Warmahordes Painting 4.0 (OCR)

1.
PR_E PARING THE MODEL

Step 1) Using il couple of light applications to achieve solid
c(>veragc, pr ime the model w ith 131nck Primer. Then paint
the en ti re model w ith Cold Steel using ei ther an ai rbrush
or n trnditio nal pai ntbrush. Remember, w hen using an
ai rbrush always wear an f'\-95 respi rn lo r. With tiirbrushing,
it may take a coup le of light con l's to nd1ievc solid coverngc_
If thNc arc sn1nll Spots of primer visible after airbrush ing,
paint a th in layt'r of Cold St1.:el oveJ those areas_ T his is the
ba:;econt fo.r both the carbon steel and stnin less steel recipes.
Step 2) l3nsccoat the brass .:irt>as such as leg segments,

fost11ni ngs o n shields, and gears with Bruss Bnlls. Spn1y the
l'nli rc. model w ith a muttc sealnnt to reduce the shi ne of
the basccoats and provide more contrast between baseco<i t
and fi nal h ig hl ights. This step is very im portan t <is it also
p rovides tooth to the su rface of the metall ic pai nt, making
shad ing and highlighting easier.
2. CARBON STEEL
Step l) After basecoating as described in "Prupari ng
the Mod el,'' choose the areas to make ca rbon steel and
leave the rem ai ning areas to be mnde stainl ess stee l.
A Itern a ti ng bctwel'n these two o n a d j<iccn t su rfaces w i II
crca te v isua I con l rast.
Step 2) Begin pai nti ng the ca rbon steel sectio ns by 8pplying
a thin glaze of G rea tcoat Grey over tho$e porti ons of the
Cold Steel basecoat. T his layer should no t comp letely cover

the metallic pain t. It wi ll instead provide a ti nt of color nnd
subdue the meta llic sh ine of the basecoa l.
Step 3) Shade t he 1'netal w ith a mix c)f Exile Blue and Brown
Ink. It may takC' a cou ple of blcr1dcd coats to get the shad<1ws
dn rk e no ug h.
Step 4) Usi ng Cold Steel, highlig ht Lhc edges of plates, bolts,
ond gears i n these sections. Take ca re not to m ake high ligh ts
too larg-c or sweeping_
Col d Steel
II
II
II
Greatcoat Grey
Brown Ink
Exil e Blue
Cold Steel
lJrass Ball s
3. STAINLESS STEEL
Step 1) Apply a thin glaze of Bastion Grey over the Cold
Steel basecoat on areas that will be stainless steel. Tllis layer
will provide <1 tint to the basecoat as well as subduing its
metallic !.hinc.
Step 2) Shade the surfaces with lronhull Grey. It may take a
couple of blended coats to create a smooth gradient with a
dl.'ep enough value for shadows.
Step 3) Apply the first highlights of Cold Steel to the top of
rounded surfa~cs, on the top edge of plates, and around the
bottom half of bolt holes in these sections. Using a mixture
of Cold Steel and Quicksilver, blend highlights on Lhe edges
of plates, gcMs, ,md bolts. It may take a couple ot coats to
create brilliant highlights without making them too broad.
Step 4) Apply Qukksilver as bright, glinting highlights on
the edges of plates, bolt holes, and gears.
Ill
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Bastion Grey
Ironhull Grey
Cold Steel
Quicksilver
4.CHROMIUM
Step 1) Baseco.:it the chromium surfaces with a 50/50 mix of
Quicksilver and Underbelly Blue.
Step 2) Using Troll blood Bac;c, shade the chromium surfaces.
This will tint the nrcas with a little bit of blue and should not
be thick.
Step 3) Highlight with Quicksilver by applying several
blended coats to build up strong shine.
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Ill
Quicksil ver
Underbelly Blue
Trollblood Base
5. BRASS
Step 1) Over the Brass Balls basccoat described in
''Prepari ng the Model," apply Thornwood Green a:=; the
fi rsl shadow color.
Step 2) Using Cryx Banc Base, npply the deepest shadows
on the brass areas.
Step 3) Blend Brass Bnlls as the first highlight to bring the

shine back into the brass. The brass arcns a rc mea nt to be
shinier tha n the carbon steel and st.::iinlcss steel areas to
provide more contrast between all the metallic surfaces.
Step 4) Using n mix of Bl'ass Balls a nd Rad iant Platinum,
high lig ht the brass a rc<Js. Pay particularly close i'lttention to
the highlights a long the edges of plates and bolt holes.
D
II
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T h ornwood Green
Radiant Platinum
Brass Balls
Cryx Bane Base
6. CVRISS GLOW
Step 1) Basecoat the glow ing s urfaces using Frostbi te with a
couple thin coats of paint.
Step 2) Gradually build the shadows of the glow ing surface
by blending Arcane Blue over Frostbite, creating a smooth
gradient from a slight tin t to a small area of dark shadow.
Create the il!L1s io n of a glowing light source by blending
Arcane Blue on s urfaces adjacent to the Cyriss glow.
Step 3) Th in Morrow White a nd blend in highlights. It will
take a couple of layers to get the white bright enough to
ere.ate the glow ill usion.
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D
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Frostb ite
Arcane Blue
Morrow Wh ite
M
As
BY ROB HA W K I N S - - - - - - - - -- -- H you're like mt>, onre you finall} get your Com.-ergence of Cyris., Battlegroup Starter you'll \\ant to put your modeb on
the table nght away I've long prided myself on gaming only with pamtNi miniature.,, ...o before I unlcao;h the Convergence
on my opponent.... Forgl' Ma..,ter Syntherion and his vectors need to gel paanll'd Fast
Since thl Convt>rgencc models are all-metal coru.lructs, priming them black and drybru-.hmg Cold Steel O\'er the !>urfuce
can be a pretty tempting solution. However. while I've always bet>n ci fan of drybrushing and use the technique almost
exclu~1vely in my terrain, on a .,mall miniature it can Jook sloppy and rushed. On top of that, the Convergence models have
a lot of drlicate limb~not the sort of thing you want to vig(lrously brush.
What follow:- is J quick way to tum out an effective and clt>an Conwrgt>nn' paint scheme. We'll match official faction colors
and use simple ba...cco<1ts and washes lo gel the job done (okay, and a little drybrushing, loo).
Paint the entire bat llcgroup together, using an assembly-line process lo work on all the parts as a i;ingle batch so you can
work quickly and finish the models together. Tf you can maintain your focus and power through this process, you'll h<ive
tht.?sc model:- pilintcd in ii matter of hour-;.
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MODEL ASSEMBLY & PRIMING

Assemble the models, keeping some limbs separate so it's casi,er to access all the details without the arms getting in the
way. Use popsicle sticks and dowels to hold the parts, pinning each in place with a thick brass rod. The images below
show how to best separate the major components of each model.
You'll notice I've glued sand to the bases and then glued
the models on top of the sand. This is so J could get a
secure bond to the base without the sand obscuring the
miniature's feet, as would happen if il were added at
the end. The sand will be painted in the fina l steps as
weathering is applied to the models.
Spray the models with Formula P3 Black Primer. Try
to get solid coverage, but don't agonize over it if the
spray doesn't penetrate into every nook a11d cranny. The
washes will adequately cover any "bald" spots.
on
ice
ice
ost
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PAINTING THE OUTER HULL

Step 1) Coat a II the parts v.rith Cold Steel darkened with a touch of Pig [ron. A Formula P3 Large Drybrush or Large
Flat Brush works best for this. Wet the brush and blot it dry on a paper towel. Then, apply the paint using a normal
drybrushing technique. The moisture still in the brush will allow the paint to penetrate into the recesses more than
if this were a true drybrush. (If you've ever attempted drybrushing with a brush that wasn't fully dry, you'll know
exactly what r mean.) I find this method is foster than applying a standard base.coat because you don't need to worry
about precision.
Work across the model, taking care not to let the paint gum up the details, until you have a smooth, metallic coat.
Step 2) Next, wash the entire model with Armor Wash.

Use the wash straight from the bottle without thinni ns
and ensure it gets in all the recesses. Take care not to let
the wash pool on the surface o r completely fill in details
like the art deco designs or screw heads. If you see this
T~
th
sh
pr
l;appeni..ng, pltll some of the excess wash off the model

with a clean, dry brush.
The result is a nicely
sbaded and suitably
dark metallic p.-.rt.
Step 3) After the wash has completely dried, drybrush

the model 1~ri th Cold Steel nnd then Quick Silver using n
properly dry brush. A Formula P3 La-rge Flat Brush is the
most effective brush for this.
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MODELING & PAINTING
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PAINTING THE CARBON STEEL

ThLc; step allow., you to add variety to your miniatures. The intention 1s to add conlra'il beh' .:11 the different areas of
the modd and break up the all-metallic surface. lf you're matching the ..tudio ..cheme, loo!- at the images and gallery
hot., to~ where the carbon steel plates are located, but feel free to add as much or as litUe carbon as you like. If you
prcfcr to dlviah.? frClm the ~tudio faction colo~, you could even apply a different color wash.
Mi'\ a wash of Greatcoat Grey, Armor Wash, and a little water. The art.as receiving this c.ubon steel wash arc mostly
recesc;ed, so you don't need a particularly steady hand to c;tay within the hn('S. Use a Formula P3 Work Studio Brush
and lay in the color with a continuous sweeping stroke to avoid .my overlapping lines as the wash begins to dry.
Thl original silvcr highlighting will show through the wa'>h If you find the wash has gone on heavy, to the point of
turning the area too grey, :.imply drybrush a little Pig Iron on the surface after lhc wash has dried. That will recapture
the metallic shine.
PAINTING THE BRASS GEARS AND COGS

For even more contrast, a few parts should be picked out ;is brass. And, jui:.l as w ith the carbon steel, ii is up to your
discretion to add as much or as little as you feel is neccss;iry. This is thc- most pnin!>laking step because you don't want to
get bra.,s on any other areas of the model. Accordingly, I've kepi the process as c;imple as possible.
Step 1) Basecoat the areas to be painted brass w ith Hhulic Cold . Since l'm m.1tching the stud io scheme, this will be all
the gears and pistons, a rew of the arm and leg segments, and the shoulder dct.1ilc; on the Cipher.
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MODELING & PAJNTING
31
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Step 2) Mix a wash with 50/ 50

Brown Ink and Thornwood Green
with a few drops of Armor Wash
to darken it, then thin the mix with
a little water and mixing medium.
Paint the mix onto all the brass areas
Lo shade them.
As with the Armor Wasli earlier,

don't let this pool on surfaces
or completely fill in any of the
recessed details.
Step3) When thl:' wash dries, use

a Formula P3 Small Flat Brush to
drybrush highlights onto the raised
areas with Solid Gold and n touch of
Radiant Plat.imun. Don't worry about
the deeper areas where the brush
won't fit.
PAINTING THE VOLTAIC GLOW

The models are nearly complete! All that remains is the blue light emanating from within the mechanibl constructs.
St.
ba
Step 1) Thin Morrow White with a

few drops of water and paint it into
the glowing areas. The thinness of
the paint will allow it to flow into
the recesses.
Step 2) Make a wash using Arcane Blue with a little water and mixing
medium. Paint this over the white and on some of the metal around the
glowing components.
Step 3) If a single coat of the wash doesn't properly

shade the white (if too much white shows through
or if the blue ends up being more opaque than you
wanted), adjust the glow by adding another layer ot
wash or by adding highlights. The coils, for example,
will benefit from thin highlight Jines using a mix Qf
Arcane 61ue and Morrow White and a final highlight
of straight Morrow White. fhis is an organic process,
and you may need to shade some areas more <ind add
brighter highlights to others.
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All
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If the glow obscures too much oi tht surround ing metal,

drybru"h J htllt> Cold St~I and Quick Silver around the
frame. Bv pulling tilt! -.1dl! of rour brush across the area,
you can kl>t!p thl! hairs from falling into the rece..-;es and
ketp thC' -.1lvC'r on ti~ raic;ed -.urface.. This is particularly
cffocllvc on tht 'vhtigator'.., venh. and the Convergence
faction symbol on the Cipher's torso.
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PAINTING THE BASES AND WEATHERING
Ste p 1) To paint the sand, first

b.iscco.il il with C un Corps Brown.
Step 2) Use the brown wa.,h you

created earlier for the bras.'> and paint
it over the sanu.
S te p 3) \\hen lht> wa..,h ha-; dried, drybrush the sand

with Gun Corps BrO\vn. Don't worry if <;<>me of the
color gets on the leg.,; it will enhance the weathering
effect, making the modeb look as though they',e been
tromping acro'>..'i the muddy battlefield.
While washing the c;and, apply some

to the ftcct and legs of the vectors to
give them .1 muddy appearance.
S tep 4) Drybrush the ~ml with Menoth White Base,

l.ecping this la'>I highlight clear of the model's legs.
FINISHING THE MODELS

All tha t rcmoins a rc llw fi nal de l.iils! To fin ish the models, paint tlw rims of the bases with Thamar Black and ad d somt'
sta tic g'rass. Thtn c.ucFully re move the parts from the ir pi1inting st11nds ,md supcr glue thl' miniatures together. Now
they' ix rcody for thl' battlefield!
If you stick with this method as you add to your force, you can com plete whok ~rou ps of models as you get them,
avoiding every hobbyist'.., d ilemma: the d readed backlog of unpainted min1atun.c;
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MODELING & PAINTING
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BY MEG MAPLES
Convergence of Cyriss models are beautiful pieces that lend themselves to a variety
of color schemes. Ever since painting the studio versions of these models, I wanted to
try out a pattern on them showcasing some of the wide-open spaces on their armor.
Using an airbrush to create a pattern was very experimental, but it netted fantastic
results. Of course, it also requires some patience and careful handling of parts during
the painting process.
DARK CONVERGENCE OF CYRISS

I wanted to create a pattern
similar to a carbon fiber

pattern, but I had to take
the scale of the model into
consideration when creating
this look. When choosing
the mesh fabric to create the
pattern, make sure the holes
in the netting are not too
large. It's wise to do a few test
runs ahead of time in a paint
journal using different types
of mesh fabric.
Notes about creating the carbon fiber pattern: Some mesh fabrics have a pattern that
runs in a specific direction. Pay careful attention to that orientation throughout the
painting process. Further, the fabric will need to be right on top of the parts with little
or no gap between the mesh fabric and the part surface. If the fabric is floating over the
surface of the model, paint will pass through the holes of the fabric. If you spray too
much paint, it will run underneath the fa bric. Applying two light layers of Quick Silver
can help modulate the brightness of the silver, creating highlights.
A) Mix
airbrusl
allow in
Afte1
spray O'
from th1
B)
C) Shae
Armor1
be appli
STEP 1: PREPARATION
Clean all pieces of the model but do
not glue them together. Each piece
will need to be airbrushed separately
in the beginning stages of this tutorial.
I recommend gluing each individual
p iece to a stick for easier handling
d uring
the
airbrushing
stage.
the
joint
surfaces
with
Cover
painter's tape or masking tape.
This is important because if two painted
surfaces are glued together, the paint
will crack and pieces will come apart.
Once the pieces are clean, spray them
with P3 Black Primer.
ALWAYS USE AIRBRUSH SAFETY

When using an airbrush , always work in a well-ventilated area and wear safety goggles and a dual n iter respirator mask.
STEP 2: CARBON FIBER
A) Mix Pig Iron, Blue Ink, and Brown Ink, and then
airbrush the basecoat at PSI 20. Apply two light coats,
allowing each coat to dry before moving on.
B) After cleaning the airbrush, thin some Quick Silver to
spray over the netting. Spray at PSI 15 a few inches away
from the surface of the model.
C) Shade using a mixture of Turquoise Ink, Brown Ink,
Armor Wash, and a touch of Thamar Black. This step can
be applied after assembling the models if you choose.
STEP 3: CYRISSIST GUNMETAL
A) Mix Blue Ink, Brown Ink, and Pig Iron and basecoat
some of the trim around the carbon fiber plates.

This will make the patterned plates stand out and
maintain contrast.
Shade with a mixture of Coal Black, Sanguine Base,

and a touch of Thamar Black.
B)
A)B.
C) Highlight with Pig Iron.
with
D) Highlight the glinting edges with Cold Steel.
STEP 4: COLD STEEL
D)Hi.
Gold1
Basecoat remaining pieces in Cold Steel with the
airbrush. If you haven't already assembled the models,
do so now.
A)
B) Blend Bastion Grey over the Cold Steel for the
first shadow.
STE
A) Mix
the bas1
C) Use Ironhull Grey for the darkest shadow.
Highlight with Quick Silver; apply multiple layers to

make your highlights brighter.
D)
Shae
make t}
B)
; to
STEP S: BLIGHTED GOLD
A) Basecoat some of the accent details

with Blighted Gold.
B) Apply the first shade of Cryx

Bane Base.
D) Highlight with a mix of Blighted

Gold and Brass Balls.
E)
C) Add a few drops of Brown Ink

and a small amount of Thamar Black
to the Cryx Bane Base for deeper
shadows and some lining around
the plates.
Mix in some Radiant Platinum for

the highest highlights. Apply sparingly.
STEP 6: REGALIA PURPLE
A) Mix two parts Beaten Purple to one part Exile Blue for
the basecoat.
C)
Highlight with Beaten Purple.
D) Apply Sanguine Highlight for the final highlight.
B) Shade with Coal Black, applying a couple of layers to

make the shadows darker in the deepest folds.
MODELING & PAINTING
8I
MAGENTA GLOW
or
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FC
With
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to sh
how(
inste.
like <
A) Basecoat areas that will be glowing with Morrow White.
B) Mix Murderous Magenta with a few drops of Mixing

Medium and water, and then apply as a wash over
the white glow areas. To make the glow more intense,
apply a couple of layers and touch up the highlight with
Morrow White.
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~Y'X
P(llf1Tll1G
The
Cryx
paint
scheme
is
mostly monochromatic and relies on
differences in value to achieve contrast.
Large areas of the models are painted in black
and grey tones. The metallic areas hold the place
of midtones, w hile the flesh and bone areas are
by far the brightest parts of the models. These
differences in light and dark serve to move the
eye about the model and create points of interest.
Right away the eye is drawn to Lhe flesh or bone
face of the model, since it is so much brighter
than the rcc;t. The glowing green sudi as appears
on runes serves the same purpose, and very
effectively. This green is often the only
s trong color on the model, there to draw
attention to interesting aspects of the
figure like runes or soul cages.
GUID~
A model completely devoid of color is quite
boring visually, so when painting a model with a

neutral color scheme it is important to add a b it of
color to the shading and highlights to keep things
interesting. The Cryx paint scheme adds greens
and purples to many of the mixes to prevent the
areas from becoming bland. These greens and
purples can then be used on select models and
u nits to add variety to the army, as is the case w ith
the Satyxis Blood Witches.
PAINTING TERMINOLOGY
BASECOAT
SHADING
The Initial coat of paint on \.\hich everything else will be built. It ls

Important that the basecoat is very dean and eve1ry color is where
It should be. Your shades and highlights will coordinate vmh the
A darker color applied to the ~a.secoat rn the recessed nreas of a

miniature to create shadows. Exaggeratins I.he '>hade and highlight
colors \.\ill add to the visual appeal of a model
basecoat and mam color choices.

