eavy
Metal Masterclass on
painting faces.
Darren Latham,
assures us he has
much more to say on
the subject.
Chaos Black Spray
Kommando Khaki
Space Wolves Grey
Bleached Bone
Liche Purple
Vomit Brown
Codex Grey
Regal Blue
Chaos Black
Rotting Flesh
Fenris Grey
Dark Flesh
Scab Red
Knarloc Green
Dwarf Flesh
Scorched Brown
Orkhide Shade
Elf Flesh
Shadow Grey
Tallarn Flesh
Fortress Grey
Skull White
Badab Black
Goblin Green
Snakebite Leather
Thraka Green
an edge highlights to give it definition, if the highlights are

layered up too much then the dark look of the face will be
lost. Remember that the face is very important and you
mustnt lose it to the rest of the figure, so a fine highlight is
needed on dark skin tones to emphasise the expression.
Step 1. First of all the face was basecoated

with Dark Flesh.
Step 2. A wash using a 1:1 mix of Scorched

Brown and Badab Black was applied all over
the face area.
Step 3. A 2:1 mix of Dark Flesh and Vomit

Brown was then layered on to the face.
Step 4. Next, a 1:1:1 mix of Dark Flesh, Vomit

brown and Kommando Khaki was applied as a
first highlight.
Step 5. Scab Red was washed around the bottom

lip while a 1:1 mix of Regal Blue and Dark Flesh
was washed around the eyes.
Step 6. Finally, Bleached Bone was used as a

highlight, applied to accentuate the models
dour expression.
Ageing Showcase
AGEING
With the two age examples shown here, the aim is to
illustrate that even with the same head you can achieve a
completely different look with the use of a brush. One is a
young man and the other an old veteran. The young face
has lots of warm colour within it and a smooth finish to the
face with minimal lines added, all this adds to the look of
the face being youthful and healthy. With the older face,
greys were added to the skin highlights to wash out the
colour. Many thin expression lines were added to give a
wrinkled appearance.
Warlock Purple
B
This model represents an older
version of Griff the paint has
been applied in a sympathetic
way, with grey tones to wash out
the colour. In the other example,

Bilbos age has been alluded to
with the addition of expression
lines and creases.
FEMALE FACES Intermediate

When painting female faces, subtlety is the key. A much
softer approach is needed for any female face, and this is
especially true for The Lord of The Rings figures. I decided
to use a white undercoat for Arwen to make sure that the
skin did not end up too dark, as can sometimes happen if
a black undercoat is used. Once again I started with a
midtone colour. This cuts down on the number of paint
layers, more of which would be needed if a darker tone
were used as a base. Colour was then washed over to add
warmth to the face and give me some direction as to
where I should place my highlights. Thin paint layers were
then applied to build up the light appearance.
The colour on the cheeks was painted on just under

the cheekbone to add depth and height. Its important to
note that if placed on the cheekbone itself it will flatten the
face and give a flustered appearance. Just as vital are the
lips the bottom lip is straightforward but the top lip can
cause problems. One thin line is enough to add colour and
fullness to female lips, any more than this and it will look
over the top and fake. A small highlight on the bottom lip
is a good way of adding a different surface texture to the
face. I also added some eyebrows this is usually a big
no-no in miniature painting, but with certain female
visages it can enhance the look.
NON-HUMAN FACES
The Warhammer world and the galaxy of the 41st Millennium are inhabited by
more than just humans, but painting an alien face calls for a different technique.
Lets start with a detailed Ork face before moving onto other creatures.
ADVANCED
This greenskin method is more realistic than the four-stage
example in the previous article. I used a more natural
green with Knarloc Green rather than Goblin Green,
which can sometimes appear too bright. For this stage by
stage I started with a midtone green rather than a dark
green and washed colour into the face for shade. I then
added Vomit Brown to the base colour for a natural
warmth, rather than adding yellow. This gives the face a
real look rather than a cartoony appearance. Nuances
1
Step 1. The face was first basecoated with a 4:1
mix of Tallarn Flesh and Scab Red.
Step 2. This was followed by a wash of Dark

Flesh and then followed by a further wash of
Scorched Brown.
Step 5. The next highlight layer was a 2:1 mix of

Elf Flesh and Skull White. The lips were painted
with a 2:1 mix of Scab Red and Tallarn Flesh.
The cheeks were painted with a 1:1:1 mix of
Scab Red, Tallarn Flesh and Warlock Purple.
were added around the eyes, nose and lips to give the face
life and have the colour appear subcutaneous (see p92). To
get this effect a red was used to represent blood and green
added to tie it to the rest of the face, applied to the lower
portion of the face. I used blue around the eyes to give the
face some expression and focus. These areas were then
highlighted to pull them into the surrounding face and tone
them down a little. This Ork face should be reserved for
characters and special figures that require extra attention.
Step 3. Highlighting started with a 2:1 mix of

Tallarn Flesh and Elf Flesh.
6
Step 1. The face was first basecoated with
Knarloc Green.
Step 4. A further highlight of pure Elf Flesh was

then applied.
TECHNIQUE
Step 6. The eye shadow was painted with

Tanned Flesh. Finally the face was highlighted
with Skull White.
Step 2. A wash using a 1:1 mix of Dark Flesh

and Catachan Green was then applied all over
the face and head.
Step 3. This was followed by a second wash

using a 2:2:1 mix of Scorched Brown, Catachan
Green and Chaos Black.
Female/Elf Showcase
Step 4. Knarloc Green was then built up round

the face in several thin layers.
With blonde hair, the features on the face need to be even subtler. Skin
should also be kept pale, or else it will tend to look overly pink when
contrasted against the yellow in the hair. Any make-up should barely be
hinted at. This is especially true with The Lord of The Rings models,
where a hint of realism is desired this Galadriel model is a good
example. In general, the rule of thumb is that the lighter the hair, the
lighter the skin needs to be.
94 WHITE DWARF
PAINTING FACES
To enhance the
fantastical look of
Warhammer models,
your painting needs to
be bold and striking.
You should still be
mindful of the things
weve already talked
about, but you dont
need to ensure that they
are as life-like as The
Lord of The Rings figures.
Step 7. A wash of Scab Red and Knarloc Green

was used around the lip and scar, while a mix of
Regal Blue and Knarloc Green was brushed
around the eyelids.
Step 5. A highlight using a 2:1 mix of Knarloc

Green and Vomit Brown was then applied.
Step 8. The raised areas were then highlighted

with Bleached Bone.
Step 6. Bleached Bone was added to the

previous mix in a 1:1 ratio and applied as the
next layer of highlighting.
Step 9. Skull White was used as the final

highlight and also applied to the teeth.
TAU SKIN Intermediate

For Tau skin a different approach is needed I had to do
my research for this and found out that Tau blood is purple
(for very scientific reasons, Andy Hoare assures me)! With
this in mind I washed a mix of purple over the skin to
make it look more lifelike, this adds good definition and
tone to the skin. I then highlighted the skin by adding in
Kommando Khaki. This is a very good neutral tone with
UNDEAD SKIN Intermediate

some warmth to it, to make the skin look natural, but is
not not too harsh as to form a stark contrast. With Tau
being blue in skin tone, all of these different nuances with
shade and highlight help emphasise the appearance that it
is a living creature. If it was just shaded with a darker blue
and highlighted with a light blue, the skin would look
unnatural and, therefore, unrealistic.
Step 1. The entire face was first basecoated with

Fenris Grey.
Step 2. A wash using a 1:1:1 mix of Liche

Purple, Scorched Brown and Badab Black was
then applied all over.
Step 4. A highlight using a 1:1:1 mix of Shadow

Grey, Fortress Grey and Kommando Khaki was
then applied.
Step 3. The skin was then layered up with

Shadow Grey.
Step 5. The skin was highlighted further with

pure Kommando Khaki.
Step 6. The final stage was to highlight the most

prominent areas with Skull White.
Tau Showcase
The face of Aunva, an ancient and powerful Ethereal, has been painted
using Tau skin colours, but with the ageing techniques as described
over on page 93.
96 WHITE DWARF
PAINTING FACES
When painting Undead skin, the thing to remember is to

keep it pale; this way you can add lots of colour into the
skin to make it interesting. For the Zombie face I added
purple into the basecoat to give it a slightly dead tone, and
added washes to make it look like the flesh was oozing out
Step 1. A 2:1 mix of Tallarn Flesh and Liche

Purple was used as a basecoat.
Step 4. A highlight using a 2:1 mix of Rotting

Flesh and Tallarn Flesh was then applied.
its colour. To give the skin an unnatural appearance I

highlighted it with Rotting Flesh. The green in the Rotting
Flesh gives a nice contrast to all the warm tones and adds
to the dead and pale look. And, because this is a Zombie, I
added the requisite visceral splatter on the face.
Step 2. This was followed by a wash using a

1:1:1:1 mix of Scorched Brown, Liche Purple,
Scab Red and Badab Black.
Step 3. A 2:1 mix of Tallarn Flesh and Rotting

Flesh was then layered onto the skin.
Step 5. A 1:1 mix of Liche Purple and Tallarn