GLAZE
A mixture of water and a small amount of Ink that 1s applied In
successive layers 10 subtly tint an area.
HJGHllGHTING
A lighter color applied to the basecom In the nused areas or a
miniature to create the look of light hlning lhE i.11rface. When
highlightl~ In muluple steps. keep a little bit of the underlying c:olor
showing. overlapp!ng them like ~hingles on a roof.
WASH
A lombtna11on or mixing medtum, water. paint and/or Ink that Is
liberally applied to the basecoat to create detailed shading. The
wash will run Into the smallest crevasses on a model and dry as
a shadow so It needs 10 be a darker color than the basecoat. The
wash mix works well as 4 pa.rts mixing medium, I part paint/ink,
and 3 pans water.
Cryx Bane
Highlight
II
II
Cryx Bane Base
Step 1) Give the area a solid basecoat of Cryx
Bane Highlight.
Step 2) Apply the initial shading with Cryx
Bane Base.
Step 3) Use Coal Black mixed wilh Umbra.I
Umber for the second Jayer of shading.

Step 4) The final layer of shadi ng is just a
mixture of Umbral Umber and Thamar Black.
Step 5) Finally, return with Cryx Bane Highlight
to apply some subtle highlights.
Coal Black
II
Umbral Umber
Thamar Black
P(lLLID
FL~YH
Step 1) Ba~ecoat the flesh in a mixture of Ryn

Flesh, Carnal Pink, and Trollblood Highlight.
Step 2) Add Traitor Green to the basecoat color
and apply shading to the Aesh areas.
Step 3) Next, add Beaten Purple lo the mix and
use this to apply more shading.
Step 4) For the final shading, use a mixture of
Step 6) As an optional step you may want to

apply a glaze of Beaten Purple mixed with
Sanguine Base, Cryx Banc Base, and Mixing
Medium to simulate a more blighted appearance.
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D
D
Beaten Purple, Traitor Green, and Midlund Flesh.

Step 5) Mix Ryn Flesh, Carnal Pink, and Menoth
White Highlight together for the final highlights.
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II
Ryn Flesh
CarnaJ Pink
Trollblood
Highlight
Traitor Green
Beaten Purple
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D
Midlund Flesh
Menoth White
Highlight
II
Sanguine Base
II
Cryx Bane Base
D~'1D FL~YH
Step 5) Finally, highlight the model using a mixture

of Thrall Flesh and Menoth White Highlight.
S tep 1) Basecoat the area in a solid coat of

Thrall Flesh.
Step 2) Mix Beaten Purple with Mixing Medium
and apply this as a wash to the flesh.

Step 3) To offset the purple, apply a wash of
Battledress Green mixed with Mixing Mediium.

Step 4) Apply shading with a mixture of Beaten
Purple and Coa l Black.
'RYX
BL'1'~
Step 1) A solid black basecoat is essential when
painting black. It's a good idea to basecoat the
area in Thamar Black even if you are painting
over black primer.
Step 2) Use a mixture of Coal Black and Urnbral
Umber to apply the first layer of highlights.
Apply this layer only to the top half of eaclh area,
leaving the bottom half in pure black shadow.
Step 3) Add Cryx Bane Highlight to the mixture from
the previous step and apply additional highlights.
--
Thrall Flesh
II
Coal Black
Beaten Purple
Menoth White
Highlight
Battledress Green
Step 4) For the final highlights, add 'Jack Bone to

the previous mixture and applv this to the edges
and anywhere else you want extreme highlights.
II
II
II
Thamar Black
Cryx Bane
' Jack Bone
Coal Black
Umbral Umber
Highlight
S tep 5) Apply highlights with a m ixture of

Menoth White Highlight and 'Jack Bone.
Step 1) Apply a solid basecoat of 'Jack Bone to
the model.
Step 2) Shade the area with a wash of Cryx Bane
Highlight.
S tep 3) Apply a second layer of shading
with a mixture of Gun Corps Brown a nd
Thornwood Green.
Step 4) Use a mixture of Battlefield Brown and

Greatcoat Grey for the final shading.
Step 1) Water d o"''n some Men oth White

Highlight and apply it to the eye socke ts and
glowing runes. Diluting the paint wHl help it
fl ow into th e crevices m ore easily.
Step 2) Mix Gree n Ink and Yellow Inik to get
a nccrotite green color and us e this to lightly
glaze the runes. Be careful not to overJoad your
brush with ink or you' ll cause it to pool in the
rece~ses and ruin the effect.
D
D
'Jack Bone
Gun Corps Brown
Cryx Bane
Highlight
II
II
D
Battlefield Brown
Greatcoat Grey
Menoth White
Highlight
T hornw ood Green
Ste p 3) Re turn to the area with Menoth White

I Iighligh t and a pply som e highligh ts to
sim ulate the glow.
Step 4) Add m o re Yellow Ink to the ink mixture

used in s le p 2 and apply this as a second glaze
to finish the effect.
Menoth White
Highlight
G reen Ink
Yellow Ink
BLIGHT~D YT~~L
Step 1) Basecoat the area with multiple layers of
Pig Iron until you achjeve solid coverage.
Step 2) Shade the metal using Cryx Bane Base to
give it a slimy green tinge.
Step 3) Mix Brown Ink with half as much Green
lnk and a small dot of Thamar Black, then use
the resu lting mixture to apply deep shado ws to
the metallic areas.
1
Step S) After the rest of the model ii:. painted

and p rotected with matte sealant, apply some
final highlights with Quick Silver. This restores
some of the shine muted by the matte sealant.
IJ
D
II
Pig Iron
Cryx Bane
Highlight
Brown Ink
II
II
G reen Ink
D
D
Cold Steel
GOLD
Step 1) Basecoat the area using Blighted Gold.

Step 2) Add shading using a mix lure of Cryx
Bane Base and Brown Ink.
Step 3) Mix Umbra] Umber with Coal Black and
use this for final shading.
Step 4) Begin highlighting using Brass Balls.

Step 5) After the re~t of the model i~ painted
a n d protected with matte sealant apply some
Q uick Silver
Step 4) Use Cold Steel to apply highlights to the

metallic areas.
BLIGHT~D
Thamar Black
--
----
final highlights with a mix of Brass Balls and

Radiant Platinu m. This restores some of the
shine muted by the matte sealant.
IJ
II
Blighted Gold
Cryx Bane Base
Brown In k
U mbra) Umber
II
D
D
Coal Black
Brass Balls
Radiant Platinum
Painting this slnlstc-r fellow requires a method for slmulaclng shiny black leather. Start by mixing up
Khador Red base and Exile Blue until you get a cool purple. Add Coal Black slowly until chis becomes
grey with a touch of purple. lastly, darken the color using Thamar Black until che mixrure appears
just a bit lighter than black. Apply this base color to half of eadt of the large areas on the model and
blend the edges. Then. thoroughly edge the entire model wlch this munure.
Base Coat Colors:

Shiny Black Leatbe r-Khador Red mixed wi th Exile Blue. Coal Black. Thamar Black
Highlighting
Add Trollblood High fight to the base color and. using the side of your brush, apply highlights In
multiple thin coats along the sharp edges or the model
Hi11hli11htin1J Colors:
Shin y Black Lea ther-Base coat mixed with Trollbloocl Highlight
Detailing
For the final detailing, add some of the mixed color to Morrow White-the resulting color should
appear off-white. Apply this color In dots and shori lines 10 the edging where it comes co a
point. Too liberal an a1lpllca tl on of either hlghllghc wlll r ui n the effect. so keep your hlghfl ghcs
tight and the overa ll appearance very dark.
Detailin11 Colors:
Sh iny Black Leather-Highlighting base coat with Morrow White
Final
36
Base Coat
Highlighting
Detailing
"0 ODllRTER MHGRZIHE: MODEll"G ft"D PHIHTl~G

Drudge mind Sia ues by man DiPietra
Base [oat
Base the flesh of your Drudge In a sldcly mlxUre of Trollblood Highlight. Cryx Bane Highlight, and
Ryn Aesh Make sure you have a solid opaque coaL To create the bruises. lake Sanguine Highlight
and apply 11 wherever the Resh meets metal. blending lhe color out over the flesh as you~- Give
your iwo metals a base coat of Brass Balls and Pig Iron respecuvely. Lastly, base lhe leggings in
Hammerfall Khaki.
Base [oat [olors:

Flesh-Trollblood Highlight mixed with Cryx Bane Highlight and Ryn Flesh
Flesh Bruising-Sanguine Highlight Brass- Brass Balls
Iron- Pig Iron Leggings-Hammerrall Khaki
Shading
To shade the skin, define the shadows In three steps. First, mlic Thomwood Green with a dot of Ryn
Fl esh and apply this to the contours of each Individual muscle. Blended It so that the muscles appear
separated. Next, apply a blended layer of bruising using a mi xture of Sanguine Base and Exile Blue.
Apply the deep shadows sparingly to the extreme undersides of the musculature. Use a mixture of
Umbral Umber and Coal Black. Mix Turquoise Ink with Brown Ink until the color appears black and
then add a few dots of Bloodtracker Brown for opacity. Use this mix to shade the brass sections.
Use Armor Wash mixed with some matte medium to shade the Iron ~Ions. Make a wash for che
leggings wllh Battlefield Brown.
ShadinQ [olors:
Flesh- 1.) Thornwood Green wilh Ryn Flesh, 2.) Sanguine Base with Exile Blue.
3.) Umbral Umber with Coal Black Brass-Turquoise Ink with Bloodtracker Brown
Iron-Armor Wash with matte medium Legglngs- Battlefield Brown
Highlighting
Muc Thrall Resh with Trollblood Highlfsht. then add dots ol Ryn ~ and Menoth White Hlghll!!ttt until
your mix lUmS a pale, warm grey. Use this 10 highli!!ttt your muscles Ollct' and then add more Ryn Flesh and
Menoth White Hl!!ttlight for succesSive hisJtlight ~To finish off the brulsi~ mix Skome Red wnh Exile
Blue, then mix with water and matte mediu.m until you get a gla1e. Glaze around the brulslng unul satisfied
with the effecc. Use Radiant Platinum to highlight the brass sec11ons and Cold Steel followed by Quick Silver
for the Iron sections. Highlight the tes wrappinss with Menoth While Highlight.
HiQhliQhtinQ [olors:
Flesh-Thrall Aesh with Trollblood Highlight, Ryn Flesh. and Menorh White Highlight
Bruisln~Skome Red with Exile Blue, water. and matte medium Brass-Radiant
Platinum Iro~ld Steel, Quick Silver Lexglngs-Menoth White Highlight
Detailing
You have only a few detail left 10 paint before unleashing your llule mind sla\ll! to wredk havoc on the
battlefield. Paint the tubing using the same method as the Cephalex's shiny black leatlier. Black out
Individual r1\ll!lS to separate them from the rest of the metal and then p;unt them with Cold Steel.
DetailinQ [olors:
Tubin~Base
Base [oat
Shading
coat mixed with Morrow White Jron- Thamar Black. Cold Steel
Highlighting
37
II
D
D
II
Bloodstone
Khador Red Highlight
Ember Orange
II
D
II
Cryx Bane Base

Cryx Bane Highlight
Thamar Black
II
II
Brown Ink
[)
Blighted Gold
Turquoise Ink
Bloodtracker Brow n
KRAKEN
Step 1) Begin by using the two-tone primer techniq ue,
starting with two ljght layers of Form ula P3 Black
Primer. For the second tone, apply a layer of rust-colored
automotive primer from overhead. (You can buy rustcolored primer at most auto-supply stores. Alternatively,
you can apply a similar color using drybrushing or an
airbrush.)
Step 2) Using the sponge painting method, apply a
chaotic rust texture to the model. Bloodstone, Khador Red
Highlight, Ember Orange, and Bloodtracker Brown are all
good colors to use in this step.
Step 3) Apply two thorough coats of hairspray to the
model, allowing the coats to dry between applications. A
blow dryer will speed the drying process significantly.
Apply a light coat of Cryx Bane Base mjxed with Cryx Bane
Highlight to the model. 1t is important to make this coat
of paint fairly light and to avoid tota l coverage so that the
water used in the next step can penetrate the top layer of
paint to dissolve the hairspray. A good rule is to make sure
that you can just barely see the rust showing through the
layer of paint.
Step 4) Brush clean water onto the surface of the model and
then use a stiff-bristled brush to gently abrade the surface,
removing the top layer of paint. On areas where it is d ifficult
to get the paint to chip away, use a sharp pin to scratch
through the top layer. After achieving the desired effect, seal
the model with a spray-on matte sealant and allow it to dry.
Step 5) Using a fine detail brush, trace a thin line along the
top edge of each chip using Thamar Black. Then trace the
bottom edge with Cryx Bane Highlight.
Step 6) Add translucent drips to the model using a mixture
of Cryx Bane Base and mixing medium. To apply the
drips, paint a line at the level of the rivets. Before the paint
begins drying, use a second, damp brush to pull the paint
downward and create the drip effect.
Step 7) Apply several layers of glaze mixed from Brown
lnk and Turquoise lnk to finish the effect, then black out the
metallic areas to prepare it for painting.
Step 8) Paint the b lighted gold using the standard method
described in Forces of WARMACHINE: Cryx for a dramatic
fi n a 1effect.
For Blood or Gold:
Ogrun Bokur
By rob hawkins
In this Modeling & Painting series, were going to show
you how to convert various Mercenary and Minion units
to match the aesthetic of their preferred client factions.
Never content to limit ourselves to a simple palette
swap, like painting Steelhead Halberdiers in Khadoran
colors, well expand our focus to converting the models
equipment to reflect modifications obtained during
extended deployments.
This time its bokurs. These ogrun travel the lands,
selling their swords to prove their martial prowess.
While the term bokur means unsworn, it is not
uncommon for an ogrun bokur to adopt the style and
heraldry of a favored client, especially if the ogrun
finds himself in that clients service for an especially
long time. Indeed, the ogrun could be in the process of
settling on a korune.
The ogrun in this tutorial have also made use of
weapons salvaged from the battlefield or that have been
augmented in other waysas you will see with the
Cryxian ogrun.
Note: In an official Organized Play event, always be sure to
verify all conversions with the Event Organizer. Conversions
make for some amazing modeling opportunities and can lend
real flair to an army, but when crafting your new conversion,
you should also keep model identity firmly in mind to avoid
confusing your opponents.
54
Modeling & Painting
Khadoran Ogrun
This Ogrun Bokur has been
upgraded with Man-O-War
Demolition Corps arms, a
Man-O-War Kovnik shield,
and a plastic Spriggan lance.
Step 1: Swapping the Halberd for the Lance

a
A) Begin by clipping away the halberd, leaving about

1/4 of the shaft above the hand. This will fit neatly into
the preexisting hole in the Spriggan lance.
B) Angle the arm away from the body to accommodate

the lances guard. Remove the oblong peg from the top
of the arm and replace it with a pin so you can swivel the
arm out a bit.
C) Check that the lance fits, and then glue the arm in
place. Leave the lance separate for now so it will be
easier to paint the torso.
Step 2: Adding the Shield and Shoulder Pads

a
A) Use clippers to remove the Man-O-War Demolition

Corps arms from the shoulders, and then file the service
stripes off the Man-O-War Kovnik shield.
B) File the undersides of the shoulder pads as smooth as

you can. Pay particular attention to the edges, as these
will be most visible part.
Modeling & Painting
55
Step 2: Adding the Shield

and Shoulder Pads CONT.
C
Sculpting Fur Hats

The fur hat is a ubiquitous detail in Khadoran
armies. Heres how you can add one to any model:
1) Begin with a ball of
putty pressed onto the
miniatures head. Give
it a rough shape and
make sure its securely
adhered.
C) Using a Formula P3 1.90mm drill bit, drill a shallow

hole in the shield to fit over the nub on the ogruns shield
arm. Dry-fit the part but keep it separate for painting.
D) Smooth over the shoulder joins with Formula P3

Brown/Aluminum Putty. Add small balls of putty to the
tops of the shoulders and press the shoulder pads into
them for a more secure join.
2) Use the flat blade of

your sculpting tool to
press the sides of the
hat square. Then, with
the spatula end, press
in the top of the hat.
3) Use the edge and
point of the blade to
press creases into the
corners, defining the
four flaps. Widen the
bottom of the creases
to create a slight
teardrop shape.
4) Now that the shape
of the hat is finished,
its time to add the fur
texture. Use the tip of
a hobby knife to poke
the surface, creating
the rough fur. If the
creases start to get lost,
you can deepen them
with a pointer tool.
5) Make sure the four

sides are even and
square, then set it aside
to let the putty cure.
6) The finished hat.
Now your model
is ready to battle
the enemy and the
elements!
E) Attach the shoulder pads, add a hat (if you think your
ogruns head might get cold), and the model is ready to
prime and paint! Youll notice Ive put some excess putty
on the end of the lance handle; this is to make it fit a little
more snugly.
56
Modeling & Painting
Cygnaran Ogrun
This bokur has taken a
shine to the Stormguards
voltaic halberds
and had the arcane
mechaniks fashion one
for him. The conversion
uses the Stormguard
sergeant weapon and an
Commander Adept Nemo (resculpt) staff.
A spare plastic Centurion shield provides
another opportunity to add some voltaic
flare. The ogrun cant quite get the shields
polarity field to work properly, but its a
memento of the battle nonetheless, and he
will have a nice story to tell about it when
he returns home.
Step 1: Converting the Halberd

A
A) Clip away the red-shaded portions of all parts. This

will leave you with the halberd shaft, the blade of the
voltaic weapon, and a portion of Nemos staff to use as a
power supply on the ogruns belt.
B) Pin the head of the weapon onto the halberd shaft.
C) Use some floral wire to create the power cablethe

.85mm Formula P3 drill bit is a close match to 22-gauge
wire. Drill a small hole in the back of the weapon, right
behind the coil, and glue the wire in place.
D) Wrap the wire around the shaft of the halberd,
leaving enough extra wire to extend behind the ogrun.
Add a dab of glue to hold the wire in place.
E) Attach the weapon arm. Drill a hole for the wire in the
side of the power supply and glue it to the models belt.
Finally, insert the wire into the power supply.
Modeling & Painting
57
Step 2: Modifying the Shoulder Pads