Flesh was washed around the eyes. At the same
time a 1:1 mix of Scab Red and Warlock Purple
was washed around the mouth and nose.
Step 6. A final highlight of Rotting Flesh was

applied to the skin. Gore was then splattered on
the face with Scab Red and Badab Black.
Joe Tomaszewskis brilliant Vampire has a face

painted in blue tones for a very washed out,
long-dead look. Rotting Flesh has been used as
the blend to highlight with but this has been
applied in a very subtle way.
The same techniques applied to the Zombie to

give it a lifeless appearance can be applied to a
Ghoul too. The difference is with the blood
and gore spatter. On a Ghoul it should look a
lot fresher, as if the creature has just eaten.
Undead Showcase
Commander Shadowsun, as a female Tau, has been given a deeper

purple wash, with Liche Purple added to Fenris Grey. This gives her
skin a softer, subtler appearance. Unlike Aunva, her face contains
warmer tones, to convey a youthful energy.
This Zombie has been painted in a more fleshy,

pink tone. The gore aspect of the model on
both the body and face has been played down
but the lining around the face is excellent,
especially around the eyes and teeth.
MARAUDER TATTOO Advanced
FACIAL DETAILS
It is important to sketch out the design out on paper before

you start to paint the tattoo its easier to correct potential
mistakes on paper! Real-world reference can be useful
the Internet or specialist tattoo books are obvious places to
look. Firstly, I lined in the tattoo with a thin mix of
Scorched Brown and Chaos Black. This helps for the
placement and can be easily corrected because of the
thinness of the mix. The design was then thickened with a
All faces tend to have common traits

that lend expression, character and clues
to the models personality. Applying
some or all of these details can add
depth to the model far beyond what the
sculptor ever intended.
darker mix to which I added blue. The blue tone sits

naturally on skin and gives a finish that is not as harsh as
pure black. Other colours such as red and green are best
saved for war paint effects. A highlight was added over the
tattoo, with the skin colour mixed in to give it a
subcutaneous appearance. You can darken or lighten your
tattoos to get different age effects or add more blue to alter
the pigmentation.
CATACHAN STUBBLE Intermediate

When painting stubble, the finished effect must seem
natural, as if the stubble is inside the skin. This is achieved
by adding flesh colours and browns into the wash applied
over the face. The other thing to keep in mind is the
placement of the stubble if it is too high up the face or in
the wrong area then it will not look realistic. Darker
stubble can be achieved by simply adding in a touch more
black to your mixes, but dont go over the top or your

miniature will end up with a full beard! Once again, a
highlight over the finished stubble area will pull the
stubble into the skin and knock it back a little for a natural
finish. The same technique can be applied to a shaved
head too, but remember to follow the hairline on the head
or the effect will look fake.
Step 1. The lower part of the face was washed

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

1:1:1:1 mix of Tallarn Flesh, Codex Grey,
Scorched Brown and Chaos Black.
Step 3. The skin was then re-highlighted with

Tallarn Flesh and, finally, Bleached Bone.
RUDDY-FACED DWARF Basic

For the Dwarf flesh I first painted the skin in the usual way,
and then added washes over it. I mixed Tallarn Flesh into
the washes to give them a natural look. If I had used
straight colour on the skin it would look too bright and
fake. When washing colour over the face it is important to
keep your paint very thin and build the layers up slowly
Step 1. The Dwarf was washed with a 1:1:1 mix

of Tallarn Flesh, Scab Red and Warlock Purple.
98 WHITE DWARF
until you reach the desired effect. After the colour was
added to the nose and cheek the areas were then rehighlighted to pull the colours back into the skin and tone
them down a little. This effect can also be added to the
ears, lips, and knuckles on a model, but only works on
certain miniatures, so use it sparingly in your painting.
PAINTING FACES
Step 2. Next, layers were built up with a wash

consisting of a 1:1:1 mix of Scab Red, Tallarn
Flesh and Regal Blue.
Step 1. The outline of the tattoo was painted

using a thin 1:1 mix of Scorched Brown and
Chaos Black.
Step 2. Next, the outline was thickened up with

a 1:1:1 mix of Tallarn Flesh, Regal Blue and
Chaos Black.
SPOTS AND ROT
HAIR SHINE & GREYING
Painting spots and rotting flesh is the chance to have a bit of fun with
painting, you can wash and add almost any colour you like to rotting skin.
This is usually done after painting the skin area and then washing colour
over it (the Citadel Washes are great for this). Painting a spot is pretty simple
just glaze the area with some Scab Red and then give it a little highlight of
Blood Red, and for that ready-to-burst look, add a yellow spot head with
Iyanden Darksun nice!
BODY HAIR
A
Step 3. The skin was re-highlighted with Dwarf

Flesh and then Bleached Bone.
Step 3. The tattoo was then highlighted with a

1:1:1:1 mix of Tallarn Flesh, Regal Blue, Chaos
Black and Bleached Bone.
When painting body hair you need to take a similar approach to painting
stubble, a little of the flesh colour mixed in with the hair colour will help
the look. Painting hair on flesh is more about technique than colour though;
you need to feather the hair on with a fine brush and build up the colour
gradually. As with stubble, the hair needs to be placed in the correct areas
or else it will not look natural. The usual place to see this effect is on the
forearms and chest. This technique can also be used on animals that have
fine hair, such as horses, to give a textured finish.
The thing to keep in mind with hair is that it is very reflective and usually
shines. To get this effect on your miniatures simply mix a good amount of
white in with your hair colour and paint a halo ring around the top of the
hair. This will give the appearance that the light is bouncing off the hair. Of
course, this technique should only be used on creatures that could be
expected to keep a certain level of hygiene and would actually wash their
hair, such as Elves or female models (Are you trying to suggest men dont
wash? Ed). Greying hair is another way to add age and character to a face.
To achieve a natural-looking grey it is best to add in either Bleached Bone
or Kommando Khaki to the hair colour these are neutral tones and not as
harsh as white. Once again, placement of the grey is important, it needs to
sit either above the ears for slight grey or all over the hair.
ASK
Weve covered painting faces in great detail in parts
1 & 2 of this article. If you have any more queries
about painting faces or about any
other techniques for that matter
remember that you can write to
Eavy Metal at the address below:
White Dwarf,
Games Workshop,
Design Studio,
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 disp lay
a vibrant, uniform colour scheme on all their Tau infantry,
battlesu its and vehicles, yet their alien allies in the Vespid
and Kroot stand wi ldly apart from the rest of the army- so
too the cla ndesti ne Stealthsuits and majestic Ethereals.
Steve and I decided to paint a Tau Empire army to showcase
these different aspects . We started out w ith a Tau Empire
Battleforce, wh ich provided us wi th most of the miniatures
we needed, but added in a Vespid Stingwing sq uad for extra
va ri ety and an Ethereal to lead the army.
PREPARATION
After un dercoating the models with Chaos Black Spray,
w e used the Citadel Spray Gun to app ly the basecoat and
first Layer stages on the Fire Warriors, Devilfish and Crisis
Battlesuit. We used the same method to paint the blue skin of
the Vespid Stingwi ngs. However, in the case of the Ethereal,
we painted the first two stages with a Basecoat Brush, as onl y
his hands and face were exposed.
Codex: Tau Empire includes the full background o f the army, detailing their
race's evolution, rapid expansion and assimilation of many other alien species.
The aspect of the Tau that appealed to Duncan and Steve were the m yriad different species and crea tures that can be found in the Tau Empire arm y.
FIRE WARRIOR
(!) ARMOUR
(D T 'AU SEPT SYMBOL
i FATIGUES
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FIRE WARRIOR DETAILS AND BASES

(D BASES
CD BLACK
LENSES
RED ARMOUR AND BLUE SKIN

: (I) BLUE SKIN
CD RED ARMOUR
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1 - - -_ . - ;
-----=-----:-:--~. .
f - - -__, --- --~~,
KROOT
CD GREEN SKIN
KROOTHAIR
Detail Brush
@ LEATHER
KROOT DETAILS
CD LACES
(I) GOLD
SILVER
TM
DISPLAY MODELS
MASTERCLASS
CHAOS LORD
Painting the Armour
Scenic Base
The base was taken from a
small glass jar lid that was
sprayed black. Slate was
then glued on it to create
a stepped pile. For further
texture a lone skull was
stuck on and some Green
Stuff used to fill in the
unsightly gaps.
When painting a model purely for display you should

always consider the direction from which the model will
be viewed. This is not only to position the model in the
best aspect but will also have a factor on how light sources
will play off and reflect onto a model. This is especially
important when painting in a non-metallic metal scheme,
as incorrectly judging how the light works could

compromise the paint job. In this case Joe wanted the
model to be viewed straight on so he highlighted and
shaded the armour to reflect that.
Once the armour was fully painted, Joe used coloured
glazes to give it an almost unearthly hue.
Painting Metal Without Metallics
f youre attending this years Games