A) Well use two of the Ogrun Bokur shoulder pads
without spikes to replicate trencher design elements.
Cut two pieces of .5mm sheet styrene to fit under the
shoulder plate.
B) Flex the card to create the curve and glue it under the
metal plate. To maintain the curve and to keep a tight fit,
press the plate against the handle of a hobby knife. Be
sure to remove or cover the blade for safety, and make
sure no glue seeps out of the cracks or you may find
yourself with a newly armored hobby knife!
C) Here you can see the finished shoulder plates. The top
end has a little flange protruding from underneath, and
the curved portion extends from the bottom, just like a
trenchers shoulder armor.
Step 3: Attaching the Shield

a
A) Glue the shoulder pads in place before adding the shield

to prevent it from interfering with their position. On the
inside of the shield, fill and smooth over the hole with
modeling putty. To create a perfect join on the ogruns arm,
press a small amount of putty into the round socket.
C) When you remove the shield youll find a perfect

impression of the arm. You can trim the blobby edges
once the putty has cured.
58
Modeling & Painting
B) Before the putty cures, apply a little lip balm to the

shield arm to prevent it from sticking. Position the shield
and press it onto the models arm.
D) Keep the shield separate for now to give yourself an

easier time priming and painting.
cryxian Ogrun
Some bokurs find
themselves in the service
of dishonorable masters.
This Cryxian ogrun
suffered grievous
wounds defending his
client, losing his hands. The
necrotechs grafted mechanical
replacements, and now the ogrun serves the lich
lords. This conversion is a little more complex
than the others, using the Brute Thrall arms to
replace the Ogrun Bokurs. Likewise, the shield,
halberd, and shoulder pads will be replaced with
the a Seether carapace, a Pirate Queen Skarre
(resculpt) sword, and Lord Exhumator Scaverous
shoulder armor to represent that this bokurs
clients are exclusively Cryxian.
Step 1: Attaching the Power Gauntlets

a
A) Trim away the areas indicated in red. Cut the power

gauntlets flush and smooth just below the elbow bolts
using the strap on the inside of the Ogrun Bokur arms
as a cutting guide. Youll need the spiked end cap of the
halberd later, so clip it off and set it aside. Clippers are
fine for cutting the gauntlets, but a jewelers saw or rotary
tool will make it easier to cut the thicker bokur arms.
B) Here you can see how the cut parts should fit
together.
C) Pin the parts of the arms together and use a 1.90mm
bit to drill a hole for the halberd shaft through the new
weapon hand.
Modeling & Painting
59
Step 2: Sculpting the Chain Mail

A
A) Spread some putty on the chain mail where the

armor has been cut away. Use the edge of your
sculpting tool to press the putty down, creating a raised
strap. Smooth the putty so it blends with the metal and
forms a continuous strap all the way around.
B) Use your pointer to poke rows of holes in the putty,

matching the chain mail pattern.
C) Since this ogrun will be in less than prime condition,

create some tears in the chain mail by poking the putty
and pulling a wider hole.
60
Modeling & Painting
Step 3: Modeling the Decay

A
A) This ogrun isnt technically undead, but hes getting

there. To show the toll his service with the lich lords has
taken, use 1.90mm and 1.25mm drill bits to add some
holes to his chain mail skirt. Drill a few overlapping
holes of varying sizes to create ragged tears in the mail.
Use clippers to put a few cuts in the hem of the skirt.
B) Once the putty on the arms is cured, attach them and

putty the joins at the shoulder. To allow the Seether
carapace shield to fit better, clip the studs off the
ogruns shield hand and shave down the armor plate.
C) To create some necrotic rot in his flesh, drill a hole

and press a ball of putty into it. Smooth over the surface
so it matches the surrounding skin. Then, using your
pointer, poke a hole in the putty and pull down to
create a wound with hanging flesh.
Step 4: Replacing Shield and Halberd

A
A) Remove the crosspieces on the inside of the Seether

carapace so it fits over the gauntlet, then file the top as
smooth as you can.
C) Use a thick rod (1.90mm brass rod or 16-gauge floral

wire) to replace the halberd shaft. Drill a hole in the end
cap and glue it in place.
E) Drill a hole in the end of the sword so it will fit over

the halberd shaft just like the end cap in Step 4C.
B) Use putty to smooth over any remaining

imperfections.
D) You could use the original halberd head or select a

substitute using any number of Cryxian weapons; Ive
selected Pirate Queen Skarres sword. Cut away the
arm and smooth the blade end where it will attach to
the shaft.
F) Glue the models shoulder pads on, but leave off

the shield and halberd parts so they can be painted
separately.
Modeling & Painting
61
Painting Notes
To achieve a worn appearance on the models salvaged

weapons and armor, paint the part normally and then
add a few patches of Pig Iron. Paint a thin highlight
line below these chips to accent the edge of the chipped
paint. Add a thin wash of Bloodstone for rust.
A simple trick for quickly painting the Cygnaran voltaic

glow is to basecoat the coils with Morrow White and,
once its dried, wash the area with Arcane Blue.
For the Cryxian necrotic glow, basecoat with a mix of

Menoth White Highlight and Cygnus Yellow and then
wash with Necrotite Green.
62
Modeling & Painting
For the necrotic wounds, paint the skin with greenish

tones and highlight around the wound with Thrall Flesh.
Dab some straight Skorne Red into the wound and then
wash more of the same color around the area.
Conclusion
Now your Ogrun Bokur is ready for death and glory! These techniques can be adapted to match your own
armys color scheme and basing, but dont limit yourself to the parts Ive used herethere are plenty of
shoulder pads and weapons in the Privateer Press online store. Small touches like these, combined with a little
imagination, can go a long way to distinguishing your own bokur from the common Ogrun Bokur model.
Modeling & Painting
63
CYG~AR PAINTI~G
The Cygnar color scheme catches the
eye and holds it easily through its elegant
use of contrast. Large areas of rich, cool blue
contrast with warm gold areas, causing the eye
to glide over the model. On some models the
rich Cygnar blue is replaced with denim and the
gold takes on the warm tones of tan and leather,
but the contrast between cool and warm colors is
GUIDE
always maintained. It is this contrast that defines

the Cygnar paint scheme, so be sure to preserve
it when redesigning or modifying the palette; if
you remove a cool color from the faction scheme,
for example, it should be replaced with another
cool color to keep the scheme in harmony.
What follows is a guide to realizing the most
common colors used in the studio paint scheme.
We'll cover the staple colors of Cygnar blue and
rich gold as well as accent colors like white and
yellow and describe techn iques for painting
tricky sections li ke the electrical coils found
on many of the high-tech Cygnaran machines.
We'll also go over a selection of the colors used
on the clothing of troopers and warcasters alike,
such as rucksack tan and bootstrap leather. With
these tutorials as your guide you' ll have aJl you
need to begin painting your own army of
proud Cygnaran warriors.
BASECOAT
SHADING
The 1nttial coat of paint on which everything else will be built It is
A darker color applied to the basecoat in the recessed areas of a
Important that the basecoat Is very dean and every color is where
11 should be Your shades and highlights will coordinate with
the
basecoat and main color choices.
miniature to create shadows Exaggeratill!; the shade and lughlight

colors will add to the vtsual appeal of a model
WASH
HIGHLIGHTING
A timed mix
A lighter color applied to the basecoat In the raised areas of a
shading. The wash '~ill run into the smallest crevasses on a model and
liberally
miniature to create the look or llghr hitting the surface. When
dry as a shadow, so 11 needs to be a darker color than the basecoat
applied to the basecoat to create detailed
"'ks well as 4 pans M1xin~ Medium, 1 pan paint/ink.
highlighuns In muluple steps, keep a linle bit of the underlym~ color
The wash mix
showing. O\erlapplng them like the shi~es on a roof.
and 3 paru water.
CYGNAR BLUE
Step 1) Start by basecoating the area using
Cygnar Base Blue.
S te p 2) Begin defining shadows by applying a
coat of Exile Blue to the recesses and undersides
of the area.
Ste p 3) Deepen the shadows with a mixture of

Ex ile Blue and Battlefield Brown. Make sure the
bl ue dominates the paint mix, or your model
may turn out looking muddy and battle-worn.
Step 4) Once the blue area is shaded, it is time
to highlight. Cygnar Blue Highlight is perfectly
suited for this. Apply jt to the upper portions of
the model where light would naturally catch.
Step 5) Lastly, apply the final highlights
with a mixture of Cygnar Blue Highlight and
Frostbite. Imagine this layer as the shine of light
glinting off the armor, defining the edges and
uppermost sections.
II
II
Battlefield Brown
Cygnar Base lHuc
Cygnar Blue
Highlight
II
D
Exile Blue
Frostbite
STEEL
Step 1) A solid basecoat of Pig Iron
is the first step to painting the steel
of Cygnar.
Step 2) Next, make a wash of Greatcoa t Grey and Armor Wash and use
this to shade the steel.
Step 3) For the final shading, add Exile
Blue and Umbral Umber to the mixture
and apply a layer of dark shadows.
Step 4) Continue by highlighting
the steel uc;ing Cold Steel. As with
the gold, it is important to leave
any rings of shadow accumulated
around rivets and bolts intact when
highlighting.
Step 5) Finally, apply a few sharp
highlights with Quick Silver.
II
Armor Wash
IJ
Pig Iron
Cold S teel
Qu ick Silver
II
II
Exile Blue
II
Umbral Um ber
G rea tcoa t G rey
CYGNUS YELLOW
Step 1) When painting very bright colors it can
be much easier to start wi th the darkest shadow
and imply add highlights. In this case we begin
with a ba ecoat mixture of Ember Orange and
Bloodtracker Brown.
Step 5) To fin ish the Cygnus, add

extra Menoth White Highlight to
the mixture and apply highlights
to the upper edge of the swan.
Step 2) Highlight the Cygnus with Ember Orange.

Step 3) Apply the second stage of highlights
using Cygnus Yellow.
Step 4) Mix Menoth White Highlight with
Cygnus Yellow for the next highlighting s tage.
Bloodtracker Brown
Cygnus Yell ow
Ember Orange
Menoth White Highlight
WHITE
Step 1) White appears quite often in the Cygnar
paint scheme, and the way it is painted d iffers
quite a bit from that used for Morrowan knights
or the forces of Menoth. To start things off,
apply a basecoat of Trollblood Highlight.
Step 2) Use Bastion Grey to shade the white
areas. This is the only shading step, so make
sure it does the job.
Step 3) Next, mix a thin glaze of Blood tracker
Brown and water and apply it sparingly to
suggest rust and grime. Note that this rust is
applied before highlighting to ensure that it
remains subtle.
Step 4) After the rus t is applied, highlight with

a mixture of Trollblood Highlight and Menoth
White Highl ight.
Step 5) Apply the final highlights with a
few thin, well-placed coats of Menoth White
Highlight.
Bastion Grey
II
Blood tracker
Brown
Menoth White
Highlight
Troll blood
Highlight
GOLD
Step 1) Begin by applying multiple layers of
Rhulic Gold as a basecoat. This layering is
essential in achieving a brilliant gold, as any
patchiness in the basecoat will be visible and
cause the metal to appear tarnished and worn.
Step 2) Mix Sanguine Base and Brown Ink with
a single drop of mixing medium and thin this
with water to create a wash. Apply this for the
first stage of shading.
Step 3) Next add Exile Blue and Umbra! Umber
to the previous mixture and apply a second
layer of shadows to the area.
Step 4) Use Solid Gold for the first-stage
highlights. It is important to leave any rings of
shadow accumulated around rivets and bolts
intact when highlighting.
Step 5) Apply a mix of Radiant Platinum and
Solid Gold for the final, glinting highlights.
-D
D
Brown Ink
Exile Blue
Radiant Platinum
Rhulic Gold
Sanguine Base
Solid Gold
Umbral Umber
Step 1) When painting the leather

straps and boots of the Cygnaran
uniform, start with a basecoat of
Bootstrap Leather.
Step 2) Mix Brown Ink with
Bootstrap Leather to make the wash
for the first layer of shading.
Step 3) For the final shading, use
Brown Ink with a small amount of
Tharnar Black. Pay special attention to
TAN
Step 1) To paint the tan seen on
many Cygnaran fatigues, start with
a basecoat of Rucksack Tan.
Step 2) Use Gun Corps Brown for the
first Jayer of shading.
Step 3) Next, use Battlefield Brown
for the second layer of shading.
defining the Jines that separate sections of leather

from one another.
Step 4) Next highlight with a mix of Bootstrap
Leather and Beast Hide.
Step 5) Lastly, add 'Jack Bone to the p revious
mix and use this to add line highlights to the
edges of the straps, causing them to "pop."
D
II
II
Beast Hide
Boostrap Leather
D
II
' Jack Bone

Thamar Black
Brown Ink
Step 4) Mix Rucksack Tan with Menoth White

Base for highlighting. Apply this to the upper
half of each fold of cloth.
Step S) Lastly, simply add some Menoth
White Highlight to the p revious mixture for
the final h ighlights.
II
Battlefield Bro wn
E!;J
G un Corps Brown
Menoth White
Base
Menoth White
Highlight
Rucksack Tan
Step 1) To realize the denim color found on many

Cygnar trooper and character models, start with a
basecoat of Trollblood Base and Greatcoat Grey.
Step 2) Add Exile Blue to the basecoat mixture
for the first stage of shading.
Step 3) Continue with the denim areas by
adding Coal Black to the mixture and applying
a second layer of shading.
Step 4) Highlight with a mix of the base color
and Underbelly Blue.
MIDLUND FLESH
Step 1) Start with a basecoat of
Midlund Flesh. Be sure to apply
enough thin coats of paint for a
solid basecoat with no patchiness.
Step 2) Apply a thin shade of
Midlund Flesh mixed with Skorne
Red to the flesh. This shade
defines the features and tints the
flesh, and the result should look
unnaturally flushed.
Step 3) Apply a thin mixture of
MidJund Flesh and Battledress
Step 5) For the final highlights, apply

Underbelly Blue sparingly.
II
II
II
Coal Black
Exile Blue
II
D
Trollblood Base
Underbelly Blue
Greatcoat Grey
Green as in the previous step. This greenish

shade should balance out the red and return the
flesh to a natural tone.
Step 4) Next, mix Skorne Red with Battledress
Green to make a dark brown color. Apply this
sparingly to the deepest recesses of the flesh.
Step 5) Lastly, carefully apply some highlights
with a mixture of Midlund Flesh and Ryn Flesh.
Ill
D
Battledress Green
Midlund Flesh
D
II
RynFlesh
SkomeRed
ARCANE GLOW
Step 1) Naturally, the first step to
painting the glow ing arcane coils of
Cygnar voltaic technology is with a
basecoa t of Arcane Blue.
Step 2) Apply the first layer of
shadows with a wash of thinned
Meredius Blue.
Step 3) Next, mjx Turquoise Ink and
Coal Black and apply thls sparingly
to the deepest shadows of the model.
Step 4) Use a mjx of Arcane Blue and
Menoth White Highlight for the first
layer of highlights.
D
Ill
D
Arcane Blue
Coal Black
Menoth White
Hig hlig ht
D
Ill
Meredius Blue
Turquoise Ink
Step 5) Lastly, add more Menoth

White Highlight to the previous
mixh.1re. Carefu lly apply small dots
to realize the final highlights.
Step 1.) Prime the miniature with

black spray primer Apply Morrow
White to the areas you want wh11e.
Don't worry about the mess Cover
the base wnh Menoth White Base and
the padded area \\Ith Rurksack Tan
Ste1> 2.) Clean up lhe white with

Thnmnr Black Since we're not doing
any drybrushim;. lay down the base
coats ror all the layers and areas
that will be "ashed
Step 3.) Apply Cyynar Blue Base to the armor.

Rhullc Gold on the gold areas, Mldlund Fle~h to
the skin, and Molten Bronze on 1he base
Bastion Grey
Bloodstone
Bluelnk
Brown Ink
Cold Steel
Cygnar Blue Base
Cygnar Blue Highlight
0 Cygnus Yellow
CJ Ember Orange
LJ
CJ
-
Menoth White Base

M1dlund Flesh
Mixing Medium
C. Mohen Brome
LJ Morro" White
c:J Rhuhc Gold
LJ Solid Gold
-
Thamar Black
LJ
Trollblood Highlight
Step ~.) Wash evcryihlng eAcept the blue pans of the armor.
which we will layer. Wash the white par1s with a blend or
Mixing Medium ond Trollblood Highlight.
Turquoise Ink
Umbral Umber
Step >.l Darken che prevlou> mix wnh Ba~llon Grey and wash It
Into the recesses or the while and 111 Nemo's hair. Remember.
all washes use Mixing Medium, wmt'r, and Ink and/or paint .
51
no OURRTER IDRGR2InE: moDELinG RnD PRinTinG
Step 6.) Make a wash of Brown Ink and UmbraJ Umber and wash the gold parts. Then add some
Armor Wash to the mix and cover the bronze base.
Step 8,) Use Thamar Black to cover al l the metal areas. Mix Bloodstone and Umbra! Umber and
wash the Menoth White Base on the base's corners.
Step 9.) Add more Umbra! Umber to cite wash from Step 8 and apply it into the recesses of the
base's corners. Apply Cold Steel to the blackened out areas.
52
no OURRTER mRGR2InE: mDDEUnG RTID PRinTinG
SH'P 1z.) Add Morrow White to the Cygnar Blue

lllghllght and con11nuc loyerlng.
Step 10.) Wash the steel areas with Armor wn,h.

Then paint pure Umbral Umber on the ends of
the base caps and chips
Step 11.) Apply a layer or CYnar Blue Highlight

to the blue parts or the armor.
Epic Nem~rimed. pamted,

and ready to bring the hghtningl
Step 14 ) Apply 1lesh Wash to the skin Then

make a wash of 50/50 Turquo1~ Ink and
Blue Ink wuh some Mixing Medium. Wash
11te glowing hlue "power areas Basecoa1 the
Cy11nus first with Ember Orange, then apply a
thick layer or Cygnus Yellow.
53
"0 QUHRTER MHGftZlftE: MODELlflG MD PBDU1"G

Prec:ursor Kni11hts b11mauniPietra
Base [oat
Prime your Precursor Knight black, then give the face a base coat of Midlund Flesh. Next. give the
armor multiple coats of Cold Steel to achieve a solid base coat. Base the tabard with a mixture of
Menoth White Base, Trollblood Highlight, and Underbelly Blue. Make a lot of this color. as you add
colors to it in subsequent stages. Base coat the ribbon with Trollblood Base mixed with Exile Blue.
the wood with ldrian Flesh, and the straps with Battlefield Brown.
Base [oat Colors:

Fl esh -Midlund Flesh Armor-Cold Steel Tab ard-Menoth White Base mixed
with Trollblood Highlight and Underbelly Blue Ribbon- Trollblood Base mixed
with Exile Blue Wood-ldrian Flesh Straps- Battlelield Brown
Shading
Mix a few dots of ldrian Flesh to some Flesh Wash and apply it to the face. Shade the metal In two
stages. First, take Armor Wash, add a couple dots of Blue Ink and Bloodtracker Brown, then blend it
lnto the crevices. Second. sparingly apply straight Armor Wash to the deepest shadows. Add Bastion
Grey to the tabard's base color along with a dot of Exile Blue. Define your shadows using this color,
followed by Bastion Grey for the deepest areas. Use a mix of Exile Blue and Battlefield Brown to
shade the ribbon and straps. Paint Wood grain onto the haft of the mace using Hammerfall Khaki.
Shading Colors:
Flesh -ldrian Flesh mixed with Flesh Wash Arm or-Armor Wash mixed with Blue
Ink and Bloodtracker Brown Tab ard- Base color mixed with Bastion Grey and
Exile Blue Ribbon-Exile Blue mixed with Battlelield Brown
W ood- Hammerfall Khaki Straps-Battlelield Brown mixed with Exile Blue
Highlighting
Highlight the face using the layering technique. and reclaim areas covered by the wash with Midlund
Flesh. Paint the annor in a similar fashion using Cold Steel then Quicksilver. For the tabard. mix the base
coat with Morrow White. Highlight the tabard in multiple coats. adding more Morrow White to each
successive highlight stage. Add Frostbite to the base color and highlight the ribbon. Take Umbral Umber
and shade the wood grain by applying it to either end of the haft and blending the color towards the
center. Highlight the straps with ldrian Flesh. Black out the eyes and teeth before moving on.
Highlighting Colors:
Flesh -Midlund Flesh Armor-Cold Steel, Quick Silver Tab ar d-Base coat
mixed with Morrow White Ribbon- Base coat mixed with Frostbite
W ood-Umbral Umber Strap s-Idrian Flesh Eyes and Mouth-Thamar Black
Detailing
Paint in the eyes and teeth with Menoth White Highlight, leaving a line of black to separate them from the
surrounding areas. Return with Thamar Black and paint in the pupils and. using the side of your brush.
edge along the ridge above the eye to define the eyebrows. Paint in and highlight the freehand lines on
the tabard using the layering technique with a mix of the ribbon base coat and Frostbite. lastly, mix
Radiant Platinum with Brass Balls and edge along the plate armor where needed.
Detailing Colors:
Eyes and Mouth - Menoth White Highlight, Thamar Black Tabard- Ribbon base
coat mixed with Frostbite Edging-Radiant Platinum mixed with Brass Balls
38
Base Coat
Shadinq
eA..l.t!_'[JNG
":"1ti"I" miniA&urcs c>f. 1hi
pra.rnt aome untq\IC'

dt..U~.
\p;u'I from
n.i~
lhC' ...ht'Ct'
rurt.KT. .,,.~ .YOU ~\'C
to o\~r. ~'OU l1o1vt to deal v.irh

snm<t hing ~ 1irid umr>ieldy.
You C.JJ'I QU ..ch 11
It)
~otn~thing to
I'""'' -like th tt111 ol n old l"'in1

poi but makt- urt it' ~ he>~
obt<" I ortb1J c.111 mk 'uch ~""ii
p1ccc likch to tof'ple 01'cr. I lind 11
b.-"t co hold 1h~ nl\nL.nu~ with your
thumb under thr [,,.,,. anrl two of
,your lingcro holtlint rhe \'cry onp
of tbc mioiarur. (in this ca..e rhe
luge <Oils) but )""' w1U '"""' ro
p&mt the te>p at the nd or \'0U ..,;u
rub the p.Un1 oil w11h vour fi"l!""
0
,\nothtt LISUl'
,....itv un"e
l1W'l.Y
tlwt mnlarurcs tn
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p.>rtS 10 . . . .mt.Ir.
an
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b...&the oimp!y 11)-ing ro

n:.acll a.II p.tn.i- ol 1lu aurfacie with a
bru.h. Tho l'huml .. rhead r. bencr
1h1m moot tlw hug, Apu!hoo~i
'i.M'ka 1n 1hi111 '~trtl nHlinl.v bce.:u1.s~
the I.ml>
\Hit 4woy lrorn th<
bo<l_v anJ Jo Ml blo. k the bnu.h,
l'hr ono pl.iu wh<.. th~ is a lint
bu ol a. problem when >"'" '""
p;untinir tht l.. l'(Cr rkc1ri""1 <oilA
on the '-k y.,., rn'Eh' f.nd 11
enlcr 10 kae the ~n1r.I coil piect-
,\VU
.,r
tMt1 Ther~ rr na t...rd otnd l.ut

rules about p.iinhnJ! mini.uurn lil..e
1h.b .ipan trotri one: li(C" i:s c.-~cr it
you do the iln1 mctllics liDt.
~..att ''"'a rt'AM1nt for
th1ll. 11u~
tint it ~"ou 111r gt:ottaJl,y painong
all the movint .,nJ worl.inll p.1111a
af tbc 'jack... likr th< P"'"".. Thcy
"......-
are Uoder lht- o.lt'tnor tilnlc1>, M1 II

mJkes u.n~t 10 pdin 1hcin fin.1.
Tho second
Mon i. 1b.s1 1h1-y
the med1r-t o1r~JJto It) P.'nl.

1n\olvin& wJ..1h1ng An,f ~omtumeia
drybrushing. II "'" on 11y1ng to
work around <nrnlull higl1ligh1ro.I
ottt
rmor pl.tt,., 11' .111 gumg ta cn bn<lll
U>MSclOwn cPN!:cDH>rt>ltalldf'"t't.ic~of
a WJ)per t.QM appr<>pri81f' for th....ltlMHn
ha.cm~ ttw> f'lfnrk
lke .-.-11
\Ol~
The -W. of plioroo below

"""""' th,. p.ointing t.t' th~
ThundcrhrJ n,. .,1, cr mo1alliC'I
C&ID Iii'$! 1l1rn tl1r hrua bur
"Cl'l'CO.Ued nJ \\h.:J 1..-1- tht
.vmor a.ru. and tttil "c~ p..inrn.I
The "t'I'.\ 1.., i.p w. to h1ghl1gh1
th brdSS .ind add om we.i1 lwnntt
luH..I nl!U n\urkf lo fJiv,. 1lint b.1u lL~
l.M'tlenc-d lt><>k wr ouglu.
............ _,..... - .. -.11, .....
.. (Of
dw> "'""" but "''lll kOttMcl
....... IR:Knd ol lnuA.I . . . .
d..-tAth.d until yu.i""' linuh.:d

Bdorr you 11.,n pido. up 1hc
hruh. t!p<!>d ,, li11 I, limo plannmg
1h
,..m,, "''"''"'' '""
1hmk111g
boul \\~_t ,\(JO \\.tnl ta ach.e"\'\".
no>"'" w~nl ~ 111r.i111h1 coro ol thc

..:olots on tht h<>" nr do )"'OU \\'<Jilt
le \:Pm~ up wirh your ~l\vn uniqut"
l0t>k1 lt'a rroJl,y ~idea 10 h.1vc
1hU. ..trut;hl In ,\<>Ur h.d bt-(....,.
you ~n. In 1hit ,..,., ""' dcdded
un oomrthnic th.\t ""'" .tghl
"cill'iciol' color.. but
\\'C ~J.l,y \\'J:ntC\I to 1(1\.<' ii more of
ba11J...fi.,Jd louk - lil ii
QUI
on c.unpman lor" wh1I.-.
Afttt lht btMiL """""'~'
dntd, IJN! '-orliilftl
pouU" or lhr nnnKtt-fiH'MI wMT _$h'f"n a bbt

l"UI of lolfJUn l'if1t lry to
neat and
bf-
ac:airtt;C 111t ..._"ltl<"
II iU wivt WOfk '" chf.
"""""'
'"""'""'on,,,.
'a._,,
Wi1h tht tn<><ld' .a .embl..0

111tl primed (bl11t'k 1 1hc be,,1 bot
wit Ii wnriMka)
where dti you
J1w: lllC'GlJ b
6nt
.,c. taoltJV"
~Md dwft 1dl ~ TM IN' ~
w.
llllt .... C'Okw" lot ....... if, ..... d

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h ~ to t.ht Mlrl~ bt1ttt. fl i. rttlnn('d
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tflllh' 9lllWf ~ Uwdecmcal <"Oah 1)11 ~ ar'fti. fMI dNo liloM

hijlHjJbt(OIOt Qin Udy thlt up
piilinWCL II
:a
f1.1111.-. do\11:111trf Bol~n Metal b Cldtd l1ulu1
IUurilllY 10 thfl al't'.as. that a~
plns 10 bf
nw ood thini.bout puntn:1
"":hltfl lfMt IJlut
thl\ on hf"I .nd worldnJ a.rouQd u b lht'

p.ltll /Of 1tlt- .,..,,.. t'olor by~ Oft:'( me. top
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lh't'll l h,.'41 tDl(lr' 1ht hl11t mh1. Ii tou~r.f
f'qmal 1111.anllHt or fl.tJJ I 11.nd EnchAn, d

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Oluf' 10 '"" hfl\fl' rolcir mht 1J1d th tn
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rr tn-'"4 b JNinhr!J ltlWJ
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~ tlfJf ...... bni..tl ID pd
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Th lmI """"I< to hlshllght
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r. .
Thll I ml ol 8ro"'n 8r" nd OtllnmoiL
By Brnnt Bono1t
One thing many paint(r-. lind ir1timidaling is freehand. Tho definition of trcch.md is
simply painting d1-.w1s nnd patt1rns witho ut a sllndl or masking. By following two
simple lechniqu<c: .1m unl' t.111 ma..ter thi:; method, whii:h c.1n open up a widt array of
cu:;tomiz.1tion npportu111tils.
The primary rults to follow \\ htn p.iinting treehand ::.yml'\11.; art !:>1mple:
I) U~ thin p.iint. II the pai nt is too thick, paintinh d ean, c.n"p :-) ,, rob can tx- difficult.
2) Paint the dlsigns using basic i;ha pn. Don t u>-e thin lin...-::. ,1r try to drav. the design
with your brush.

Adhering to thl' rules abnve will m akl' paintin,~ frt:"hand ar' asy exerciS<! tor t:ven a
novicL' painter after a little practic't>.
To demm~tratt these tL'Chnlqut .._, 111 be paint in~ UlC .,. mbol for C) ~ n 1 'i- I Uhl Ami) on a
Chargl'r and a simphfit.'Li lalion
rt. logcH~n il Bul "aru."Vr.1hec;. -yml vlsr.in lx found
in Form o{WARNfACNJNE: Cyg11ar and F .. -s ofWARMACfll : Merrenarit~. n..'Sp.."Cl1\elv.
a .. :
1) Block in the basic sh;:i~ of the lower with Menoth White Highlight. Don't be overly concerru..'CI about getting the
c;ha~ perfoct when painting the white. If it's a little splotchy after thi-. step, that'<, fine.
2) Cut back into the bac;ic ..hape with the highlight color of the surfoc<' underne;1th. This is the stage at which you
will ht> defining the sha~ of the tower. Mo\'e bad.. and forth between painting the white and underlying blue.
This i., how you get cri-.p, clean edg~.
3 ) Outline the tower Ill Cryx Bane Highlight. Working in the ~me method as above, p.1int a thicker outline than
you nL-ed, and re-paint the Menoth White Highlight where needed . This h<'lps ~par.lie the symbol from the
underlying blut> and defines the overall shape.
4 ) Paint an egg <,hape with a mix of Bloodtracker Brown and Ember Orange. The top and bottom of the egg
should have a fairly sharp point. Highlight the egg shape at this c;tcigc \...1ith Cygnus Yellow and leave a thin
outl ine of the brown I orange mix.
50
MODELING & PAINTING QUICK TIPS
5 ) Cul into lhl' <.>gg ... hape with semicircles, which

ddirw thl wing., .1nd p " de a space to pain! the
hl'ad Paint ... mall wcdgcs with the tip of your
bru.,h on thl' tail and wing edges.
6 ) Paint in thl' he,\d with your brown/ orange mi"
and then Cygnu-; Yellow Define and darken the
outlinl' .1s ncCl's-;ary.
1) Ust Battllfit'ld brown to block in a basic circle

with four triJngll'... evenly ... pace around its
circumfcrencl'. CINm up the ba-;ic shape and
.,haqwn tht> cd~~ with the underlying Cold Steel.
2 ) Block in the bao,ic .,kull ... hape with Solid Gold.
Leave an uullinl' of the brown to help define the
'>hape OVl'r thl' Cold Steel.
3 ) Block m c1rclt.>-. for the eyes, no:.e, and paint a
brown line for the teeth.
4 ) Bloc!.. m lhl' outer triangl~ with Solid Gold,

clean up thl eyl''> and nose, and add the teeth.
S) Add a h1ghh);ht of Radiant Platinum on the
brow ridge, top of the sl-.ull, teeth, and top half of
the trinnglcs
6 ) Dl'finl' the outline and add a thin line down the
middle of the four tmmgles.
CONCLUSION
Remember, keep your paint very thin and work
bacl-. and forth between the color of your design
<1nd the underlying color. This is the best way to
gtl clean, crbp, and well-defined shapes using
frt'l'h.:inJ . B.isic !.hclpcs arc applicable to any of the
friction -;ymbnls found in the lron Kingdoms. Try
thcsl': Khndor (lri.rngle), Mcnoth (two rectangles),
or Cry x (circl<.). With a little practice, you' ll find
that utilizing bM~ic shapes and thin paint will help
you mn~tcr thl' art of freehand.

I
5I
STEP THREE: PAINTING THE BODIES (HAMMERFALL KHAKI)
) When the primer has fully dried, paint

a solid basecoat of Hammerfall Khaki.
Remember this will appear in quarters, so
on't worry about the right arm and left
eg. As you are painting the bodies, paint
e hands on the hammers to match.
B) Next, apply a wash of Gun Corps Brown,

Mixing Medium, and a little water.
C) Add some Bastion Grey to the wash

ix and paint it into the deeper recesses.
D) To define the separations between the armor plates a little better, mix
50 / 50 Bastion Grey and Umbra! Umber. Using a Formula P3 Fine Studio
Brush, carefully outline the edges of the plates. No need to go crazy and
outline every section; just apply this wherever the armor needs a little more
definition-mainly under the breastplate, helmet, and shoulder pads.
E) Paint the exposed fabric of the pants, the kneepads, and

the inner shoulder armor with straight Bastion Grey and
then wash it with Armor Wash.
F) Finish off the khaki portion of the armor by highlighting

it with a mix of Hammerfall Khaki and Menoth White
Highlight.
STEP FOUR: PAINTING THE BODIES (CYGNAR BLUE)
A) Using a Fine Studio Brush, draw a cross on the stomach

plate of the body to delineate where the colors will be
quartered.
B) Basecoat the blue quarters with Cygnar Base Blue.
E
C) Drybrush the color up using a mix of Cygnar Base Blue
and Cygnar Blue Highlight, all the way to straight Cygnar
Blue Highlight. Use a Small Drybrush that isn't frayed to
keep your drybrushing controlled and contained to the
blue areas.
D) Finish the blue by highlighting with a mix of Cygnar

Blue Highlight and Morrow White.
..c
STEP FIVE: PAINTING THE DETAILS
A
In
a.
A) Basecoat the brass plates on the skirt, the left shoulder

plate, and the mug with a mix of Molten Bronze and Pig
Iron. Paint the right shoulder plate with Morrow White.
B) Paint the Forge Guard icon with Khador Red Base, then
wash it and the brass plates with Brown Ink.
C) Paint the large recessed screws with Pig Iron and wash
them with Armor Wash.
D) Paint the backpack with Battlefield Brown and

highlight it up with Gun Corps Brown. For the bedroll,
basecoat the cloth with Cryx Bane Base and highlight it
with a mix of Cryx Bane Base and Gun Corps Brown.
E) Finally, paint the Cygnus with a mix of Moldy Ochre

and Cygnus Yellow.
STEP SIX: PAINTING THE HAMMERS
A) Basecoat the hammers with Pig

Iron and paint a few brass areas using
a mix of Pig Iron and Molten Bronze.
B) Wash all the metal with Armor

Wash.
C) For the voltaic coils and glow,

first paint them with a solid coat of
Morrow White.
D) Next, wash the areas with a mix of

Arcane Blue and a little water.
E) Touch up the head of the hammer

with Quick Silver.
F) All that remains is to finish off the

models by attaching their hammers
and then basing.
For Blood or Gold:
Ogrun Bokur
By rob hawkins
Cryxian ogrun.
54
Modeling & Painting
Khadoran Ogrun

a


arm out a bit.

a


Modeling & Painting
55

C
Sculpting Fur Hats

adhered.



3) Use the edge and
to create a slight
teardrop shape.
you can deepen them

sides are even and
Now your model
is ready to battle
the enemy and the
elements!
more snugly.
56
Modeling & Painting
Cygnaran Ogrun
voltaic halberds
and had the arcane
uses the Stormguard
he returns home.

A


Modeling & Painting
57

shoulder plate.

a


58
Modeling & Painting


cryxian Ogrun
Some bokurs find
This Cryxian ogrun
suffered grievous

a

together.
weapon hand.
Modeling & Painting
59

A



60
Modeling & Painting

A




A

smooth as you can.



imperfections.

the shaft.

separately.
Modeling & Painting
61
Painting Notes



62
Modeling & Painting

Conclusion
Modeling & Painting
63
MMRIDDR PRINTINl:i l:iUIDli

'
The key color for nearly every Khador

model is the bright primary red of
Khador Red Base. The other colors used in
the studio paint scheme were carefolly chosen
to take advantage of color contrast to create a
look that is visually striking wi8hout being
busy. Because the warm Khador red is such a
bright, strong color, we used cold and m u ted
tones such as Thornwood Green, Coal Black,
and Greatcoat Grey to balance the color scheme.
For a professional look, remember this strategy
of balancing a single strong primary color with
contrasting muted tones w hether formulating
your own alternate paint schemes or recreating
the studio scheme laid out here.
Since Khador red is vital to achieving good1ooking models, the studio method for creating
it is described in extra detail here. The glazing
tech nique used for the red is an old favori te of
miniature painters and is essential for getting a
red that has a lot of depth and d imension while
maintaining a consistent color. With just a little
study and practice you'll be painting bright,
beautiful reds before long.
BASECOAT
SHADlNG
The initial coat of palm on which everything else will be built It Is
important that the basecoat is very clean and every color is where
miniature to create shadows. Exagserating the shade and highlight
it should be. Your shades and highlights will coordinate with the
colors will add to lhe visual appeal of a model.
WASH
GIAZE
A mixture of water and a small amount of ink that is applied in
A combination of mixing medium, water. paint and/or ink that is
successive layers to subtly tint an area.
wash will run into the smallest crevasses on a model and dry as
HIGHLIGHTING
a shadow, so it needs to be a darker color than the basecoat. The

wash mix works well as 4 parts mixing medium. 1 part paint/ ink.
A lighter color applied to the basecoat in the raised areas of a

miniature to create lhe look of light hitting tlne surface. When
highlighting in multiple steps, keep a little bit of rhe underlying color
showing. overlapping them like shingles on a roof.
liberally applied to the basecoat
and 3 parts water.
t0
create detailed shading. The
liRliRT[DRT!;
Step 1) Basecoat the greatcoats with Grealtcoat
Grey mixed with a small amount of Menoth
White Highlight.
Step 2) Shade the area with Greatcoat Grey.
Step 3) Mix Greatcoat Grey with Coal Blaock and
use this color to define the deepest folds and
shades of the greatcoats.
Step 5) For the final highlights, add more

Menoth White High light to the previous
highlighting shade and apply that to the edges
and highest spots of the greatcoats.
II
Coal Black
II
Greatcoat Grey
Meno th White
Men oth White
Base
Highlight
Step 4) Apply the first stage of highlights Mith a

mixture of Menoth White Base and Greatcoat Grey.
MMRRDI[
l=Ll:~M
Step 1) Basecoat the skin with a solid coat of

Khardic Flesh.
Step 2) Next, mix Khardic Flesh with
Thomwood Green and a drop of mixing
medium. Use this color to apply translucent
shading to the flesh.
Step 3) Balance the greenish shades of the
previous step with a warm mixture of Skorne Red
and Khardic Flesh plus a drop of mixing medium.
Step 4) To define the lines of the face, apply a

mixture of Thornwood Green and Skorne Red to
the recesses.
Step 5) Finally, apply some Midlund Flesh
highlights to the cheeks, brow, nose, and eyelids.
D
D
Khard ic Flesh
II
Sko rne Red
M idlund Flesh
Thornwood Green
IUIRDDR R~D
S tep 1) Start with a solid basecoat of Khador
Red Base. Apply this in a few layers to get the
desired opacity with no patchiness. Avoid the
temptation to speed things along by painting
with thick paint straight from the bottle, since
you'll lose some detail and possibly 1cause
problems later. Instead, be patient and apply
even coats of slightly thinned paint; three to
four coats should be about right.
Step 2) Use Sanguine Base for the first layer of

shading. Apply the paint thin and blend it into
the recesses and shadows.
Step 3) For the second layer of shading, mix
Sanguine Base with Exile Blue and apply as deep
shading. The color should be quite dark and

more blue than red. Don't worry if the shade
seems intense; since we will be glazing later, we
need exaggerated shading and highlighting for
the desired effect.