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

the model a scenic base to make it even
more imposing and paint it in a very
advanced technique that is particularly
suitable for displaying miniatures. The
technique is non-metallic metal. This is
challenging to achieve but in the hands of
an Eavy Metal painter the finished effect
will be stunning. Thats not to say you have
to be an expert, on the following pages
well show and explain exactly how Joe
achieved the armour effect, so the step-bysteps along with some painting experience
and a steady brush will see you through.
Step 1. After undercoating the

entire model Chaos Black, Joe
began by basecoating the armour
plates with Codex Grey.
Step 2. Watered-down Chaos

Black was applied as a rough,
heavy wash around the joins and
raised areas of the armour.
Glazing the Armour
Step 3. After the wash, Codex Grey

was applied again to the raised
areas to neaten up and form the
basis of the highlight stages.
Step 1. A glaze, made from

watered-down Liche Purple,
was applied around the bottom
portions of the armour plates.
You Will Need

For this issues Eavy
Metal Masterclass
weve really got
something really
special as Joe
Tomaszewski paints
the 2009 Games
Day Miniature.
All of these paints are available from the Citadel

Colour, Wash and Foundation ranges.
Chaos Black Spray
Kommando Khaki
Bleached Bone
Liche Purple
Skull White
Codex Grey
Regal Blue
Astronomican Grey
Chaos Black
Scab Red
Dheneb Stone
Hawk Turquoise
Scorched Brown
Baal Red
Snakebite Leather
Step 4. A 2:1 mix of Codex Grey
and Skull White was next, finely
applied along the angle lines of the
armour plates.
Step 5. For the next layer the mix

was reversed, so it was a 2:1 mix
of Skull White and Codex Grey,
again working up the highlight
lines already established.
Step 6. Dots of pure Skull White

were then applied at points where
the highlight lines met to represent
points of direct reflection.
Step 2. A light glaze using Hawk

Turquoise overlaid this. Its a
very subtle layer but gives the
armour an arcane quality.
NON-METALLIC METAL
Painting the Horns and Shield
The fur was basecoated

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

painted black, and then Codex
Grey was applied to the bottom of
the links, which was in turn
highlighted with Skull White.
When you paint horns you can go from dark at the base
and lighter at the tip, or shade in the opposite direction,
having a lighter base and darkening at the top. Either
method can be effective and depends on your style and
the model itself. For this project Joe has chosen to lighten
the base of the horns. This is because, bearing in mind its
a display model, he wants the eyes of the spectator to be

drawn towards the face the lightest part of the model.
This is just one of the tricks an experienced painter can
use to grab the viewers attention and subconsciously draw
their eyes to parts of the model they want the spectator to
acknowledge first, before they appraise the entire model.
The process known as non-metallic metal is a technique

that uses paints without metallic pigments to create
reflective, mostly metal-looking surfaces. Shades and
highlights are created in a pictorial fashion using the
same methods that artists have been doing on canvas for
centuries. In effect, youre using a two dimensional
technique on a three dimensional model. Thats quite a
challenging prospect and for this reason painting with
non-metallic metal is a very advanced technique that
requires mastery of many other expert techniques, such
as rich blending and advanced colour theory.
Nevertheless, the Eavy Metal team get asked a lot about
how to achieve such an effect and so well attempt to
cover the basics here. Whilst reading this page will give
you some foundation in the technique, practice and solid
brush control are the keys to getting this effect right.
Models painted up in non-metallic metals are
primarily for display. Its rarely used on models intended
for use in the gaming environment where the chance of
such a precisely painted model being chipped is much
higher. The best way to showcase a miniature with nonmetallic metal painting is in a lighted display cabinet,
where the dedicated spotlights accentuate the
exaggerations painted onto the model. Considering
where the light shines upon the model and how it
reflects off surfaces is actually a good place to start.
Illustrations, from fantasy art in particular, also show how

artists achieve reflective surfaces in two-dimensional
form. In this case real world references are not very
useful, as they dont convey the exaggerated highlighting
and shading you need to make the technique effective.
Following a real-world reference will just leave you with
a drab grey or yellow area rather than the metallic-look
youre trying to achieve.
Left. Dave Gallaghers
illustration is a perfect
example of how artists
paint metal in twodimensional form.
Below. A graphical
representation of how
light falls on simple
geometric shapes,
giving you a rough
guide about how to
add highlights and
shading to your nonmetallic metals.
Light Sourcing
Painting the Shield
Step 1. The shield was first painted

using a 1:1 mix of Codex Grey and
Chaos Black. Joe painted carefully
around the accoutrements hanging
from the shield.
Step 2. Pure Codex Grey was built

up in many thin layers vertically
along the shields curvature. A thin
outline of Codex Grey was also
applied to the shields edge.
Step 3. Fortress Grey was then

applied over the same areas in the
previous step. Thin layers carefully
blending with the previous coat of
paint is the key.
Step 4. Skull White was used to

add nuanced highlights on the
shield, applied mainly along the
edges but also to create tiny
scratches on the surface.
Painting the Horns
Metallic objects reflect light differently to other surfaces

and this needs to be exaggerated when applying paint to
a miniature. On metallic objects light dramatically
changes from dark to light when the surface changes
shape. So to achieve the non-metallic metal effect you
need to imagine, or even draw a plan, where your light
points are around the model so you can place your
highlights and shade. Four points of light around a figure
are generally best; you then plot how each area of nonmetallic metal will react according to where the light
points are on the miniature. The geometric diagrams on
this page illustrate how light reflects off different shapes.
When he painted his Harry the
Hammer, Darren Latham
imagined four light sources
around the miniature. This
helped him visualise where the
highlights and shades should be.
Contrast
When paining non-metallic metal, contrast is the key.
Each surface needs to go from black to white. Normally
you highlight with a lighter version of the midtone. So
for, say, Regal Blue, you might highlight with Enchanted
Blue. However, when painting in a non-metallic metal
technique you should always shade and highlight with
black and white no matter what the midtone is.
The other facet to this process is that you should add
colour to the surface to bring it to life. Metal surfaces
reflect the environment around them so, if the model is
meant to be in a cave, your colour scheme will not be as
bright as a miniature in strong daylight. The contrast,
coupled with adding light spots (bearing in mind where
your light points are on the model), will exaggerate the
reflective quality of the metal. When you actually apply
the paint you must do it in thin layers and then create a
seamless blend, starting with the midtone and shading
down and before highlighting up.
Have a Go
Step 1. Snakebite Leather was
applied as thin stripes along the
length of the horns; brush control
is needed to keep the stripes
separate and neat.
92 WHITE DWARF
Step 2. Next, Bleached Bone was

overlaid along the Snakebite
Leather stripes, tapering out
towards the tips.
Step 3. Skull White was then

added in thin layers over the
Bleached Bone stripes, keeping the
majority of the layers close to the
base of the four horns.
Step 4. Joe then added nicks and

chips with carefully applied Chaos
Black and Skull White. Finally, a
thin wash of Chaos Black was
brushed over the ends of the horns.
These are just guidelines, the real results will come from
practice and learning the theory. Dont forget artists have
been doing this for years in pictures so take inspiration
from them and dont be afraid to just give it a go.
Painting the Cloak
Painting the Armour Details
The loincloth started with a Regal

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

Dheneb Stone followed by a Baal
Red and Devlan Mud wash. The
area was then highlighted with
Dheneb Stone, with a final
highlight of Skull White.
A lot of Joes methods involve starting with a basecoat

midtone, then shading down with a wash, before
lightening back up to the midtone and beyond to the
highlight colour. Joe does it this way because it gives him a
smoother blend between layers, and its easier than
painstakingly blending to a darker shade. Another good tip
is, when using a colour like khaki to highlight a multicoloured area such as the cloak, you should mix the
highlight with the colour on the lower layer, rather than
straight across. So, in the case of the cloak, the khaki
highlight was blended with Regal Blue and then Scab Red
as Joe worked the highlights to the edge.
Painting the Inner Cloak
Step 2. Separate washes of Regal

Blue, Liche Purple and Chaos
Black were painted into the
recessed areas. Joe randomly
applied each colour wash.
Step 3. Joe then worked up the

raised areas back to Astronomican
Grey, this was followed by a 1:1
mix of Skull White and
Astronomican Grey.
Step 4. A final strong highlight

layer of Skull White was then
applied to finish off the cloak. This
was built up over many thin layers.
Painting the Outer Cloak
94 WHITE DWARF
something that can easily be painted over if a mistake is

made, but obviously Joe didnt have that luxury here. He
first drew his design on paper and then slowly and
accurately translated it onto the figures armour and
weapons. We can only recommend patience and pinpoint
accuracy with a brush if you try this yourself.
Step 1. Joes non-metallic gold leaf

starts with a basecoat of Snakebite
Leather. A thin line of Chaos Black
was used to enhance and separate
the design from its surroundings.
Step 2. The Snakebite Leather was

then shaded with a very thin wash
of Chaos Black.
Step 3. Joe started to build up the

design using a mix of Snakebite
Leather and Skull White, adding
more white into the mix over
several layers.
Step 4. Skull White was used to

edge the design. This was divided
from the design with a thin line of
Codex Grey, creating the
impression of a silver edge.
Painting the Helmet
Step 1. The outside of the cloak

was first basecoated with a solid
coat of Regal Blue.
To really showcase his astounding skills Joe has added

some freehand design onto the Chaos Warriors armour
and weapons. Applying an intricate design onto a surface
you ve already spent hours painting to look like shining
magical armour is not for the faint-hearted! Freehand
designs are usually painted onto a neutral surface,
Painting the Gold Leaf
Step 1. The lining of the cloak

was first given a basecoat of
Astronomican Grey. This was a
solid layer that covered the entire
area of the cloak lining.
The skulls were painted using a

very similar method to the
bandages, the only difference
being the wash, which was pure
Devlan Mud instead of Baal Red.
The intricate freehand design on

the axe head was replicated on
both the axes and across various
parts of the Chaos Lords armour.
Step 2. Starting with the Regal