Step 4) To highlight your red, add one or two small
dots of Khador Red Base to Khador Red Highlight.

Apply this mixture to the top portions of the armor
and blend the highlights. You may want to apply
a second highlight of just Khador Red Highlight to
ease the transition to the next highlight stage, but
it's not absolutely necessary.
Step 5) For the final highlights use a
mixture of Khador Red Highlight and
Menoth White Highlight. This will yield
a peachy color that may look wrong when
you're applying it, but remember that the
highlights need to be exaggerated since we'll
be using glazing to unify the layers. For the best
result, you may want to apply multiple highlight

layers, adding more Menoth White Highlight to
each successive layer.
Step 6) The final step uses glaze layers of H.ed
Ink to tint the surface and willy the previous
layers. Mix Red Ink with a large portion olf
dean water at a ratio of about 15:1 water to ink.
Apply the glaze in super-smooth, even cents.
It's important that you allow absolutely no
pooling, a this will cause rings to form. You can
use a blow dryer to speed drying between coats
if you prefer. At first the glaze effect will be
barely noticeable, but it will become apparent as
the layers build up. Be patient throughout the

glazing process; it can take upwards of twelve
layers to achieve the best results.
Red
D Khador
Highlight
Exile Blue
Khador Red Base
White
D Menoth
Highlight
D
II
Red is che dominam collor on most Khador models. sud1 as 1hese Iron Fangs.
Red Ink
Sanguine Base
CLOTH
Step 1) To paint the drab military green found
on some of the Khadoran fatigues, start with a
basecoat of Thornwood Green.
Step 2) Shade the area with a mixture of Cryx
Banc Base and Battlefield Brown.
Step 3) Apply a second shading layer, of
Umbra! Umber and Gnarls Green.
Step 5) For the final highlights, mix Cryx Bane

Highlight and Thrall Flesh into the previous
mixture and applying the resulting color to the
upper edges of the folds in the clothing.
Battlefield Brown
Thornwood Green
Cryx Bane Base
Traitor Green
Gnarls Green
Umbral Umber
Th rall fle sh
Step 4) Use a mixture of Thornwoodl Green and

Traitor Green for highlights on the clothing.
RLRCM
Step 1) If you used black primer, you can skip the
basecoat stage and paint directly over the primer.
Otherwise, basccoat the area in Thamar Black.
Step 2) Mix Coal Black and Exile Blue with a
small amount of Thamar Black and iuse this to
apply some broad highlights.
Step 3) Add Underbelly Blue to the previous
mixture and apply additional highlights of the
new color along the rims and tops of the area.
Step 4) Add Frostbite to the previous mixture

and carefully use this to apply sparse highlights
to the area's uppermost edges.
II
Coal Bla ck
Exile Blue
Frostbite
II
D
Thamar Black
Underbelly Bl ue
to apply this layer of highlights after your top

coat layer of matte sealant.
Step 1) Begin the steel areas with a basec0tat of
Pig Iron.
Step 2) Add Molten Bronze and a tiny bit of BrO"'-'tl
rnk to the Pig Iron and apply some shading.
II
II
Step 3) Use a mixture of Umbral Umber and Exile

Blue with a tiny bit of Blue Tnk for the final shading.
Cold Steel
Quicksilver
II
Exile Bl ue
II
Umbral Umber
Step 4) Highlight the area with Cold Steel.
Blue Ink
Molten Bronze
Pig Iron
Brown Ink
Ste p 5) Apply final, glinting highlights us ing

Quicksilver. For maximum lus ter, you may want
1
DRDNZ~
Step 1) For bronze areas, mix a drop of Brown
lnk into Molten Bronze for the basecoat.
Step 2) Mix Umbral Umber, Cryx Bane Base,
and Armor Wash and apply this mixture to the
undersides of shapes to form shadows.
Step 3) Use Molten Bronze to highlight th1?
area by reclaiming sections covered by wash .
Be sure to leave shading around any rivets and
separating individual parts from one another.
Step 4) For the final highlights, add Radiant

Platinum to Molten Bronze and use the side of
your brush to carefuJly pick out edges and points.
Applying these highlights after sealing your
models will help give your metals that extra bling.
Armor Wash
Molten Bronze
Brown Ink
Radiant Platinum
Cryx Bane Base
II
UmbraJ Umber
For Blood or Gold:
Ogrun Bokur
By rob hawkins
Cryxian ogrun.
54
Modeling & Painting
Khadoran Ogrun

a


arm out a bit.

a


Modeling & Painting
55

C
Sculpting Fur Hats

adhered.



3) Use the edge and
to create a slight
teardrop shape.
you can deepen them

sides are even and
Now your model
is ready to battle
the enemy and the
elements!
more snugly.
56
Modeling & Painting
Cygnaran Ogrun
voltaic halberds
and had the arcane
uses the Stormguard
he returns home.

A


Modeling & Painting
57

shoulder plate.

a


58
Modeling & Painting


cryxian Ogrun
Some bokurs find
This Cryxian ogrun
suffered grievous

a

together.
weapon hand.
Modeling & Painting
59

A



60
Modeling & Painting

A




A

smooth as you can.



imperfections.

the shaft.

separately.
Modeling & Painting
61
Painting Notes



62
Modeling & Painting

Conclusion
Modeling & Painting
63
PROTE(TORRTE OF MENOTH PRINTING GUIDE

Al first glance the paint scheme for the
Protectorate of Menoth may appear to
u~ .1 simple red and white palette rcminiscnt
of historical Knights Templar. Upon closer
ci;msiderahon it becomes clear that the sanguine
edging createt> a subtle color con trast with tJw
Protectorate's white areas. As red and white do
not contrast with each other, how is this achieved?
There's J trick: d1oose a white with a strong
yellow bi.ll> and a red that is very strongly on ilie
purple ~ide of ilie spectrum to create n yellow I
purple -Ontr'1!-L The eye picks up on the contrast
but translates ii into the red.1white conte~t. giving
~ou a rt"'>-ult that i!- pleasing to the eye.
Another Irick we use on the srudio OlDdels is

painting the white annor plates in a style bimilar
to the non-metallic metal technique, which
makes the armor appear to be polished and
reflective. The bi facial nature of the Protectorate
armor plates lends itself wel l lo this style of
painting and helps create ilie most contrast on a
model without it appearing busy.
PAINTING TERMlNOlOGY
BASECOAT
SHADING
d.irMr <'Okw' .a;pplled to the bastu:hlt in
ihr mtS."i!Cd ~of a
1:nln~ to create
tht
Thi lnhi..I nwt of pau1t on whlich ~ig c.'l5e 'Mii be budl II h

ln1portai1J N tht b:istt00t d very dean and every color tc wh("f('
ii 11huutd bt Yuur .sbr.des ilild ~us will coonltn.11tt 1th thf.
~l..,.. na.n color dKitCtS.
OIA2E
A c'Od:llnauon of mixa"! nRdnm. 'IMlt't. paint end/or tnlc: tlw11 is

llbomally <lpplie<I ro the ~ to cnot dewltd - , . The
A '"'"""'" of ,._. and a """'1 . ._,. of il1k thar 11 lll!llllt'd In

~~....., ll)subtty tun aet..
HtGHUGllTING
A ........ col. r opplied ID dr ,_,._ ;,,
...
me .-.! .,_ of I
.......... ""' "' liglll lliltinJ m. ........

- ... ~SI""' l:ftp llttle bb al me IWidUllWIJ-
~-llJ:e
on
rooi.
shadows.
ooloD ...n ..t.l "' the v~
~ting
"""""of moclel
..ti* and hlghllgh1
WASH
wW. "'"'" run no the 9MUeR ~ on a ..,.... .,., dty as

'trih.lckwr. so n occds to be dwtef' ~ lhlll dw ~ The.
""""' -
-1cs "di .. 4 ,_.. - - - I -
andJ-..--.
_..,...
mHGUIHI
Step 1) Layer Sanguine Base onto the area until
you have a -.olid basccoat
S tep 2) Add a bit of Exile Blue to Sanguine
Base and apply this mLxture for the fi r~t layer
of shading.
Step 3) Add a few small dabs of Coal Black to
the previou~ mix ture to create a nice, colorful

bl~ck.
Use thl~ for the final shading.
Step S) Using the edging technique, apply a

final highlight of Sanguine Highlight mix<.>d
with Menoth White Base.
~guine
Base
Exile Blue
Coal Black
Sanguin~
Highlight
Menoth White
Bse
S tep 4) Apply highlights of Sanguine Highlight.
W11en two s1111g11int' surfaces an. srr side

/>1/ side, it catt be useful to l11111t 11 Irick
for mnitttnitting co11ITa.I. Giving one of
tltl' sutious a coupll' of tliln .iri..:,., of
~d ink will sliift it into tire warm side
of tit<' spectrum and ~poratt it from tilt
01/1.-r section.
MIHOTH WHITE
Step 1) e...............t ltw area m ~1eooth White~

Lse .i rouplf' ol thm Lt~ of paint to cnsuna ,mooth, ~>lie.I h.i.-..'('Oat "1th ab!.olurely no
p.-.tch1n......
Step 2) Thinly 'hilde the area \nth Cry" Bane
Highhght
Step 3) Appl~ .1ddihonal sh.lding U!>mg 8.lstJon
C.rey
Step 41 \dd 'Ome Thomwood G~ ~p.inngl>'
lo thl' dt"pt":-1
final 'hading.
"'""".,...,a,.
Step 5) Appl\ a 'trong highlight of M..-11<.>th

White H1ghhght, bll'ndmg it for a .,mooth
trans1hon ~me painters m.i\ prefer to applv
thi!. h1ghhght in multiple layers. mJJ<mg at with
Mcnoth \\ h1te Ba-.e to ach1ev..- the blending.
Mmolla Wbitr
Ba>lion Grry
B~
Thomwood Green
Cryx Bnr
HighJ ight
Menoth Whitr
Highlight
MINOTH WHIIE BRO<JIDE

Adding fn-ehand brocade to Menoth White
areas is reliltively easy and can give your
character~ that extra flair they need to stand out
in the crowd.
Step 1) &i.l>coat the area with Menolh White Base.
Step 2) Shade the area with Cryx Bane High light.
Menoth White
BilSe
CryxBan e
Highlight
Step 3) Using Thornwood Gt'l-cn, fTeehand

your brocade design. 1f you're new to freehand,
keep the design simple-but ir you've got some
experience, go for it!
S tep 4) Mix Menoth White Highlight with
a drop of Mixing Med ium and use this for

highlighting. You m ay need to apply a few
layers to achieve the desired opacity.
Thomwood
G rttn
Menoth White
Klgh Ught
Don't feel obligated to 1111ply the bmcade

t"ahnent over the entirr area. It can also
make a nia border, as on Hig/J Paladin
Dart1n1 i'ilmon's cloak.
BLRCK
Step 1) For a g<'Odll><1l..ing blac 1... ~t.irt ''1th a
;.olid ba...-".it C>f Thamar 81.tck n\i~ bao;ecoal
is e-;~nllal to the O\ l'rall l<X'I.. of lh<' arl'a.
Step 2) l\.ft'\ a .fot of Tham.tr Blad. mlo Co.11 81M:k
and u..~ that tor th.> l<>p h.ilf vf t".Xh blacl.. area.
Step 3) Add
~1.,noth
\\h1tc> ~
10 the
pl'l.',;ou- mi\ tu re .mJ aprh thl' rl''ulting color

a' a highlight l<> th<' Coal 8:..CJ.. a~a- Bll'nd the
f;l\'er a' \ ou go
Step 4) Add Menoth ~\ h1te H1ghhght to the
previou' ml\ tun and u-e th1, 111 apply fin.ti.
'<Ublle highhghL-.
FREIHRND MINOFIX
\ny hme) <>Up.lint
tn J\and,
tn "' btt.il.. the ta!.. Into a

"'" -mp~ Sf<'P' to ease the
p.unhng of) <lU r dt"'tgn ilnd
creat<' a mon i;.iti,f\mg result
Th< \l<'OOfi'- "bil'IC.llJ)
ii CfO'!i
with 11 ''mtle -h.1~ attached

h.> t.'.llh ..lml
Step 11 Start your l\.lt?nolh by

p.1inttng .i ' ) mml'tncal cross.
l'hl' top <f th< cnl" should t?nd
in .in .irruw h<ad Add a hne
to tht nd~ uf the olh<r thr<>e
Tb.o.miJ.rBlack
Mt'DOtb White
Base
Coal Bladt
\1enoth Whitt
Highlight
branches; they should Jool like the letter~ 1

with the line at the bottom a bit wider than th<
left and right.
Step 2) Enlarge the lines of the cro--' liO tht'y
appear thick and bold. Draw an arc acr,-.;'
the three "T" shapes and fill them m to mal..c

hali citcles. Draw two lines down from th<
arrowhead to create a dtamond .;ha~.
Step 3) Using the background color, subtral1 a
diamond hape from the head of the Menofix
Then subtract a half<irde &om the bottom of the
Menofix to create its bent feet. lastly. 'ubtract
round shapes from the nght and ldt .irm' to
complete the halfmoon shapes.
Step 5) Add final, shining highlights with QuicJ..

Step 11 .\prh >hd baseroat of Pig Iron lo tht.'
...t~l
;If('
Silve.-.
Pig Iron
Browalak
Blut!lnk
Step 2) Ul\l' .-. nu'ture of G1eatooat Grey. Battlcficld

Bmwn, and Pig Iron to sh.-.de the model.
Greatcoat Grey
Battlefield Brown
Step 3) Add,, dot ofThamar Black lo a mi,turl'

of Brown Ink and Blue lnk for the final shJdin)I.
Thamar Black
O
D
Cold s1....1
Quick Sliver
Step 4) I li~hhght thl' figure with Cold Sil-cl,

thl'n co.11 th; model with matte sealant.
GOLD
S tep I)(. re;itt' a <;01id basecnat ";th mulllple
Step 5) \fix Solid Gold and Cold St'-".'1 togt.'ther

for the final, shining highlight,.
la~.,,..., l>f Rhuli< Gold.
Step 21 \t1' Brown InJ. and Yellow lnJ.. tog,tht-r

with "Im<' Rhuhc Gold and apply the n."ultmg
rolor to tilt.' modd a.o; shading.
Step 3) \dd
finJI l.1yer of shading with a

mi~turl' of Umbra I Umber, Sanguine Ila"" .inc.I
Brown JnJ...
.1
S tep 4) U<oe Solid Gold for highlightini;, thn

>JI th< m1>dtI \nlh matte sealant.
Rhulir Gold
Brown lnk
Yellow Ink
Umbral Umber
D
D
~n(tllint!
B'"4'
Solid Gold
Cold Stul
PRRCKMNT
Step 1) Ba....'CWt tht.' p~I'\ hnwnt art.'a with .;olid
coat of ')ad.. ~.,.,._.
Step 21 Paint anr fr't'h.'lnd -cnpt and dl!"1gn.,
'ou want lo include uins a m1l<ture of Umbra!
Umber and Tham.u Blad
Step JI Apply l'hadins "~th a 1111'-ture OI M1'mg

~tedium.. Ember Orangl'. and Cr)"\ B.me Highlight
Step -1) F<>r the d'<'P 'haJ1n~ m1" Gun CorplBrown and lr<mhull Grt.'\ with .i l<1t of ~11-.ing
Mt'dium.
Step 5) Mix Menoth White Highlight. 'jack

Bone. and Mixing Medium and carefully US<'
this mixture to apply some highlighltng.
Step 6) Finally, touch up the script in any plae<
it was overly ro\-ered by the layer.
1.adc Bone
Umbr:al Umber
Gan Corps Bro,.n

EmbttOnngt
1'hamar Blad<
lrcmhult G~y
CryxBane
Menoth Whitt
Highlight
Highlight
rnu:
Step 5) Add Thamar Black lo the prcvio~

1JUXture and apply the resulting color to the
Step 1) Apply a basecoat of Meooth White Base to

the flame.. This should ensure that the flames a.re
the bright.est area on the model-a good rule to
follow when painting objects that are casting light.
extreme tips of the Harne as a final layer.
Step 2) Give the whole area a wash of Heartfire.
D
D
Step 3) HoHer flames appear as lighter colors,

so have the colors darken from base to bp.
With this in mind, paint the upper part of
the flames with a mix of Ember Orange and
Khador Red Highlight.
Step 4) Apply a mixture of Umbra! Umber and
Sanguine B.i&t! to the tips of the flames in thin.
diluted layers.
Menolh White
Base
Heartfue
Ember Orange
Tha.mar Black
Khador Red
Highlight
UrnbrJ Umber
Sang~ine
Base
To show firl! '1umi11g hotter tha11 11onntll, ktcp tilt colors light throughout the flames, as shown
lrtrt' on l"rora, Protttdor of tlu Flame.
-.--..
--..
Tho lu1htr 1tnps on the skin