Blue, Joe added Scab Red to the
mix, slowly and consistently
adding more with each layer until
he had blended to pure Scab Red.
Step 3. The recesses and deep

folds of the cloak were shaded
with a wash of Chaos Black.
Step 4. The cloak was highlighted

with Kommando Khaki, mixed
with each colour it covered. This
was then given a final highlight of
Skull White.
Step 1. The helmet was painted in

a similar method to the gold leaf,
starting with a basecoat of
Snakebite Leather.
Step 2. This was followed by a

shade into the recesses with a
wash of Chaos Black.
Step 3. The Snakebite midtone was

reapplied and then worked up by
adding an increasing amount of
Skull White over several layers.
Step 4. Pure Skull White was

applied to the raised areas, and
purple and turquoise glazes were
used to achieve the same subtle
effect as the armour.
Final Details
The pendant was painted using the

same technique that Joe used for the
Chaos Lords golden helm.
The shield straps were painted in a

simple three-stage method: a base of
Scorched Brown, followed by a
layer of Vermin Brown and then
Bleached Bone.
ASK
This month weve received a question

from Denis (no surname supplied) who
resides in Avernes, France. He asked
about the new White Dwarf model
specifically how to paint his large beard.
Over to Eavy Metals Keith Robertson.
If youve ever wanted to ask an expert
painter a question or you have a painting
problem that needs solving, then send
your query to the address below.
White Dwarf,
Games Workshop
Design Studio,
Nottingham,
NG7 2WS,
United Kingdom
96 WHITE DWARF
The axe haft was given a base

colour of Scorched Brown. Joe
mixed this colour with Bleached
Bone, painting on the wood grain
in progressively lighter mixes.
The pouch was painted Astronomican

Grey and then given a Badab Black
wash. The Astronomican Grey was
reapplied and then highlighted with
pure Skull White.
Keith: Painting beards is just like painting hair. Its

easier than many things as the rough texture of
modelled hair provides the paint lots of ridges to
cling to, naturally giving you shading and
highlighting to some extent. For a white or greytinged beard I would start with a coat of
Astronomican Grey. Shade with a wash of Badab
Black, and when dry shade again with Devlan Mud.
Then you need to bring back the midtone so brush
over another coat of Astronomican Grey, avoiding
the recesses. You can then highlight from there; you
may wish to go for an Astronomican Grey and Skull
White mix, working up towards pure white, or
bypass that layer and go straight to Skull White.
When painting beards be careful where the hair
meets the face you dont want a thick black line
around the join as this will make the paint scheme
look artificial.
The White Dwarf model is only available by

purchasing a Sub-in-a-Box, which youll find in most
Games Workshop Hobby Centres.
PRINCE IlTHRIN
High Elf army is a thing of beautyranks of perfectly dressed, elegant

soldiers in bright, crisp colours.
Marching along with the rank and file are
the charismatic leaders of the High Elvesthe Nobles and Princes. Whilst the High Elf
nobility will dabble in politics and intrigue
at court, on the battlefield they lead from
the front, using their preternatural speed
and aim to slay the enemy in droves. For
that's what they have to do, a High Elf
must kill many times his own number as
they are a dwindling race, and while
highly skilled in craft and war they will be
outnumbered on the battlefield.
When Darren, and indeed all of 'Eavy
Metal, come to paint High Elves it's always
with these traits in mind. The High Elves in
the Studio collection, whether a Spearman,
Silver Helm or Archmage, all follow the
same principles. Their garments are
painted white, with a secondary colour of
blue. The blue complements the white,
adding a defining tone to give the model
depth and shape. Finally, red tends to be
used as a third tone and spot colour. Mail,
armour and other details are painted in

suitable colours, so you'll also see lots of
bright silver and gold. This palette is used
because they are the colours of Ulthuan,
and helps give the whole collection a
uniform look. But don't mistake a cohesive
whole for looking monotonous or dull. The
placement of the colours and the varying
shades make each model different from the
last. Elven characters are perfect examples
of this; rich golds and reds are used for
armour and jewels, while cloaks are
painted with fine patterns to look bespoke
and worthy of the character's stature.
In this Masterclass Darren paints Prince
Althran on foot. What makes this
Masterclass different is the subject
represents a character that already exists in
a different form - whilst rare in
Warhammer, this is the normal state of
affairs in The Lord of the Rings, where
models are often painted both on foot and
mounted. Needless to say, the methods
described here can be applied to both, and
it's often best to paint both at the same
time to make sure they look similar.
Seeing Double
Darren took his painting cues from the
mounted version of Prince Althran that he
had already painted. But you can never
stop a figure painter tinkering, so for this
version of Prince Althran, Darren created
an even more intricate pattern for the
cloak lining and used the inclusion of the
shield to incorporate more red onto the
model. However, before we get onto that,
let's take a look at Althran's proud mount,
Sharpclaw, to provide you with
information on how to paint both models.
Sharpclaw the Griffon

As the Griffon was based upon two
real world animals, Darren used lots of
reference; wildlife photography books
and images from the Internet proved to
be great resources in this respect.
1. Brian Nelson designed the front end of the
Griffon to be a falcon so that's how Darren
painted it. Using lots of reference, he noticed how
the front of the beak is a dark blue-grey and the
base is much lighter in colour. The eye is worthy
of mention as it is a painstaking recreation of a
real falcon's. Notice the bright blue iris that
surrounds the whole cornea, and the large black
pupil in the centre - perfect for spotting prey.
2. Figure painters tend to paint claws in light
colours, often in the same style as the beak. But,
looking at wildlife pictures you notice just how
dark they actually are. With this in mind, the
talons were painted brown with black claws.
3. The Griffon's plumage was painted in
alternating light and dark brown colours, using
photographs of falcons as reference. Quills and
feather highlights were painted on with Bleached
Bone and Skull White.
4. For the rear half of the creature, Darren
immersed himself in pictures of big cats. The
black tone of the creature's markings was half
Chaos Black mixed with the main colour of the
coat. This makes the markings look like part of the
creature instead of just painted on top.
www.games-workshop.com
73
.
.
. . . '. . . .., ',' ,

-.~...:
..
..':~ ,,~
~~".
~.,
,......"
,i.~
Painting the Armour
Armour Plates
2 ~
-~.\
f..'.~.\ ." ..
:
'~~~' .~.
't,
,."
Step 1. Darren began by

basecoating the armour plates
with a 1:1 mix of Shining Gold
and Scorched Brown.
Step 2. He then applied a layer

of pure Shining Gold to all but
the most recessed parts of the
Prince's armour.
Step 3. Next, a layer of

Burnished Gold was added.
Darren worked this layer up
towards the raised areas.
5 .~
"'\
...
Step 4. Three separate washes

were then painted into the
recesses, first Baal Red, then
Devlan Mud, then Badab Black.
/'
Step 5. The armour was then

carefully highlighted with a 1:1
mix of Burnished Gold and
Mithril Silver.
Step 6. Finally, pure Mithril

Silver was used to edge around
the armour plates.
When using metallics, Darren

advises building one layer up
over many thin coats. This will
give you a streaky effect at first,
but as you continue it will
gradually form into a solid,
vibrant layer. This is how he
has painted all the stages on his
armour. So, when the step calls
for a layer of Burnished Gold,
that hasn't been painted as one
solid coat, but over lots of thin
applications. Due to the
pigment, gold takes longer to
do than silver in this respect.
However, persist, as you'll get a
much better finish.
Silver Scale & Sword
Step 1. The scale mail

and sword blade were
basecoated with Boltgun Metal. As
with the armour, the layer was
built up over several thin coats.
Darren views silver in a similar
way to white. It's a blank
canvas, and so he uses the
washes to add tone and
character to the area. For
Althran, Asurmen Blue was
used to give the mail and
sword a clean, polished look.
On the blade itself, Darren has
actually employed a nonmetallic metal technique but
using metallic paints.
Obviously, the properties of
metallic paints mean you don't
have to paint in a nonmetallic
style to get a shiny look, but
using the mirrored effect here
adds real depth to the blade,
making it stand out.
74
WHITE DWARF
Step 4. Darren then

applied Badab Black
between the segments of mail.
The wash was also placed in the
centre of the Asurmen Blue
patches on the blade.
'EAVY METAL MASTERCLASS
Step 2. The scales were

then highlighted with
Chainmail. The sword blade
was also given an initial
highlight of Chainmail.
Step 3. A thin layer of

Asurmen Blue was then
washed over the scale mail. On
the blade, the wash was placed
to create an alternating dark
area on both sides of the sword.
Step 6. Finally, the

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

The Cloak
Step 1. Darren basecoated the

cloak with a 1:1 mix of
Enchanted Blue and Regal Blue.
Step 4. Next, the cloak was

highlighted using a 1:1 mix of
Enchanted Blue and Space
Wolves Grey, with a touch of
Kommando Khaki.
Step 2. To shade the area he

then used a 1:1 mix of Regal
Blue and Chaos Black, applying
this into the recesses.
Step 3. Darren then used pure

Enchanted Blue and layered it
onto the raised areas over
several thin coats.
Step 5. A further highlight was

then applied, using the mix from
the previous step, only with
more Space Wolves Grey and
Kommando Khaki added.
Step 6. For the final, crucial

highlight, Darren used pure
Space Wolves Grey on the most
prominent creases and folds of
the cloak.
To give the cloak a rich, silky

look keep your paints thin and
build the layers up, exactly as
described for the metallic
paints on the previous page.
Highlight the cloak as if the
light is coming directly from
above. Resist the urge to over
highlight the bottom ripples in
the cloak, as this can confuse
the eye as to the source of
illumination and diminish the
effect you're trying to achieve.
The other point of interest is the
use of Kommando Khaki in the
highlight steps. This is used to
improve the flow of the mix
and reduce impurities as the
pigment gets mixed.
The Sash
Step 1. A 1:1 mix of

Astronomican Grey and Fenris
Grey was used as a basecoat for
the sash.
Step 2. Darren then applied a

1:1 mix of Fenris Grey and
Chaos Black, directly into the
depressions of the sash.
Step 3. He then layered on pure

Astronomican Grey building up
the raised areas.
Step 4. Next, Darren

highlighted the raised areas
with a 1:1 mix of Astronomican
Grey and Skull White.
Step 5. As a final highlight, he

used pure Skull White on the
prominent parts of the sash.
Step 6. The freehand designs on

the tassels were painted in Scab
Red. For reference, Darren used
the High Elf army book.
The sash was painted in a pure,

clean white, to reinforce the
High Elf aesthetic, as opposed
to the dirty or bloodstained
white that you'll often see on
other races when it is used as a
colour rather than a highlight.
To achieve this Darren used
Foundation colours wherever
he could, as the increased
pigment means you can get a
smoother coverage, reducing
the amount of layers needed
and giving you a solid white.
75
Painting the Head

The Face
l~
r
":PI
~,
Step 1. The face was first

painted with a 1:1 mix of
Tallam Flesh and Dwarf Flesh.
Step 4. Darren then started to

highlight up, beginning with a
coat of Elf Flesh.
2~
,. ";
~.. J~
~l
=". .
i
Step 2. Darren then brushed on

a liberal wash of Dark Flesh,
followed by a further wash mix
of Scorched Brown and Chaos
Black around the eyes and nose.
Step 3. The 1:1 mix of Tallam

Flesh and Dwarf Flesh was then
reapplied, layered onto the
raised areas.
Step 5. A highlight using a 1:1

mix of Elf Flesh and Skull White
was then applied. A Scab Red
and Regal Blue glaze was
brushed around the eyes, nose
and bottom lip.
Step 6. A final highlight of Skull

White was used. The eyes and
teeth were also painted in with
Skull White.
Darren is a master at painting

faces and you can read his
advice in previous issues of
White Dwarf over three
informative Painting
Workshops. If you haven't got
those issues then you can find
them as part of the White
Dwarf Archive online. When
painting Elven faces, the
important points are to give the
face definition - the high
cheekbones and eye lines
should be well-shaded, to give
the face shape and reference.
Light tones are needed but
should not be at the expense of
losing distinct facial features.
The Hair
High Elves are fair of aspect so

blond hair is a good choice as
it suits their complexion well.
The key to blond hair is to not
actually use bright yellow
paint; you're aiming for a
natural blond rather than a
bleached blond style! Another
reason why blond is suited to
High Elves is that a dark skin
tone with light hair looks
unnatural, so the paler Elven
shades work well in this
respect. Finally, beware of
black key lines separating the
hair and face, especially with
blond hair as this will make the
paint work look artificial.
76
WHITE DWARF
Step 4. Gryphonne Sepia was

washed over the hair, followed
by a wash of Devlan Mud
directly into the recesses.
Step 2. He then layered on

Desert Yellow, following the hair
strands with his brush.
Step 3. A 1:1 highlight of Desert

Yellow and Bleached Bone was
then applied.
Step 5. The strands of hair were

then all highlighted with
Bleached Bone.
Step 6. A fine highlight of Skull

White was then painted to the very
ends, giving the hair a shine, to
make it look clean and well kept.
Painting the Shield

Shield Back
Step 1. Darren started by

basecoating the area with
Scorched Brown.
Step 4. The lines and other

details, like knots and ridges,
were highlighted with pure
Snakebite Leather.
Step 2. He then applied lines

using a 1:1 mix of Scorched
Brown and Snakebite Leather,
going from top to bottom.
Step 3. Thinned down Chaos

Black was painted between the
lines, to add further definition.
Step 5. Darren then used a finer

highlight of Bubonic Brown to
the wood grain effect.
Step 6. To finish, he applied a

very fine highlight of Bleached
Bone, to the wood grain and
edges of the shield.
Darren has created a wood

grain effect for the back of the
shield. The method described
here can be used any time you
need a wood effect. Darren
went for a very neutralcoloured wood - a darkish oak,
but the same method can be
used with lighter colours for,
say, beech, or used with even
darker shades. When painting
wood grain, draw the brush
downwards, but don't be too
regular in the thickness and
straightness of the line - it can
be wobbly! Incorporate knots
and other details as you go,
rather than adding them in at
the end.
Shield Front
To balance out the colour of

the figure, the shield was
painted a purplish red. Darren
painted the front of the shield
to be stretched red leather over
the wooden shield. To
emphasise this he has
incorporated scratches, scuffs,
and other 'soft marks'. This not
only helps reinforce the leather
effect but also puts the model
in context of a battle. Placing
High Elves in such a context
can be challenging, as this can
undermine the clean-cut image.
If you apply the damage to the
equipment, rather than the
garments, then you don't have
to make them look grubby.
Step 1. A 1:1 mix of Scab Red

and Warlock Purple was painted
onto the front of the shield.
Step 2. Darren added a little

Chaos Black and Regal Blue to
the previous mix, watered it
down into a wash and then
applied it around the icon and
bottom of the shield.
Step 3. He then prepared a fresh

1:1 mix of Scab Red and Warlock
Purple, with a touch of Kommando
Khaki added, and layered it on.
Step 4. Using the mix from Step

3, he added in some Space Wolf
Grey and started to highlight the
top and edges.
Step 5. More Space Wolves

Grey was added into the
previous mix and this was used
as a finer highlight and to add
scuffs and scratches.
Step 6. Pure Space Wolves Grey

was the final highlight. The
scratches were given definition
with a 1:1 Scorched Brown and
Chaos Black mix.
77
The Finishing Touches

Cloak Lining
Step 1. Darren painted on his pre-
Step 2. Once he was happy with
Step 3. He then shaded the line with
As with any freehand
designed pattern with thinned-down

Vomit Brown, in a very thin line,
wiping away mistakes.
how the design was plotted, he

thickened up the line with more
Vomit Brown.
Vermin Brown. The shade was

applied to the depressions where the
lines intersected.
Step 4. Darren then layered on
Step 5. Bleached Bone was used as a

highlight on the design itself and
design, you must plan it out

before tackling the model.
Don't be tempted to wing
it. On Althran, Darren drew
a couple of designs, before
picking the one he liked
best. He then used
watered-down Vomit
Brown to plot out the
design with a thin line. This
way when he made a
mistake he could quickly
wipe it off, and continue
on. Once he had the
plotting line down, he
thickened up the line with
Vomit Brown. With the
design in place, the
highlight and shading were
applied. And, using the
sketch, Darren could work
out where the design
entwined and was the most
intricate. Don't forget the
cloak has contours, and
this should also be taken
into account for shading
and highlights.
Bubonic Brown over the design to

add in some yellow and 'bridge' the
intersecting lines.
along the raised contours.
Step 6. To complete the freehand,
Darren applied Skull White as the

final highlight.
Gems
The gems are a prominent part of the model and are
perfect areas to apply spot colour and so help the eye
define the dynamic silhouette. Darren has aided this
effect by using a deep red. He has also experimented
with how he has painted these gems because they are
78
larger than normal, giving him more surface area to play

around with. To that end he has added an extra line of
shade at the bottom rather than keeping it to the
traditional top part of the model. This gives the gems
extra depth, making them look deeper and darker.
Step 1. He started by
Step 2. Thinned Chaos
Step 4. Darren then
Step 5. A second
basecoating the gems

with Scab Red.
Black was used to

shade the top of the
gem and create a line
two thirds of the way
down its surface.
Scab Red and Blood

Red was then layered
on, avoiding the
blackened areas.
applied pure Blood

Red as a highlight to
the raised surface of
the gem.
highlight of Blazing
Orange was then
carefully painted on.
Skull White and