"''""'painred wi1h Scorched Brown
hoghlifht.d with ButT L...atw.
!!!5
Ali.on hl&h~ht.d tho bbck

llttU
oa 1he iifuro .,.;m ea,,,.,.,.
Ench..ntrd at~ .and whitt<.
e::
ro1J .rcu got higbliglu..L
Tho highlightt r am in 1hr

sragu. l41tb tho third ~
includmg muh1plo hi1hligb11.
tad! pn>gn!un d) l'lhter than tho
Wt; lint a mi ol 11..h. Scott;htd
Browo and BufT Luthor. tkn jUOI
Am. and 6BAll) llooh &nd whi1c

-~ moro whit< at each 11"&"
to ligh1cn tho color.
,,,., r..t.ric &ttuofthe m1nia1uro
rttol\-ecJ a t.a.. COAi of C..tl\"U,

Enchanted Blu< and Bleached
Bono. You no.d only a nny pot of
blu ro clttP"n 1h color.
'"'....
-~~
TI1 la1t tqt of tho maiD
m-olvtd U&ing black
to tidy up th< whol min.i llrurr
- rrdoflning drpiy ...,c.,...d arra~
Md whero d ill'orn pm of th'c
mod.I 1noct
pa1n1111g
ft!~ hljhlfJh1 are built up wllh laltty"

MttAl tnd Ch1tltH1U
On~ <Omplct<ly di:> the

froohand painted c!ttigns, like
tho runoa and ronk tymbol were
aJd.J.
PAINTIN G THE
l::IARBINGER
I""''
Painnng 1h1.1
really
.unounu to painting four
min"tu,...1
thr Hiltbift&Or
hr""lr and th thrro Acolyt.,._
You un mako thi4 a ltnle oasiet,
and quicktr, by p.iinnng ,,n tbtte
s.b(tt
bkMlns
~ntt0
tan 11ie
.,.aw
9Hal "",.... cM- ~ Wllf al . ., tolor.
highligh1 to " " " m-h 11and p~ion or colon .
Acol.'t a1 tht "'""' rime: th~r

ohre the oam color Kheme ~
det&1l1 oo u makH oe~ to "-o<'k
on thorn all 00<0. First, the
Harb.ft&"'
Tht
m~Y~ recen~
oamo bbck
KAttho
undc,.,,_ted
me
as
fint. a "''" of flesh and

Scorchod Brown boR coat<d the
kin. Then umc ~ wuh iuing tho
"'"' colon aa 1h base coat. bu11
with brown ink Qddod.
The hoghlighlf on rhe fabric

came liror by adding moro
Blc&ched Bone to 1hc ban color.
tho" I>) uau>& 1u., Dle.&ehcil Bono.
thon Bloached Bone anJ whno.
ill>d linall~ iwt -.. Int BlcnJ 1h-
Shining ('..,tJ "uh.J ,.,, h hro" n

ink butd the gold arou of the AfmOr
a.t1hie\'e
l'l!nlly bngh1 .lnd cl.nn finih .
and banner 1n 01'tler lO
Th Acol.vt pre1tn1ed a
1lighdy simplr propoiition 10
p.Unt. The nwn AlUJ or th robu
got an ., .., to.al of Scorched
Brown biihlighaecl w11h BuA'
Le.lther o.nd then Bluchecl Bone.
T llllin!' ahr robe. ",th really
thin gl.uH ol ~.How Added some
richneu 10 ahr c<1lor. Th rctt of
the dothmg ond the akin were
p.iintecl "' thr .am col1>r aa ahe
Harb~.
tlt highlightf
We"' llOI tll
U light,
i,,,.
futen it 10 tho body. li1e .a pan

to apply ahe glue. Do not under
any circumtt~es. appl_, 11!ur
darecdJ From the bo.tle You "iD
ond up flooding the miniaau"'
wiab superglud Tru11 mo on
1b1._ after all your hArd "ork 1ha1
\\'ould be a bad thing
One<' dry, carcfull,y pnina
1he chain and 1ha1'a lt. You'rc.
done. No,, to c-ruah your
~nemies (and \VO\\' 1hem \\1th
your modeling 1kills) I
H ARB I N GE R FI N AL
ASSEMB LY
IS ow." uh all th.. pan P"'"'td

(acepa tho cha1n1l and 'ami1hed,
."""' caadothe final ....inblv. Thtt
ttqUires a link~ a...J &IUfthOft.
u you don't want to n <"hpptng
olT all thtir carefully appltod ~n
The Acol.1-t should
ao
S EE MORI: TU'TORI A L.S AT

WWW. 8R USHTHRALL.S. COM
FOR MODELS APPAIUNG IN

WARMAC H I NE: A l'OTH EOSIS
into
poaition e.aail.I enough. put ahem

in pl&ee On at a nme ond apply
Flr11 Shining Cnld ond <hen

Shining Gnld and Chninmail
h1ghJi&h<ecl .11 <h gold
The rod Je<ail recived a

ba cod< of Scab Red with a
'int pot ol cl.irk 1ron odd.cl 10
dtepcn the 1onr.1hrn highhgh<ecl
";ah Scab Rod and ...,d ink. and
thtn with" little Bloachod Bone
added 10 tho mix
or
glue to tl.. uudcaidc

1ho ba
where the ptn com through.
Juaa "!'Pl." tit\'' spot and let it
run 1ruo rho 101n This fhould hold
it on place, but l Uke 10 odd 1iny
AIXIOUIU or gr.. nstufT Around the
bottom of the pan whrro 11 come
rhrough under the base JU 1 inal<o
11 suporsocure. D<1 1h11 to each
of the Acol.-~u ond 101 them di)
thorough!_,.
L.s1, gluo the chtn an place
and paint 1hem. While not 100
difficult. tho 1mall pll1- CAn make
a his fiddly. All tbo p1rce1 or chain
arethesamelong1h.1<1a1 leut rwo
them will need 10 b. 1rin11ncd
dov.n \Yith tuht"r '"'re clippers
or a sharp craf1 knJ'e
the, lit
Talco care \\hon Jo10g 1h11 - JUSI
1rim a linlt" aw&,> ai a umt", u
it' impossible 10 glue 11 back on
if you ""'' 100 much \\'hen
you h.a\e good fit glue ahem
in place by adding a l11tle glue 10
tho bonom end of the chain and
placing it in tho Ac<1l\'1 hand..
When ahat dries. you can apply
a tiny spot or glue 10 1hc top .nd
or
'
1"he '''-irling pat~rnt '''ere

painted on \\Ith white 10 Hghten
ah 1haded uou at ahe b.uo of1he
fobric.
,. . . . . , . no.---..
u..-............. *111., ... _
,,.._............,.-............. ""
...,.... t~ front.
-.--..
-
---
-1
~
::
~
Step 1 ) Stan whh the horse. That way. you paim the most
recessed partS of the model first so you won't ha\e to risk
reachln_g past lim~hed areas with the brush. Mix a dot of
Greatcoat Grey In a large amount of Morrow Wh11e and
shade with 'Very thin palm. Add a dot of Bastion Grey, and
conunue to shadt> Add Iron Hull Grey co create the deepe$t
shddowi. Put a thin coat of Thamar Black on the horse's
mouth, and add w nie thin hnes to separate the skin from
t~ armor pl~tt'S
no OUHRTER mHGH2ITIE: mDDELITIG HTID PHITITITIG
Step z.) When painting animals of any sort, h Is Vital 10 get some reference
photos to make sure they look reJllsUc. Hor..es are never uniformly one
color. so mu: up a thin ~Ml' of RU(k$.1ck Tan, and apply ft 10 areas or
the model 10 ~'e the hair some n111ural vartauon Mix Thamar Black and
Mtdlund Resh. and blend 11 out
from the n~ and mouth
Step 3.) When p;ifnling oHr "hllc primer. ~mn wlli1 the lighter color and
work your way down with shading techniques. In this step, basecoat the armor
plates with Menoth Whtte H1ghlll;h1. Base>.1t the chain mall wtch Cold Steel,
then wash with a mix of Exile Bl~. Thamar Bind Umbra! Umber. and some
Mixing Medium.
UJhat You'll need:

-
Basuon Grey
Bro..11 Ink
Coal Black
[:;jl Cold Steel

-
Cryx Bane Base
Cryx Bane Hlghllght
ExlleBluc
Grcycoa1 Grey
Iron Hull Grey
Khardlc Flesh
LJ Menoth White Base
Menoth White lllghllght
M1l<lng Medium
D Midlund Flesh
c:=-
Molten Bronze
Morrow White
Rhulic Gold
Rucksack Tan
Sanguine Base
Sanguine Highlight
[=:'.] Solid Gold

-
Thamar Black
Thornwood Green
Umbrnl Umbl'r
Yellowlnk
Step 5.) For this stage, shade with a coat or Cryx Ban!' Hlghllytu.
receive a shade or Bastion Grey to better define the shadows.
Some of the most recessed areas
53
no OURRTER mRGR2InE: mDDELinG RnD pRinTinG
Step 6.) Metallic paint never looks quite right

when applied directly over white primer. so
prepare the edging and other gold areas with
a coat or TI1ornwood Green. At this stage. I
got a little ovenealous and coa ted the edging
on the greaves wl th Thorn wood Green as
well. This was unnecessary. since they will be
palmed Sanguine Base, but it won't affect che
end resuh.
Step 7.) Use Rhulic Gold mixed with Molten

Bronte and small amounts or Brown Ink and
Yellow Ink to give the gold basecoat a rich and
burnished look.
IE
Seep 10.) With the gold complete, move on co the sanguine color. Mix Sanguine Base with Khardic
Flesh and a dot of Midlund Flesh, then apply this as a basecoat. I based some or the cloth ribbons in
a similar mixture, but use Sanguine Highlight Instead of Sanguine Base. This helps differentiate the
ribbons rrom che red armor.
Seep n.) Use Sanguine Base on Its own to shade

the red cloth and annor. Even though I based
the ribbons differently. I shaded them exactly
the same as the rest or the red areas.
Step 12. ) The final shade for the red areas uses
a mixture or Sanguine Base and Coal Black. The
green In the Coal Black tends to cancel out a
lot or the wannth In the Sanguine Base color to
produce a nice. rich shade.
Step 8.) Wash the gold areas with a mixture

or Mixing Medium, Brown Ink, Umbra! Umber.
and Cryx Bane Base (the latter cuts out some or
the red color from the mix).
To complete the model. paint the nail in a

manner similar to the chain mail mentioned
earlier. Finish che base with rocks and static
grass. Now we're ready to brain some poor
bastards in the name or the Creator. Well.
once we finlsh painring his dismounted
version, that is.
54
ldrian Skirmishers by matt DiPietro

Base [oat
lay base coacs down over black primer, making sure that they go on opaque and solid. Base the skin
with ldrian flesh. the pants Battledress Green, the wood on the rifle Gun Corp Brown. the metal areas
in Cold Steel, and the arm and leg wrappings with Hammerfall Khaki. Base the cloaks and armor using
Boocstrap Leather and the straps and pouches in Umbra! Umber. Mix Coal Black with a dot of Thamar
Black and give the hair a light coating so the primer coat shows in the crevices.
Base [oat Colors:

Skin- ldrian Flesh Pants-Battledress Green Wood-<Jun Corp Brown
Metal-Cold Steel Arm, Gun, Leg Wrappi ngs-Hammerfall Khaki
O oak and Armo!'-Bootstrap Leather Straps and Pouches-Umbra! Umber
HaiJ'-Coal Black mixed with Thamar Black
Shadinu
Shade the skin using a mixture of idrian flesh and Brown Ink with a couple dots of Gnarls Green.
Shade the panes with a mix. of Armor Wash and Ordic Olive. Shade the wood with a wash of Umbral
Umber. Tarnish the metal with two coats. one of Bloodtracker Brown and the other Bloodstone. Shade
the rifle barrel with Armor Wash. Wash the arm and leg wrappings with Bastion Grey, then shade with
Thomwood Green. Shade the cloak and armor using Cryx Bane Base and the straps and pouches with a
mix of Battlefield Brown and ExJle Blue. lastly, give the hair a second highlight with Menoth White Base
mixed with Coal Black and Thamar Black.
ShadinQ Colors:
Skin - ldrian Flesh mixed with Brown Ink and Gnarls Green Pants-Armor Wash mixed
with Ordic Olive Wood- Umbral Umber Metal- Step 1.) Bloodtracker Brown; Step 2.)
Bloodstone; Rifle Barrel- Armor Wash Ann, Gun, Leg W rappings-Step 1.) Menoth
Wh ite Base; Step 2.) Thornwood Green Cloak and Annor-(ryx Bane Base
Straps and Pouches-Battlefield Brown mixed with Exile Blue Hai!'-Menoth Wh ite Base
mixed with Coal Black and Thamar Black
Hiuhliuhtinu
Highlight the skin in two stages. Mix ldrian f lesh with Khardtc Flesh and highlight the top half of
each muscle. Add Midlund Flesh to the mix for successive highlight layers. High light 1he pants with
a mix of Battledress Green and Moldy Ochre. Using line highlights, paint the wood with a mixture
of Gun Corp Brown and Moldy Ochre. Line 1he metal areas with Umbra! Umber to separate them
from the rest of the model. Highlight the wrappings in Menoth White Highl ight. Highl ight the straps
and pouches using Umbra l Umber mixed with Beast Hide.
Highlighting [olors:
Skin- I.) ldrian Flesh with Khardic Fl esh; 2 .) Step 1 with Midlund Flesh Pants-Battledress
Green mixed with Moldy Ochre Wood-Gun Corp Brown mixed with Moldy Ochre
Metal-Umbra! Umber Arm, Gun, Leg Wrappings-Menoth White Highlight
Straps and Pouches-Umbra! Umber mixed with Beast Hide
Detailing
Black out the rivecs using Thamar Black and then paint with Cold Steel. Black out the stitches and necklace.
Paint the stitches with 'Jack Bone and the neck.lass with 'jack Bone and Gun Corp Brown. Highlight the
metal in multiple soft drybrushings of Cold Steel. A final highlight of Quick Silver goes on the edges of the
metal partS. To add some variation to the leather glaze, paint some parts with Brown Ink and others with
a glaze of Flesh Wash. Finish by detailing the face.
Detailing Colors:
Rivets-Thamar Black. Cold Steel Stltches-Thamar Black. 'jack Bone
Neddare-Thamar Bl ack, 'j ack Bone mixed with Gun Corp Brown Wood-Gun Corp
Brown Meta.I-Cold Steel, Quick Silver Cloak and Armo!'-Brown Ink, Flesh Wash
Base Coat
Shadinq
Hiqhliqhtinq
RETRIBUTTON OF SCYRAH
PATNTTNG GUTDE
rh.. l~ttnbullon of Scyrah offers many unlqul'oppurtunilks for any <sp iring minintul'<'~ p.1 i"lcr. 1nc hapes that compose
llw ir .ir111t1T und clothing as well as the mu led colors that comprise their color scheme po'lC mnny unexpected challenges.
I<\ hdp p.ilntcrs recreate our studio point ~chc11w, we have assembled a comp n:hcn:livc ow rvicw o f how we painted
nur Rl'lrlbullon fig ures. In the following pa11<'b you' ll find all you need to know, from how to pa int the s h.in y meta llic
weapon lo techniq ues for painti ng thl' wh ile orm()r p in I es. We even cover method for creating cye-<atching hair color.
I .tI' l\<'t M.irtcd painting some elvl's1
IOSAN FLESH
Tli.- C'h c-. ol lo- ha\'e very pale and sallow Hlw,h This l'mphasizes tOOr arrogant nd """ll"ful
~tu re
and serves to set

lhtm pMt fmm the human races. Do not worry if lh<' face looks pink after the 6rsl ~hadl' layer bccauo;e you will balance
lhl col()r with a warm green shade later.
the flesh with en equal

mt,ttute of Ryn Flesh and Mrno1h
Ra.stt0at
White Base.
Rrftne the epresslon by Pt>lyh1K

thin lines or S.1ngulne Hlg:hH1ht
nlxed with Bacdedress Green ru
k'Y pares or <he face.
Shad' ti" lines and rec:e~s of the

fnco by adding ~lne lii!!hllght
nnd dot of Mixing Medium to the
IJ1<se co lor nnd applying thin coa1s
of shndow.
Ml Battltd~ Green with some

more or the base N>lo.- and some
Mixing Medium. Apply another lhin
shnde u~lnx this color.
lll~hllght
Flnnlly, a,pply Menolh White

lllghllght to the Ups of the ears,
n-. and brow and to the top or
bald heolh.
lll~hllght
by adding Menoth White
to the base mixture ond

011plylng It <o the raised areas of
th' face.
WHITE ARMOR
The white plates of losan armor can seem a bit tricky to paint at first, but with a little prncticc you'll have them looklllg
great in no time. lt is helpful to apply your paint in multiple thin coats rather than one or two heavy coats. Also make
sure to separate each plate with a line o f d eep shadow to achieve the best results.
Basecoat the annor in
Morro\v \Vhite ntixed
with a couple of drops of

Underbelly Blue.
'
'
Add Cryx Bane Highligh< and

a drop of Mixing Medium lo
cite base color and apply It
as shadlng.
'
Mix sn1all amounts of

Greatcoat Grey, Exile Blue,
and Thamar Black to the
previous color and apply it
'
TI-tin MOn'()\\' White \Vith

l\oti:ting Medium and water
and a1>ply It to the armor
plates as a highlight.
as the final shading.
AQUA GLOW
There is a subtle aqua glow around the power nodes

and vent.s of the losan \veapons and armor. To achieve
this effect use a mixture of equal parts Necrotite Green,

Arcane Blue, and C.u11al Pink. Water down tl>e mixture
and carefully apply it to the g lowing recesses. With some
practice you sholtld be able to take advantage of the
thinmcss of the paint by allowing it to flow easily into the
channels sculpted i.n to the figure.
KHAKI DRAB
Many o i the rosait models {eature a tertiary khaki drab color. It is most commonly seen on the belts crisscrossing the
midsection o( many models.
For your first layer of Mb< equal p;u-ts

shadO\'VS. mix Sanguine Sanguine Base and
Base vt ith the base
Umbra! Umber for the
color. The continued
final shading.
use of Sanguine Base
unifies the color
palette.
1
coats should produc:e

solid l"Overa.ge.
Green and Rucksack
Tan.
the previous ~tep

and P1>ly it as a final
highlight.
OLIVE DRAB
We painted mnny of the poLches on the losa n infanh)' ;,, ru1 olive color to set them apart from the othe r eleme nts of the
model without drawing attention away from the important areas.
with an equaJ n1ixu:re

of Ordic Olive and
Cryx. Ba.ne
Base.
for the first layer of
shading.
with Coal Black and

apply It In a series
of lines to shade and
define tile pouch.
Rucksack Tan to the
mixture. Use this

~-olor
to highlight the
pouches.
Mis Fro5!bite \\1th

the previous highlight
miture and apply it as
tbe f1nal bighllg!tL
MILITARY GREEN
The majoJ'ity of the clothing worn by the tosan military is a muted military g reen. We wanted to add some warmth to
the shadows of this green to add some character to the otherwise neutral Josan color palette.
Tbe basecoat color for mis mllttary

_g:reen is an equal .mJxture of
Add Cryx Bane Base co t11e ba.'ie

colOI' for the first layer o-f shadir1g.
for tile next shade layer add

SanguJne Base to the paint n1ixture
frotu the previous step. Aint for a
Traitor Green and Troll blood Base.

A cou1)Je of thi11 layer"'S should give
color that is slightly more red than
you solid coverage.
green.
The l\rsc hlgbllght stage u.ses a

mixture of the base color and
Mldlund Flesh. The wamtth of
che flesh tone contl'ibute.s to an
interesting and unJque green.
For 1he l\nal highlighcs, add

Underbelly Blue to die mLxture front
che 1>revious sew. Apply tills mixture

to thP. ra.ised folds and rrim of the
clothing.
METAL }~
0
SHINY TURQUOISE
Add ing a little bit of color to the losan mctaltic paint serves to tic the metal areas in with the overa ll pa le tte of the mode).
Use ink t<> color the m etallics so the sh ine of the metal i s not red uced .
For dte basecoat use d1ree drops of Radiant Platinu111 ntixed

\Vi th one dr op of Blue Ink, one drop of Turquoise Ink, and
three drops of Anuor Wash.
To t:mooth che transition of color. mix a glaze of three pans

Tunquoise Ink, one part Blue Ink, one pare Armor Wash,
and eig.hr pam '~'atet and apply it ro che sur'face.
Use a n1ixture of Slue l nk1 TurQuoise Ink, and Armor Wash

for the shading.
Ap1>ly t\ish.Ushrs by reclaimins areas c:ovcnxt by the shading
El
Ap11ly Qu;ck Silver to the edges of the blade to give the

imsi1reS$iOo of U~ht sHod,ng off poll$hed rnetaJ.
\Yith Rodie.rt( Pl:.,t"lnu.m.
DARK PURPLE METAL
):~---...
We painted the powe r nodes and sword hilts a dnrker metallic p urple. 1n1c p ur ple and green complement each other w~ll
withou1 distracting from the overall con1position.
Start \Yith a basecoat mU:rure of three

d.rops of Pig Iron. 1wo drops of Red
lrtk, and one drop of Blue Ink.
Shade the meta.I with a ml." of 1wo

drops or Blue lnk. one d'l~P of Red Ink,
chr'ee drops of Atmor WasJ1. and a small
amount of Tha mar Black.
Apply Cold Steel as a highlight 10 the

edges and taised areas.
GREY LEATUER
llw Mm,, leg,, and neck portio~ of mJn\ c>t thl' 1<""1ll models are covered with ont~rlcxl.mg bands of leather. We
pA1ntl'J thCM"' band.s in a cool grey that hn, n.'lnt i \.4~ ly the &amc value a.'l the miht..1ry ffn.cn .o il doc:l rtot compete
lnr ntt<ntu>n. Note the first stage of shad ing'"".! h111hli11hts accentuates the rountln~'~ ol tlw shape, and the second
lhe bnntLs from one ai~other.
Mp.ir.llt':i
S1u1 whh a bas~oat of Greatcoat

(i~y.
Add StnjUlnt Base and Umbra!

Umbtr 10th~ llD'lttOll and apply
......., thin ihadow lllyen.
Use mixture o( Sansulne Baw.
Umbrll Umbt"r. and Coal Blick for

the crevltts ~i..ttn bond and
dttpshadowt.
u~ o'"""l"v"' 01~r 111t"ed "ith
Cry Banr lllghllght for rhe first

h1hllght suoge.
Add fro1nbh e 10 the previous m.bc
and Wlf' thr ~ult h11 rotor to

detine the tinnt htghtlghts.
PLATINUM BLONDE HAIR

\1am ''' th< ~hl.,, among the raJU.,, of th~ R~tribu1111n ~port unusual hair cnlo"' th~t you moy not hovr encountered
lehr<' ,,. ,, p.1tntr. Platlnum blonde I onr or th<' """" rommon halr colors among lu'ln.' .mll 1, J perfect place to Start.
Appl)" a llObd -
o(
'1tnoth Wlui. S.... alud with