Blazing Orange was
then used, followed by
pure Skull White
placed as thin lines
and dots for reflection.
WHITE DWARF
SUB -ASSEMBLIES ~
Steve: The first
point to consider
wjth such a large
kit is whether
or not you
are better off
gluing the entire
model together
before painting
it, or building
a number of
sub-assemblies
and painting each of these separately.
The Mortis Engine has been beautifully
designed, with lots of negative space
throughout the model. In order to make
these areas easier to paint (or, in some
cases, possible to paint at all), I recommend
building the seven sub-assemblies (shown
on the ri ght) at this early stage.
Over the next few pages, I' ll be
explaining how to paint each of these
sub-assemblies, and also how the simple
techniqu es he used to paint them can be
replicated on other models in the Vampire
Counts army. By doing so, you can really
help to unify the overall look of your army.
KEY
1.
2.
3.
4.
5.
6.
7.
Spectral steeds and spirit horde

Banshees
The Mortis Engine
Lectern
Mortis Engine cage
The Reliquary
The Corpsemaster
99
SPECTRAL STEEDS AND SPIRIT HORDE
100
First of all, apply a basecoat of

Astronomican Grey, before washing
with a watered-down mix of 1: 1
Hawk Turquoise and Asurmen Blue.
When the wash has dried, drybrush

with Astronomican Grey.
Using a 1: 1 mix of Astronomican

Grey and Skull White, drybrush this
area again, followed by another
drybrush of pure Skull White.
Wash the recesses with a watereddown 1: 1 mix of Hawk Turquoise,

Asurmen Blue, then wash Thraka
Green into a few depressions when
the previous wash has dried.
Edge highlight the raised areas with

Skull White.
Basecoat the weapons and armour

with Chainmail.
Wash the weapons and armour

with Asurmen Blue, then apply a
few spots of Gryphonne Sepia.
Edge highlight the metal areas with

Mithril Silver for an unearthly glint.
WHITE DWARF
PAINTI NG WORKS HOP: MORTIS ENG INE
BANSHEES
ROBES AND HAIR
To begin with, basecoat the

Banshee with Astronomican Grey.
Wash the whole area with watereddown Shadow Grey.
Layer with Space Wolves Grey.

When dry, layer with a 7: 7 mix of
Space Wolves Grey and
Skull White.
BANSHEE SKIN
Edge highlight with Skull White,

then wash a few of the recesses
with some watered-down
Hawk Turquoise.
TOMB BANSHEES
Basecoat the skin with a 7: 7 mix of

Dark Flesh and Fortress Grey, then
carefully basecoat the armour with
Chaos Black.
Wash with Devlan Mud when to

shade the flesh.
Layer with the same 7: 7 mix of

Dark Flesh and Fortress Grey.
Layer with a thin coat of

Fortress Grey, then edge highlight
with Skull White.
Basecoat the Banshee's teeth with

Khemri Brown, then layer with
Bleached Bone. Basecoat the eyes
with Dark Angels Green before
highlighting with Snot Green.
Paint the armour using the same

method as for Stages 6-8 opposite,
but without the Gryphonne Sepia.
The Banshees that circle

the Mortis Engine are,
in practise, no different
to the Tomb Banshees
that you can include in
your Vampires Counts
army (which is why the
Mortis Engine can make
a Ghostly Howl attack).
You can use the same
painting techniques
displayed on this page
for any Tomb Banshees in
your army, or any other
such ghostly models.
101
THE MORTIS ENGINE

Whilst gluing the components of this subassembly together, I decided that I'd leave
the front and left sides of the bone cage as a
separate, L-shaped corner piece. This allowed
me greater access to every angle of the bone
cage for the purposes of painting it. After
finishing this stage, I theri glued the missing
corner into place along with the remaining
components to complete the sub-assembly (as
shown on the right).
I' ll just add that the frame of the Mortis
Engine could feasibly consist of a number of
different materials. I chose to paint this frame as
if it had been sculpted from bone, but there's no
reason why it couldn't be made of dark metal,
crystal, or even magic-nulling obsidian (no
doubt in a vain attempt to keep the malevolent
power bound within the Mortis Engine's tome or
artefact in check).
If you're feeling really brave or are suitably
confident in your painting skills, you could
even try object source lighting, emanating from
the balefire or the arcane artefact. The Mortis
Engine painted by 'Eavy Metal's Mark Holmes
features just such a technique (see page 6).
STONEWORK
2
I
102
~lllllji
'
3 fJIIIIi
~
'I
To start off, basecoat the stone

steps with Charadon Granite.
Now apply a thick drybrush of

Kh emri Brown.
Wash the whole area with Devlan

Mud to shade it.
When dry, apply another drybrush

of Khem ri Brown, b ut a bit lighter
this time round.
Apply a light dr ybrush with

Dheneb Stone, then apply an edge
highlight with Oheneb Stone to
help add furth er de finition .
Stipple the area sparingly with

Gretchin Green to pro vide the area
with a mouldy look.
Wash a few of the flagstones with

either Ogryn Flesh or Thraka Green
to help weather and age them.
Similar techniques can be used

on gravestones or other similar
components throughout the army.
W HITE DWARF
PAINTING WORKSHOP: MORTIS ENGINE
SKELETONS AND BONE FRAMING
To begin with, basecoat the bone

sections with Dheneb Stone.
Wash the whole area with a 1: 1

mix of Devlan Mud and water.
Drybrush with Bleached Bone, then

apply a drybrush with a 1: 1 mix of
Bleached Bone and Skull White.
THE ARTEFACT
Basecoat the locks and

casket with Boltgun
Metal, then basecoat
the candle wax with
Khemri Brown.
BONES AND
SKELETONS
11 11
Wash the metal with
Badab Black, then
wash the wax with
Gryphonne Sepia.
Apply a wash of
Devlan Mud to the
metal. Layer Desert
Yellow onto the
surrounding areas
of wax.
Edge highlight the

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

Thraka Green.
Layer with Snot

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

Yellow when dry for a
parched look.
Using a 1: 1 mix of
Desert Yellow and
Bleached Bone, layer
the pages, then edge
highlight with Skull
White when dry.
BALE FIRE
Firstly, basecoat the

flames and in between
the skeletal brazier's
ribs with Snot Green.
Wash the recesses with Devlan

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

Banshees on the Mortis
Engine, the same
techniques used to paint
the bone framing above
can be used throughout
the Vampire Counts
army. From the hordes
of Skeleton Warriors
and Wights of the Grave
Guard to the fanged
skull of the Cairn Wraith
or even the dread
countenance of Krell
himself, the methods
used to paint the bone
will work perfectly on
many other models in
your army.
For the sake of speed,
I suggest that you paint
the bone stages first on
any Skeleton Warriors you will soon be painting
over the surrounding
areas, so you needn't be
overly neat!
TOME OF THE DAMNED
Basecoat the pages

with Khemri Brown.
Wash the pages with

Devlan Mud to shade
them and provide
some depth .
103
THE CORPSEMASTER
DANK ROBES
GRAVE ROBING
Remember that there are
plenty of other models
in the Vampire Counts
army that wear robes
that are similarly ran k
and mouldy, such as
Necromancers or Cairn
Wraiths. By altering the
main colour, you can
paint any robes this way.
Heavily drybrush the cloak with

Dark Angels Green to start with.
Layer the edges of the cloak with a

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

1:3 mix of Dark Angels Green and
Rotting Flesh.
Edge highlight the raised areas of

the cloak with Rotting Flesh.
Drybrush the bottom of the cloak

with Graveyard Earth for a dirtier
overall look.
For the hood, repeat Stages 1-5 for

painting the robes, but substituting
Scorched Brown in place of Dark
Angels Green.
DYING FLESH
Basecoat the flesh with

Dheneb Stone.
Wash this area with

Ogryn Flesh to shade.
Apply a second wash,

but this time with
Leviathan Purple.
104
WHITE DWARF
Wash the hair with

Badab Black, then
Devlan Mud when dry.
First layer the flesh

with Bleached Bone,
then edge highlight
with Skull White.
Edge highlight the

blindfold with Codex
Grey, the tongue with
Leviathan Purple and
teeth, Bleached Bone.
THE DREAD STAFF
MATTED HAIR
Basecoat the hair with

Khemri Brown.
Layer the flesh with

Kommando Khaki,
then carefully pick
out the blindfold with
Chaos Bla ck.
Edge highlight the hair

with Codex Grey.
PAINTI NG WORKSHOP: MORTIS ENG INE
Basecoat the staff with

Scorched Brown.
Wash with Devlan

Mud. When dry, layer
with Bestial Brown.
Highlight with a 1: 1
mix of Bestial Brown
and Bleached Bone.
THE FINISHED MORTIS ENGINE

With all the sub-assemblies now full y pa inted, it's ti me to
bui ld the finished Mortis Engi ne. All you need to do now is
base the model to miltch the rest of your army.
The balefire effect can also be used

on Corpse Carts or Hexwraiths to
name but a few other units.
I used the same effect for the

balefire on this lantern for an eerie
light effect.
The Corpsemaster's potion was also

painted using a similar method, but
using successive blends instead.
I picked out some details on the

ancient tome with a Fine Detail
Brush for a more authentic look.
1 05
ELTHARION THE GRIM

he Warden of Tor Yvresse is one of
the greatest Elf lords to have lived.
Known as Eltharion the Grim due to
his extremely dour personality, he was no
less loved by the people of Tor Yvresse as
he successfully defended them from the
fearsome invading greenskin horde of
Grom the Paunch.
It's hard to believe that jes Goodwin's

brilliant miniature of Eltharion on his noble
Griffon, Stormwing, is over 15 years old.
Yet even now, against the fantastic sculpts
of today, the model stands out as a classic
and a great figure to have for a centrepiece
in any High Elf force.
With the recent re-release of Eltharion
in his classic form, we thought it was a
great opportunity for 'Eavy Metal to give
this model the masterclass treatment.
For this month's

'Eavy Metal
Masterclass, Anja
Wettergren tackles
one of most fondly
remembered Citadel
miniatures: Eltharion
the Grim, Warden of
Tor Yvresse.
Preparing the model

Anja Wettergren was tasked with
assembling and painting this model. Her
first job was to clean up all the
components. Using a Hobby Knife and
Modelling Files, Anja carefully went over
every metal component, removing flash
and filing away the mould lines that are an
inevitable part of the metal casting process.
Once the separate components were
ready, Anja set about assembling the
model. Anja divided the model into three
distinct sub-assemblies: Stormwing, the
legs and saddle, and Eltharion's torso.
Anja prefers to isolate areas of her
models when painting, completing a
section such as the Griffon's wings, before
moving onto the beak, for example. You'll
see this approach on the following pages.
Constructing the Griffon

Before Anja could begin painting, she needed to clean up the components and assemble Stormwing, the Griffon. She
stuck the body, tail and claw parts together with superglue and, when dry, blended the joints and filled in the gaps with
Green Stuff. The wings were then added, being pinned into place with the aid of paperclip wire and a hobby drill.
Blending the Joins

When you have assembled Stormwing, there
may be gaps where the large metal
components join together - this is due to the
metal cooling as it leaves the mould. These
small joins can easily be covered with Green
Stuff. Once you've mixed the blue and green
parts of the putty together, roll it out into a
thin sausage shape. Carefully drape the putty
over the gaps and then, using a Sculpting
Tool, gently smooth the Green Stuff into the
gap. Keep working the putty until the join is
disguised. Keep the ends of the Sculpting
Tool wet to prevent it sticking to the putty.
Anja painted Eltharion in three

different parts and only
assembled the model when all
the painting was completed.
1) Storm wing
2) Eltharion's torso
3) Legs and saddle.
Pinning the Griffon
Green Stuff
It is best to pin both the wings

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

epoxy putty that the
Citadel designers use the
m~jority of the time to
sculpt their models.
As illustrated on this
page it is also perfect for
filling gaps, and to use for
sculpting work for your
own conversions.
You can find blisters
of Green Stuff in our
Hobby Centres and
through GW Direct.
91
Griffon - Painting the Feathers

I
Feathers on models have a raised texture that takes paint very well and so can be less challenging to paint than other
areas of a model like skin or clothing. For Stormwing's feathers, Anja used a basecoat then a shade, and then highlighted
the feathers with drybrushed layers until she was happy with the finish.
To get a strong contrast on the

wings and upper body, Anja
used two colour schemes: dark
brown and off-white.
Painting the Feathers
Light Basecoat
1:1 mix of Khemri
Brown and
Bleached Bone.
Dark Basecoat
Scorched Brown.
Basecoat. The feathers are painted in alternate

stripes. Paint the light areas first, as the
Foundation colour provides a strong base.
-.,;'--....
Light Highlight
1:1 mix of
Bleached Bone
and Skull White.
Dark Highlight
1:2 mix of Scorched
Brown and
Graveyard Earth.
2nd Highlight. Successive highlight layers

require a lighter drybrush - wipe off even more
of the paint before applying the technique.
92
WHITE DWARF
'EAVY METAL: ELTHARION
Light Shade
Flesh Wash.
If--'~"_
Dark Shade
Black Ink.
Shade. Black Ink was used for shading the dark

feathers while Flesh Wash was applied
sparingly to the base and stem of each feather.
,;:.; .,. .r.
Light Highlight
Skull White.
Dark Highlight
Graveyard
Earth.
Final Highlight. The light feathers have a final

drybrush of Skull White. The dark feathers had
a drybrush of pure Graveyard Earth.
....r
~.:.-
Light Highlight
Bleached Bone.
Dark Highlight
1:2 mix of
Scorched Brown
and Graveyard
Earth.
1st Highlight. Using a Small Drybrush, apply

the first highlights as a heavy drybrush - or
overbrushed - layer.
Griffon - Painting the Fur

The hindquarters of a griffon resemble those of a large cat, and Stormwing in particular is part leopard. When painting
animal fur it's good to use real life reference material, so Anja used the infinite resources of the Internet to get some
leopard photos before she tackled this part of the model.
By Joe Tomaszewski
A Leopard's spots are not
actually "spots" but are

more of a "U" shape.
Lion. Lion fur uses

lighter, more muted
browns, such as
Snakebite Leather.
Obviously there are
no spots!
Snow Leopard. This

dramatic colouration
uses a pale grey base,
highlighted up to pure
white before adding
the markings.
Tiger. The contrast

between the light and
dark parts of the fur
are more pronounced,
but the basic palette is
the same.
White Lion. This

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

Light Basecoat
1:1 mix of Khemri
Brown and Calthan
Brown.
Light Shade
Scorched Brown.
Orange Basecoat
1:1 mix of Fiery
Orange and
Scorched Brown.
Orange Shade
Scorched Brown.
Basecoat. The underside was given a basecoat of

Khemri Brown and Calthan Brown. The haunch,
back and tail was painted with the orange mix.
Light Highlight
1:1 mix of Khemri
Brown and
Bleached Bone.
Orange
Highlight
3:1 mix of Fiery
Orange and
Scorched Brown.
2nd Highlight. Try applying several thin layers of

each stage instead of one thick layer, to achieve
a natural, blended effect.
Shade. Scorched Brown was applied as a

shading wash on both the underside and the
orange areas of the fur.
Light Wash
Snakebite wash.
Orange Highlight
Fiery Orange.
Orange Glaze
Dark Flesh
3rd Highlight. The wash over the light areas,

and the glaze over the orange areas were
applied to mute the tones.
Orange Highlight
2:1 mix of Fiery
Orange and
Scorched Brown.
1st Highlight. For the first highlight layer, Anja
added more Fiery Orange to the base mix. The
light fur received a Khemri Brown highlight.
Light Highlight
1:1 mix of
Bleached Bone
and Skull White.
Orange Highlight
1:1 mix of
Fiery Orange
and Elf Flesh.
Final Highlight. After the final highlights are

applied to both parts of the fur, it's time to paint
on the spots - see above for details.
Griffon - Painting the Beak and Claws
Painting the Talons

Basecoat
1:1:1 mix of
Codex Grey,
Chaos Black and
Graveyard Earth.
After the griffon's body was complete, Anja started work on the beak, tongue
and claws respectively. Again, Anja worked on each area separately, only
moving on to the talons once the beak and tongue had been completed.
Basecoat. For the first stage Anja painted the

claws with a basecoat of the above mix.
Highlight
1:1:1:1 mix of
Codex Grey,
Chaos Black,
Graveyard Earth
and Bleached
Bone.
1st Highlight. The first highlight layer was
applied in rough stripes.
Highlight
1:1 mix of
Codex Grey and
Graveyard Earth.
2nd Highlight. The stripes were defined,

getting lighter towards the points.
O
O
Highlight
Bleached Bone.
Highlight
Skull White.
Final Highlights. The claws were given a final

highlight of Bleached Bone and then thin lines
of Skull White were carefully added.
Painting the Beak
Tongue Basecoat
1:1 mix of Tanned
Flesh and Liche
Purple.
Basecoat. The beak's basecoat was built up
with several layers of Bronzed Flesh.
2nd Beak Shade

Scorched Brown
and Chaos Black.
2nd Tongue
Highlight
1:1 mix of Tanned
Flesh and
Bleached Bone.
2nd Shade. A Scorched Brown/Black mix was

then applied towards the tip of the beak.
94
WHITE DWARF
2nd Beak
Basecoat
Golden Yellow.
Tongue Shade
1:1 mix of
Regal Blue and
Liche Purple.
2nd Basecoat. The Bronzed Flesh provides a

strong base for the thinner yellow pigment.
Beak Shade
1:1 mix of
Golden Yellow
and Scorched
Brown.
Tongue
Highlight
Tanned Flesh.
Shade. The shading is applied in thin layers,

blended towards the beak's point.
Beak Highlight
1:1 mix of
Golden Yellow
and Skull White.
Final Beak
Highlight
Skull White.
3rd Tongue
Highlight
Bleached Bone.
Final Tongue
Highlight
Skull White.
Highlight. The first highlight was applied to

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

very edges of the beak.
Eltharion - Painting Metallics
Ithilmar Weapons
When it came to Eltharion himself, Anja started work by first picking out the
metallic parts of the model and working them up in lots of stages to get a
highly polished sheen, worthy of a High Elf hero of Eltharion's stature.
Basecoat
Boltgun Metal.
Basecoat. Anja used Boltgun Metal

to provide a solid, flat basecoat.
O
Painting the metal areas first
means there's less danger of
catching the face, chest plate or
helmet feathers metallic paints
and their related washes.
Don't forget to paint the

greaves, saddle edge,
sword hilt and spear
decoration in gold as well.
2nd Basecoat
Chainmail.
2nd Basecoat A second basecoat of Chainmail

was added to brighten the metal areas.
Wash
1:1 wash of Blue
and Black Ink.
Wash. Two washes were then applied to

provide a bluish, polished effect.
Highlight
Mithril Silver.
Highlight. When dry, a thin coat of Mithril

Silver was added for the highlight.
Painting Gold
Basecoat
1:1 mix of
Scorched Brown
and Shining Gold.
Basecoat. Adding Scorched Brown to the gold

paint makes the colour look less artificial.
Highlight
Burnished Gold.
Highlight. The first highlight Anja

applied was of pure Burnished Gold.
2nd Basecoat
Shining Gold.
Wash
1:1 wash of
Scorched
Brown and
Liche Purple.
2nd Basecoat. Pure Shining Gold was then

applied over the top of the first basecoat.
Highlight
1:1 mix of
Burnished Gold
and Mithril Silver.
2nd Highlight. Adding Mithril Silver to

gold is a great way to get a polished effect.
Wash. The brown wash provides shading,

while the purple enriches the colour.
Highlight
Mithril Silver.
Final Highlight. Pure Mithril Silver

was added as a fine edging highlight.
Eltharion - Painting the White and Blue

Painting white, especially on something as elegant as this model, can be tricky. Anja's advice is to use a light basecoat,
and build up lots of thinned down layers of Skull White. Even when you think you have applied the final coat, look again
when the model is completely dry and don't be scared to add a few more thin layers to get an even crisper finish.
White and Blue
Blue Basecoat
Regal Blue.
White Basecoat
Astronomicon
Grey.
A steady hand is needed to get
Basecoat. The blue areas were given a

basecoat of Regal Blue while Astronomicon
Grey was used for the white basecoat.
the feathers of the helmet

wings behind Eltharion's
outstretched right arm.
to
The quiver has been painted using

the same techniques as the rest of
the blue and white elements.
Blue Highlight
1:1 mix of
Regal Blue and
Enchanted Blue.
1st Highlight. The blue areas had a highlight,

using a 1:1 mix of Regal Blue and Enchanted
Blue. The white parts were shaded grey.
Blue Highlight
1:1:1 mix of regal
Blue, Enchanted
Blue and Space
Wolves Grey.
2nd Highlight. At this stage, start to build up

the thin layers of Skull White and add the
penultimate highlight layer to the blue areas.
Blue Highlight
Space Wolves
Grey
White Highlight
Skull White.
Final Highlight. Apply Space Wolves Grey as a

very fine edging highlight to the blue areas.
Continue to build up the white layers.
Painting Gemstones
When painting gems, start from a
basecoat of Chaos Black and
gradually work up layers of paint
until you reach the lightest colour.
The gem stages used on this model
are shown here. The darkest
portions should be at the top of the
gem, while the highlights fall
towards the bottom. Finally, a small
dot of Skull White in the top corner
represents reflected light.
Red Gore.
96
WHITE DWARF
Blood Red.
Blazing Orange.
Fiery Orange.
Skull White.
Eltharion - Painting the Face and Saddle Back

Anja tends to paint faces last, so as to match the
contrast with the rest of the model. If you paint the
face first, you might make it too dark, which will look
out of place on a model as light as this one.
Painting the Face

Shade
7:7:7 mix of
Scorched
Brown, Liche
Purple and
Chaos Black.
Basecoat
Vermin
Brown.
Basecoat. Aim to get a flat, even

coat of Vermin Brown, leaving the
eyes and mouth black.
Highlight 1
Dwarf Flesh.
Highlight. Start to block in

all of the raised areas with the
highlight mix.
Highlight 2
1:7:7 mix of
Dwarf Flesh,
Bronzed Flesh
and Bleached
Bone.
2nd Highlight. Continue to build

up the highlights, concentrating
on the raised areas.
Highlight 3
Bleached
Bone
3rd Highlight. Apply the fine

highlights on the most prominent
parts of the face using a fine brush.
Shade. The shade is applied as

a wash, and set the tone for the
subsequent highlight layers.
Glaze
1:7 mix of
Purple Ink
and Scorched
Brown.
Glaze. Re-establish the fey,

Elven skin tone with a very thin
purplish glaze.
Final
Highlight
3:7 mix of
Bleached
Bone and
Skull White.
Final Highlight. Again, reset the final

highlights. All that's left now are the
eyes and teeth.
Painting the Saddle Rest
Basecoat
2:2:7 mix of
Mechrite Red,
Scab Red and
Liche Purple.
Basecoat. Start with a deep red

basecoat mixed from the above
colours.
Highlight 2
7:7:7 mix of
Scab Red,
Blood Red
and Blazing
Orange.
2nd Highlight. Start to pick out the
creases and edges of the panels.
Shade
1:7 mix of
Scab Red and
Chaos Black.
\~
Shade. Add definition to the

creases in the saddle back with
a dark shading wash.
Highlight 3
Blazing
Orange.
3rd Highlight. As the highlight

layers get lighter, they should
also get finer and more precise.
Highlight 1
7:7 mix of
Scab Red and
Blood Red.
Highlight. Highlight the panels

with a bold, deep red.
Final
Highlight
7:7 mix of
Blazing
Orange and
Elf Flesh.
Final Highlight. Only the sharpest
edges should be highlighted with
this very pale mix.
Eltharion - Finishing Touches

A character model painted to this high standard will make a fantastic centrepiece for any High Elf army. Even with the
great new Dragon and High Elf character models in the same force, Jes Goodwin's classic Eltharion sculpt has stood the
test of time, and should take pride of place in any budding High Elf Noble's force.
Face details. The eyes and teeth

were painted with very thin
bands of Skull White. Finally,
Anja added tiny dots of Chaos
Black for the pupils.
Hair. The hair was first given a

Bronzed Flesh basecoat,
followed by a Bestial Brown
wash. It was then highlighted,
first with a 1:1 mix of Bronzed
Flesh and Bleached Bone, then
pure Bleached Bone, and finally
Skull White.
qR
WHITF nWARF
'FAVY MFTAI . FIl:HARlnN
Gloves and sword detail. The

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

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PAINTING MASTERCLASS

PAINTING THE ARMOUR

armour, as this was the largest single

or this edition of Space Hulk, Alex Hedstrm has

character with a detailed history and an important part to

You Will Need

Stage 1: For the basecoat, Anja

Stage 2: Next, Anja added black to

Stage 3: For the initial highlight,

Stage 4: Pure Blood Red was then

Stage 5: Next, Anja applied a

Stage 6: For the final highlight a

Stage 7: To tie all the layers

Stage 8: Anja then finished by

Chaos Black Spray

Dark Angels Green

Red hasnt always been an easy colour to paint. Being a

white gives you pink, which doesnt work as a highlight.

One of the distinguishing features of the

the areas; you just have to be careful not

Stage 1: The lining of the

Stage 2: A coat of Vomit

Stage 3: Bleached Bone was

Cloak & Loincloth

Stage 4: A 1:1 mix of Skull

Stage 5: For the final

Stage 1: The gold areas on

Stage 2: The basecoat was

Stage 3: A layer of Shining

Stage 4: Anja then painted

Stage 5: Mithril Silver was

PAINTING THE CLOAK

PAINTING THE CRUX TERMINATUS

Stage 1: The lappets were left

Stage 2: The next stage built upon

Stage 3: Pure Bleached Bone was

The Crux Terminatus is a badge of honour that all

Horus Battle Barge. Anja has reflected the importance of

Stage 1: The Crux Terminatus was

Stage 2: A liberal wash using a

Stage 3: Anja used Codex Grey to

Stage 4: Fortress Grey was brushed

Stage 5: Building up the highlights,

Stage 6: A highlight using a 2:1

Stage 7: The next layer used the

Stage 8: Finally, Anja used pure

Stage 4: Anja then used a coat of

painting it neatly. Remember to use a separate water pot

Stage 1: The metallic areas,

Stage 2: Anja then washed the area

Stage 3: The area was then

Stage 4: Finally, Mithril Silver was

Anja has painted Sergeant Lorenzos face using an aging

THE FINISHED MODEL

Stage 1: For the face Anja started

Stage 2: A heavy wash of watereddown Dark Flesh was then applied

Stage 3: She then applied a

Stage 4: Anja then followed with

Stage 5: A highlight using a 1:1:1

Stage 6: Anja added more

Stage 7: For the next highlight Anja

Stage 8: For the final highlight, a

The cybernetics were painted in

The hair was first painted