r rollblood Hfsh.UJ!u to .mie.e
w. ....y.
rello..
Add some Turquo~ Ink t0 tM

1>asttoa1
apptr 11
as a shaM 10
"''""'"and
the""""
Apply a semn11 ~or IMclon

Grey to separare the'""*
h.ait and add deplh.
or
.....,ly, pply ~to

the ~or~ hilir ll!iin!
Ml<lllrt or the basoa color
ond Menoth White ~t.
BROWN-PURPLE FADE
A<ldlni'\ Mlhtk unn~turn l color to normal hair 1011~ I .1 great way to add charactrr and 111yMl'ry to your e lves. This fade
tnm wMm hrown to deep purple i tone~ unuuJI and ckganl.
~~~~~~~~~~-
A1111y n 8huplr tm~coar or Gu.n

Cora~ Dr'O\vn.
AP1>ly a 111ixtur" of Oe1uen

Purple and Roocstr"J> Y.01her
to chr ~Ct'S$C9 or the hnlr for
the r1rs1 shade.
Use a nlixture of Beaten Pur1>le
lnstly n1lx to~d1er equal part'i
1md Coal Black as the SC<'Clnd

shade on the tiJ>S or the hlr.
Gun Corps Bl'own, Rucksack
Ti n, and Ernber Oranse. Use the
ffl!ullJns color 10 hlghlighr the
roo .. or th~ hair.
ELECTRIC BLUE HAIR

Kaelyssa's hair is a vibrant electric blue. We hope you' ll allow yourself to be inspired to create you r own unique hair
c..:olur:; iaJH.l filc.h.:::;.
,,
Mix Menoth Wh.ite Base \Yith
Sulfuric YeUow and apply a
solid baseroat to the entire
head of. hair.
Next apply Turquoise 1.nk 10

the recesses of the hair so the
strands visually separate front
one another.
Deepen the shadows and accent
the shape of rite ha\rstylc by

adding a serond shade with
Blue Ink.
Darken the hair tips with a

glaze mil(tute of Thamar Black,
Turquoise Ink, Blue Ink, Mixing
Mediu_m, and water.
GREY-MAGENTA FADE
With this unique hair color we create a fade from a ne utral grey to bold magenla. ft is a ~tri king look that wlll immediately
d raw the eye.
The base<:oa.t for this color
fade is a mi~ture ofTrollbtood

Highlight and carnal Pink.
Shade the recesses of the

hair with a mixture of equal
parts Beast Hide. Murderous
Magenta. and Basdon Grey.
Shade die tips of the hair using

a mlxture of Greatcoat Grey
and Murderous Magenta.
Apply highligltts u>ing a mixture

of equal parts TroUblood
Highligltt, Menoth White
Highligltt, and Moldy Ochre.
D
D
Greatcoat Grey
MorrowWhite
Battlefield Brown
Underbelly Blue
Thamar Black
Exile Blue
Cryx Bane Highlight
HYPERION
Step 1) Begin by applying a solid coat of Formula P3 Black
Primer, then use the sponge painting technjque to add a
layer of Greatcoat Grey.
Step 2) Apply two thorough coats of hairspray to the
model, allowing the coats to dry between applications.
A blow dryer will speed the drying process significantly.
Apply a light coat of Underbelly Blue mixed with Cryx
Bane Highlight to the model. It is important to make this
coat of paint fairly light around the edges while fading
to a solid opacity at the center of each plate. This is so
the water will penetrate the paint more easily to dissolve
the hairspray around the edges where you wa nt the
weathered look.
Step 3) Brush clean water onto the surface of the model
and then use a stiff-bristled brush to gently abrade the
surface, removing areas of the top layer of paint. After you
achieve the desired effect, seal the model with a spray-on
matte sealant and allow it to dry.
Step 4) Once again apply two more thorough coats of

hairspray to the model allowing the coats to dry between
applications. Then, once the hairspray is dry, apply a top
coat of Morrow White using the airbrush.
Step 5) Brush clean water onto the surface of the model
and then use a stiff-bristled brush to gently abrade the
surface, removing areas of the top layer of pajnt. Make
sure the areas of chipping from s tep 3 are revealed during
this process. After you achieve the desired effect, seal the
model with a spray-on matte sealant and allow it to dry.
Black out the metallic areas on the model wi th Thamar
Black.
Step 6) Apply translucent shading with a mixture of
Battlefield Brown and Exile B1ue. Then using thin glazes of
Morrow White, apply highlights sparingly.
Finally, paint the metals and glow effects using the methods
described in Forces of WARMACHTNE: Retribution of Scijmli
for a final effect that is q ui te striking.
PAINTING GUIDE
Vengeance _ presents a wide variety of
models that will provide intrepid painters with a wealth
of new challenges. All the new light cavalry offer plentiful
opportunities to paint realistic horses of different breeds. This
book also brings Rhul's first huge-based model thundering
onto the table, giving hobbyists a chance to work on a larger ' '
surface. For an inside look at completing character models,
we take you through a detailed step-by-step description of
painting the new Retribution warcaster Issyria. Read on, and
prepare yourself to take on these challenges undaunted.
ISSVRIA, SYBIL OF DAWN
Arcane Blue
II
II
Battledress Green
II
Exile Blue
Morrow White
Frostbite
II
Beaten Purple
II
Murderous
Magenta
Greatcoat Grey
Ironhull Grey
II
II
Coal Black
D
D
Menoth White Base
II
Cryx Bane
Highlight
D
II
D
D
Necrotite Green
Carnal Pink
Midlund Flesh
Cryx Bane Base
Menoth White
Highlight
Issyria, Sybil of Dawn is a beautiful and unique addition to the

Retribution of Scyrah's warcaster lineup. This comprehensive
step-by-step describes how to bring this character to life.
Step 1) Prime the model with Formula P3 Black primer, and
then give it a light coating of P3 White Primer from above.
This will help the light paint colors coat the model and will
serve as a guide for the highlighting and shading.
Step 2) Basecoat the cloth and leather areas. Use Greatcoat
Grey for the lower legs and tabard and a mixture of Traitor
Gree~ ahd Trollblood Base for the skirt.
II
II
Sanguine
Highlight
II
Thamar Black
Traitor Green
Pig Iron
II
Trollblood Base
Quick Silver
Underbelly Blue
Ryn Flesh
II
Umbral Umber
Sanguine Base
Step 3) Shade the green areas with a mixture of Traitor Green,

Trollblood Base, and Cryx Bane Base.
Step 4) For the final shading layer, use a mixture of Cryx
Bane Base and Sanguine Base.
Step 5) Use a mixture of Traitor Green, Trollblood Base, and
Midlund Flesh to highlight the green areas.
Step 6) Add Underbelly Blue to the paint mixture from step
5 and use this for the final highlights.
Step 7) With the green finished, move on to painting the skin.

Begin by basecoating the flesh with a mi xture of Ryn Flesh
and Menoth White Base.
Step 8) Create a mixt u re of Ryn Flesh and Sanguine
Highlight and carefully glaze it into the lines and
recesses of the face for shading. Appl y additional shading
to the flesh with a mixture of Battledress Green and
Ryn Flesh.
Step 9) Mix Sanguine Highlight and Battledress Green and
carefully blend this into the shadows using the glazing
technique.
Step 10) Highlight the skin using glazes and a mixture of
Ryn Flesh and Menoth White Hi ghli ght.
Step 11) Bring in final highlights wi th glazes of Menoth
White Highli ght.
Step 12) Lastl y, add d etails to the face. Carefully appl y thin
black lines to define the eyebrows; then define the lips with
Sa nguine Highlight.
~ ,
.,
Step 13) Basecoat the armor w}th ~ mixture o~ J\foilrow

White and Underbelly Blue. You will add other. colors to
this mixture to use for shading in-the upcoming steps.
Step 14) Add Cryx Bane Highlight to the armor basecoat
mixture and use this to subtly shade the armor.
Step 15) Add Ironhull Grey to the existing shade mixture
and use this to apply additional shadows to the armor.
Step 16) Mix Greatcoat Grey, Exile Blue, and a small dot
of Thamar Black for shading the overhanging portions of
the armor. Then use the mixture to apply line shadows to
separate the various sections of armor.
Step 17) Apply Thamar Black Jines to the hair to add tex ture
and shading. Highlight the grey areas with a mixture of
Greatcoat Grey and Cryx Bane Highlight.
Step 18) Add Frostbite to the mixture of Greatcoat Grey
and Cryx Bane Highlight and use this to give additional
highlights to the grey areas.
Step 19) Mix equal parts Necrotite Green, Arcane Blue, and
Carnal Pink for the glowing channels in the armor. Thin the
paint and allow it to flow into the recesses of the channels.
Step 20) Use Menoth White Highlight to highlight the areas
where the channels intersect, reinforcing the glowing effect.
Step 21) Highlight the hair using Carnal Pink. At this point
the highlights and shadows are very stark.
Step 22) Mix Sanguine Highlight with Beaten Purple and
thin the paint to a glaze consistency. Apply this glaze to
the hair in multiple layers to bring the stark highlights and
shadows toward a midtone.
Step 23) Mix Beaten Purple and Sanguine Base, thin the
paint to a glaze, and u se the glaze to shade the hair. This
application is similar to the previous step but the glaze
should be applied more sparingly.
Step 24) Highlight the hair w ith Carnal Pink. Try to imagine
the light glinting off the hair during this step.
Step 25) Mix Murderous Magenta with Beaten Purple
and thin the mixture to a glaze. Use this to help blend the
highlights, accentuate the volume, and add vibrancy to
the hair.
Step 26) Using a mixture of Sanguine Base, Umbra! Umber,
and a dot of Thamar Black apply extra shading to the
overhanging areas and pick out any texture that has been
lost in the previou s steps. Sparingly add some final glinting
highlights with a mi xture of Carnal Pink and Menoth White
Highlight.
Step 27) Bl ack out the metal pods w ith Thamar Black to
prepare them for metallic paint.
Step 28) Basecoat the metal pods with a solid coating of
Pig Iro n.
Step 29) Carefull y shade the pods w ith a mixture of Bea ten
Pu r ple and Coal Black.
Step 30) Appl y the final details. Highlight the armor with
Morrow White, highlight the metal pods w ith Quicksilver,
and fini sh the eyes.
MERCENARIES PAINTING c;UIDE

Painting Mercenaries can be a fun
and rewarding process. The militaryins pired palettes of the Rhulic meres and
stand ard meres alike offer the chance to play
around with color schemes you might expect
to see on a real battlefield, and other meres give
you the Op]portunity to add a variety of special
touches. Pain ting meres also means you can be a
bit more relaxed; because uniformity isn't a goal,

you can try new techniques and id1~as withou t
the fear that the unit or character is go ing to stand
out like a sore thumb. Whether you're adding
a unit or two to an existi ng army or creating a
whole army of Mercenaries, their variety makes
them entertaining and engaging to paint.
" BASECOA'.r
SHADING
The initial ooat of paint on which everything else Will be built. It is

Important 1hat the basecoat Is very clean and every color is where
it should bE,. Your shades and highlights will coordinate with the
basecoat and main color choices-

miniature to create shadows. Exaggerating 1he shade and highlight
colors will add to !he visual appeal of a model.
GLAZE
A mixture of water and a small amount of ink chat is applied In
successiVe la1yers to subtly tint an area.
,
11
HIGHLIGHTING
A lighter color applied to the basecoat in the raised areas of a
miniature to create the look of light hitting the surface. When
highlighting i1n multiple steps. keep a little bit of the underl ying color
showing. overlapping chem like shingles on a roof.
WASH
A combination of mixing medium. water, paint and/or ink that Is
liberally applied to the basecoat to create detailed slhading. The
wash will run into the smallest crevasses on a model and dry as
a shadow, so It needs co be a darker color than the ba,Secoat. The
wash mix works well as 4 parts mixing medium, I part paint/ink,
and 3 parts water.
fl
II
II
1RAITOFl GREEN
Step 1) Basecoat the area in a
solid layer of Traitor Green.
Step 2) Shade the area using
Thornwood Greien.
Step 3) Apply a second layer of
shading with Cryx Bane Base.
Step 4) Apply funa l shading
with a mixture of Brown Ink
and Coal Black.
Step 5) Highlight w ith a mix of
Traitor Green arnd Thrall Flesh.
II
II
II
D
~-.-
Traitor Green
Thomwood Green
Cryx Bane Base
Brown Ink
Coal Black
Thrall Flesh
....... -
HMThtlERFALL KHAKI
Step 1) Apply a solid and opaque basecoat to
the area in JHammerfall Khaki.
Step 2) Shade the area using Gun Corps Brown.
Step 3) Add a second layer of shading with
Bastion Grey.
Step 4) Highlight the area with a mixture of

Hammerfall Khaki and Mcnoth White Highlight.
D
D
HammerfaJI Khaki
Gun Corps Brown
D
0
Bastio1n Grey
Menoth White
Highlight
The Hmmnerfall colol' sclieme works well 011 Rim lie warjacks too. lllcluclillg elements like
weatheringaud battle damage adds eve11 mon cf1amcter.
WOOD
Step 1) Basecoat the wood in Gun Corps Brown.
Step 2) Paint the wood texture using Menoth
White Base.
Step 3) Mix a small amount of Yellow Ink
and Bloodstone iinto Brown Ink and blend
this mixture ove:r the texture. The blending
concentrates the ink toward the butt of the gun,
creating a appealing gradient.
GUN COR PS BROWN

Step 1) Basecoat the area with multiple layers of
Gun Corps Brown until you achieve solid coverage.
Step 2) Shade thee brown with a layer of
Battlefield Brown.
Step 3) Apply further final shading using a

mixture of Battlefie1d Brown and Exi le Blue.
Step 4) Add a little Blue Ink to the previous

mixture and use this to apply final shading
by blending the ink the same way as for the
previous layer.
D
D
D
Gun Corps Brown
Menoth White Base

Yellow Ink
II
II
II
Bloodstone
Brown Ink
Blue Ink
Step 4) Highlight the area with a mix of Gun

Corps Brown and Beast Hide.
D
Ill
Gun Corps Brown
Exile Blue
Battlefield Brown
BeastHide
STEEL
Step 1) Basecoat the area using Cold Steel. Make
sure to use enough coats of paint to get a solid
basecoat with no patchiness.

Step 2) Shade the metal with a mixture of
Brown Ink and Exile Blue.
Step 3) Apply a second layer of shading using
a mixture of Green Ink and Brown Ink with a
small dot of Cryx Bane Base added.
Step 4) After the rest of the model is painted

and protected with matte sealant, apply some
final highlights with Quick Silver. This restores
some of the shine muted by the matte sealant.
II
Cold S teel
Browm Ink
Exile Blue
II
Green Ink
Cryx Bane Base
Quick Silver
BRASS
Step 1) Use Brass Balls to apply a solid basecoat
for all the brass areas.

Step 2) Shade the area with thinned Molten
Bronze.
Step 3) Mix Molten Bronze with Brown Ink and
Gnarls Green and use this for further shading.
Step 4) After the rest of the model is painted
and protected with matte sealant, apply some
final highlights with a mixture of Cold Steel

and Solid Gold. This restores some of the shine
muted by the matte sealant.
D
D
II
Brass Balls
Molten Bronze
Brown Ink
D
D
Gnarls Green
Cold S teel
Solid G old
THE AD'VANCED FACE

Step 1) Basecoat the face in Midlund Flesh.
Keep your paint thin, and make sure your
basecoat is solid and uniform.
Step 2) Shade the face using a mixture of Skorne
Red and Midlund Flesh.

Step 3) Mix some Battledress Green with more
Midlund Flesh and apply a second shading.

The green and red should cancel each other out,
leaving a realistic skin tone.
Step 4) Mix Battledress Green with Skorne Red
and use this color to define the lines of the face
with a fine detai I brush. Ta\...e care to precisely
define the eye socket~, brow line, nose, lines of
the cheek, furrows in the brow, and crow's feet
around the eyes.
Step 5) Use a 50 I 50 mix of Midlund Flesh
and Ryn Flesh to apply c:;ome highlights to the
cheekbones, forPhead, nose, upper lid, and
eyelids.
Step 6) Using Ryn Flesh and a fine detail brush,
define the lines of the face. Pay particularly
close attenlion to the forehead, eyebrows,
cheeks, and nOSE!.
Step 7 ) For a "five o'clock shadow," mix
Midlund Flesh with Bastion Grey and thin the
~------
mixture with water. Apply the paint in multiple

thin coats to the chin, jaw Line, and upper lip.
Step 8) Because this model is a pirate and
probably has stubble instead of just a five
o'clock shadow, mix some Thorn wood Green
with Midlund Flesh and lots of water and
repeat the process from step 7.
Step 9) To add some extra expression, take a
drop of Red Ink and add a lot of water to dilute
it to glaze consistency. By applying this glaze
to specific parts of the face we can imply all
sorts of things. In this case we painted it on
the nose, lower eyelid, and central brow and
forehead. A red nose implies the subject is a
drunkard; Lhe reddish lower eyelid implies he
is weary or battle hardened; the red central
brov. impliei:. he's a belligerent and a bruiser.
Other places to apply the red are the ears (to
show anger or shame) and the outer part of the
cheekbones (to give the face a Au sh of heaJth or
embarrassment).
Midlund Flesh
II
II
D
Skom e Red
II
Thom wood Green
Battl edress Green
Ill
Red Ink
Ryn Flesh
Bastion Grey
TATI'OOS
Step 1) Basecoat the flesh evenly in Midlund
Flesh. After the basecoat is dry, use a mixture
of Coal Bla1:k and Thamar Black to paint your
tattoo. You can easily fix any mistakes by
reapplying the basecoat.
Step 2) From this point on, the flesh is shaded

and highlighted in a very similar way to the face
with a couple of notable exceptions. The first is
mixing lots of Mixing Medium in with the paint
to increase tthe translucency so that the tattoo
is visible through multiple layers. The second
difference is mixing the green and red with
Khardic Flesh instead of Midlund Flesh. This
will make tJh.e face appear brighter and cause it
to draw the eye due to value contrast. Keeping
these two things in mind, mix Skorne Red with
Khardic Flesh and lots of Mixing Medium and
use this color for the first shading step.
Step 3) Apply additional shading with Kharctic

Flesh mixed with Battledress Green and lots of
Mixing Mectium.
Step 4) Mix Battledress Green with S.korne
Red and use this to paint Jines separating and
defining individual muscle groups.
Step 5) Mix Midlund Flesh with lots of Mixing
Medium and apply highlights. Then carefully
dean up any areas of the tattoo that ]have been
obscured by paint to bring the details back to
the surface.
D
II
II
Midlund Flesh
Coal Black
Thamar Black
Don't be afraid to
experiment wit11 more
intricate and co1orf11T
designs in tattoo work.
....
--
--, ..
II
D
II
Skom~~
Red
Khardic Flesh
Battledress Green
1
I Khaki then Gun
Co als: Over P black undt>rcoat,
ut these co
P~ors
down
in this
ofofirst
Brown, acting P~
down
a base
r<ler Hammer:!
so that
Base
It's
helter
to
P
the
Khaki.
Corps Brown.
he mess made by
a tr Im can clean 1
HammerfaU
'ahJl<>h
,. t the
h White
w1'th
lghllghts: Ha,...
mixing Menot
dd Menoth
Khkl
Khaki. Continue ';
Hamme
mix for layers o
.
with
White to t he
fi ally finishing
git the Gun
hllghts, n
lighter hig h Whl1e. To biglill Khtakl with
Me not
rfaU
pure
Corps Brown, mix Hamme
and finish with pure
Gun Corps Brown,
Hammen,
-1an Khaki.
Full H
::.:..:. ...... ~ :::...... :

h dows: Shadow
t he Hammerfal l
erfall Khaki
and Gun Corps B:;'~~- Black Into

or Gun Brown : n Corp1 Brown.
u.dowsordte
Black co
ult Shadows: Add Thamar
fully shadow che
F previous mixes dtoGun Corp1 Brown.
the
Hamme rfall Khaki an
~!11
~ccessively
...
-=
=
.-.......
-....
=
~
-.-.
.........
..-.---...
.......
=~
Ollps: Placement Is key. Ui.ejust pure Pig Iron and underlinl.' the chips with Unde rline Lhe chips with Meno th While ll lghllght, Lhe n shadow Lhe
Menoth White to give the m depth. Precision rnnkes this effect work.
upper part of Lhe chip wll h black for ~hndow.
.....
u;
.....
Weilllherlng:
U~
diluted Bloodstone glaze streaks to giH a bit of a " U t hered look.
8.
~
~
Ye llow glow
ba~:
Start w iLh 11 base of Hea.rdlre In the visor and glau along the edges tha t will ca tch the sourced light.
Inked white glow: Painting a line wllh Me-noth While In the ce-nter of the visor and then glazlnJ II with yellow Ink 11ve1 the visor an electrk
stow. Inks are sc>od for chis effect.
"0 QUHRTER MHGHZIHE: MODEllHG ftHD PfllHTIHG - fXTRHI
With 1hc rclcilsc of the Pnvn1crrs. there 1s suddenly nn opportu1111y 10 m<1ke an army 1hat 1s rruly urnqu
nnd motley in nppearance. Gues1 Painter Quentin Smith shO\\S us 11ps nnd tricks for JUSI one way to pain
ii Sea Do~ Take 1his advKe and run w11h it , g1v1r1~ each $p;i Dog 1n your nrmy his own distinctive !lair.
By Quentin Smith. Guest Painter
AldloaP ci.d In dlfl'ettat stylft and colon. dais particular Nnd of~ Dop bave tile .._ 11rlpe Iheme dlroaghoat.
llJhat Vou 'IJ Reed:

To paint the modd shown here, you'll need the following P::> Po.lints:
B<1stion (,re,\
Battlcfidd Brown
Bloodstone
Boostrap Leather
Brass B.dls
Coal Black
34
-I
I
C-0ld Steel
Exile Bhll'
Cun Corps Brown
1\\orrnw \Vh11c
Rutksak Tan
Sanguine Base
1 lammerfoll l<haki
Skorne Red
Khardic Flesh
Tham.11 L31ack
Mcnoth White
Umbml Umber
--I
'
Steel and Iron Parts

Co"er with Pig Iron
Skin
Cover with a mix of Umbra! Un11)('r and a dot of Skome Med {.j:r ratio)
Pants
Cover with Hammerfoll Khok1
Steel and Iran Parts

Shade with a wash or Exlle Blue- and 1 hnmor lllork (2:1 ratio)
l ,.
I .. ~
'!
" Skin
.t
Shade with a mix of the base skin coat end a dot of Thamar Bleck
Pants
Shade with a wash or Gun Corp Brown 11nd Ba"lon Grt'y (2:1 rauo)
11fti1nrmm11ti1
Steel and Iron Parts
liighlighc with Cold Steel
Skin
1.) Highlighr using a mix of th<' bno;(' ~kin coat and

Gun Corps Brown (2:1 rado)
z.) HighUght over Step 1 by addllljl Khardlc ne-;h
Pants
1.) Highlight with base panfll ro:11 and M!'noth
White (z:1 ratic>)
z.) Highlight O\"ef" Sr~ I by add"! nlOrt' Mt'nolh
White.
By Brnnt Bono1t
One thing many paint(r-. lind ir1timidaling is freehand. Tho definition of trcch.md is
simply painting d1-.w1s nnd patt1rns witho ut a sllndl or masking. By following two
simple lechniqu<c: .1m unl' t.111 ma..ter thi:; method, whii:h c.1n open up a widt array of
cu:;tomiz.1tion npportu111tils.
The primary rults to follow \\ htn p.iinting treehand ::.yml'\11.; art !:>1mple:
I) U~ thin p.iint. II the pai nt is too thick, paintinh d ean, c.n"p :-) ,, rob can tx- difficult.
2) Paint the dlsigns using basic i;ha pn. Don t u>-e thin lin...-::. ,1r try to drav. the design
with your brush.

Adhering to thl' rules abnve will m akl' paintin,~ frt:"hand ar' asy exerciS<! tor t:ven a
novicL' painter after a little practic't>.
To demm~tratt these tL'Chnlqut .._, 111 be paint in~ UlC .,. mbol for C) ~ n 1 'i- I Uhl Ami) on a
Chargl'r and a simphfit.'Li lalion
rt. logcH~n il Bul "aru."Vr.1hec;. -yml vlsr.in lx found
in Form o{WARNfACNJNE: Cyg11ar and F .. -s ofWARMACfll : Merrenarit~. n..'Sp.."Cl1\elv.
a .. :
1) Block in the basic sh;:i~ of the lower with Menoth White Highlight. Don't be overly concerru..'CI about getting the
c;ha~ perfoct when painting the white. If it's a little splotchy after thi-. step, that'<, fine.
2) Cut back into the bac;ic ..hape with the highlight color of the surfoc<' underne;1th. This is the stage at which you
will ht> defining the sha~ of the tower. Mo\'e bad.. and forth between painting the white and underlying blue.
This i., how you get cri-.p, clean edg~.
3 ) Outline the tower Ill Cryx Bane Highlight. Working in the ~me method as above, p.1int a thicker outline than
you nL-ed, and re-paint the Menoth White Highlight where needed . This h<'lps ~par.lie the symbol from the
underlying blut> and defines the overall shape.
4 ) Paint an egg <,hape with a mix of Bloodtracker Brown and Ember Orange. The top and bottom of the egg
should have a fairly sharp point. Highlight the egg shape at this c;tcigc \...1ith Cygnus Yellow and leave a thin
outl ine of the brown I orange mix.
50
5 ) Cul into lhl' <.>gg ... hape with semicircles, which

ddirw thl wing., .1nd p " de a space to pain! the
hl'ad Paint ... mall wcdgcs with the tip of your
bru.,h on thl' tail and wing edges.
6 ) Paint in thl' he,\d with your brown/ orange mi"
and then Cygnu-; Yellow Define and darken the
outlinl' .1s ncCl's-;ary.
1) Ust Battllfit'ld brown to block in a basic circle

with four triJngll'... evenly ... pace around its
circumfcrencl'. CINm up the ba-;ic shape and
.,haqwn tht> cd~~ with the underlying Cold Steel.
2 ) Block in the bao,ic .,kull ... hape with Solid Gold.
Leave an uullinl' of the brown to help define the
'>hape OVl'r thl' Cold Steel.
3 ) Block m c1rclt.>-. for the eyes, no:.e, and paint a
brown line for the teeth.
4 ) Bloc!.. m lhl' outer triangl~ with Solid Gold,

clean up thl eyl''> and nose, and add the teeth.
S) Add a h1ghh);ht of Radiant Platinum on the
brow ridge, top of the sl-.ull, teeth, and top half of
the trinnglcs
6 ) Dl'finl' the outline and add a thin line down the
middle of the four tmmgles.
CONCLUSION
Remember, keep your paint very thin and work
bacl-. and forth between the color of your design
<1nd the underlying color. This is the best way to
gtl clean, crbp, and well-defined shapes using
frt'l'h.:inJ . B.isic !.hclpcs arc applicable to any of the
friction -;ymbnls found in the lron Kingdoms. Try
thcsl': Khndor (lri.rngle), Mcnoth (two rectangles),
or Cry x (circl<.). With a little practice, you' ll find
that utilizing bM~ic shapes and thin paint will help
you mn~tcr thl' art of freehand.

I
5I
PAINTING
GUIDE
.... * "rr4 . .~.;...,;;.;.~i":,'." '"' ,t"'""!"""'-'4 .:,.! 'f
_
, . .,.
GROR'BSOt\i ~EAR~flBREAKER
Tne Ghordson Earthbreaker represents the most imposing
weaponry available to the mercenaries of Rhul. This colossal
is fashioned from some of the best steel in Immoren, whose
strength and resistance to weathering make it an especially
valuable material for constructs used in military campaigns.
The studio paint job for the Earthbreaker reflects this with
a torso free from rust but still appropriate for a battle-worn
machine of war. Carefully following these steps will allow
you to re-create the studio scheme or adapt the concepts for
use with your own army colors.
D
D
'Jack Bone
[]
Cold Steel
II
II
Exile Blue
Gun Corps Brown
D
II
Hammerfall Khaki
Step 1) Prime the Earthbreaker black and apply a solid

coat of Cold Steel to all parts of the model. To avoid clogs
while applying Formula P3 metallics with your airbrush, it
is important to thin the paint and strain it through wire or
nylon mesh.
Step 2) Apply two coats of aerosol hair spray to the model.
Then apply a coat of Hammerfall Khaki to the large armor
plates, being careful to avoid spraying the triangular
insignias. It is important to keep this coat of paint slightly
translucent; you want to be able to see the silver showing
through slightly.
Step 3) Use masking tape to mask off the area surrounding
the triangular insignias on the forearm and shoulder plates.
Step 4) Apply a mixture of Skorne Red and Khador Red Base to
the insignias with an airbrush, then remove the masking tape.
Menoth White
Highlight
D
D
II
II
II
II
Midlund Flesh
Brass Balls
Greatcoat Grey
Khador Red Base
Quicksilver
Sanguine Base
Skorne Red
Thamar Black
Umbral Umber
Step 5) Use the blunt side of a Formula P3 hobby knife to

make a few light scratches in the surface. Apply clean water
to the surface of the model using a brush. If the paint was left
suitably translucent, this water will penetrate the top layer of
paint and dissolve the hair spray underneath. You can then
chip and weather the loosened paint using a Formula P3
small drybrush. Finally, apply a coat of matte varnish to fix
the paint to the model, preventing further chipping.
Step 6) Combine a little mixing medium with Gun Corps
Brown and use this to shade the khaki areas. The mixing
medium keeps the brown translucent so that it does not
cover up the nice chipping achieved in step 5.
Step 7) Add paint streaks to the model using the two-brush

technique. To do this, apply dabs of 'Jack Bone and then
use a damp brush to blend them into streaks wi th quick upand-down motions.
Step 8) Repeat this for additional streaks with a mixture of
Greatcoat Grey and Gun Corps Brown.
Step 9) Next, shade the chips using Thamar Black and
highlight them with a mixture of 'Jack Bone and Menoth
White Highlight to create a three-dimensional effect.
Step 10) Then use this highlight mixture to highlight the
armor plates as well.
Step 11) Add brass accents to the metal areas using Brass
Balls. These accents w ill break up the metal sections and
add some areas of interest.
Step 12) If any metal areas have received overspray,

basecoat them by hand w ith Cold Steel. Then shade all the
meta l areas with Greatcoat Grey.
Step 13) Apply additional shad ing to the metal areas with a
mixture of Exile Blue and Umbra] Umber.
Step 15) Use a mixture of Skorne Red and Midlund

highlight the insignias.
Fle~h
to
'
Step 16) Coat the model with matte varnish and allow it to
dry. Finally, highlight the metal areas, using Quicksilver fo;
the steel areas and a mixture of Brass Balls and Quicksilver
for the brass areas.
......
PAI HTI HG& " 001ELI HGGUIDE
RIUET HEAD STUDIO S PRIHTIH GGUIDE

TIPS RBI TECHHIQU ~E UllTH KIKE KCUEY
JllVET
EAD
STUD I OS ...
toNG
Rivec Head Srudio> Painring Guide by

MikeMeVey
Wekomo ro tbe 6m Rh"' HJd SruJios l""'DnJ!
~1n\icl Ri'<r 1-1,,.,.f Sruu10; lo (ollt<nV< of i:<l=,
tulptcw nd pintc'> who c~t< all di the mtrtlru""
li'ld u-rrain th.Ir you M-e in du lron K,ngdcn~u produ~t
l1oc. Th.c .um tbc RJvcr Htold.\ II E\1 tWt 1lQ cffurt TO
brln)l )'OU me 6,,.., m1nJ~'ll.... ""!!"In Lhc indumy-
mmt.lll1ml r.nge lir for rhc Iron Kini;donu!
1J
Jlm the """' o( rhc Ri\'Cl Hcod nlc"""""'- """'1.
\V,.,RMACHINE i-k will conwn v.11.ubl. ~
ind moJdmg ..!vice. 2nd l''<:'ll b. puhluln~ ~
""'"'I' of mmrul on our ...t..;1e-lrom p.mwng ind
rno.lding =orttls to <ocnfl<"'"'"' th.it will i,:;tt YOU
the 'tun ro um ""11 Rivs!
or
nu.
In chc ocn few-pagn "'" .,. sang ro .,Ju:
~$OLD
hnw to p:uni- )'Ul,Jr
TIMJiB~&'tc>Mlt TO
We'U
srarc by l(>Olung
;u s:omt genc:r:al
cc~hniquc$ :ind how
tltey GUl be pplted
io that min-p;turc."
t..hcmodts. rm nor
going <o c:>pbtn
\mi.:
:hniqrrd
~~)il.LD SWAY. A
TIP'Tk8 llMANCE
BACK ll't FAVOR OF

THB PEOPLE Olli\
rRONS ARE BROKEN.
HAVE HEARD
YOUR C RI ES AND
we
W E HAVE S M ASHED
A WRECKI NG BAU
THROlJGH rHE
WA LLS Or
M E- DIOCRI n '.
A NEW MOVBMl!N I
HAS
BIO~UN.
A NBW ERA LIBS

BEFORE L'S.
jOrN THE
RrVBT HEAD
REVOLUTION!
196
took .,
1:0ols of the Tr.1dc
r nor goin)!
(0 go on " gtt.11 kng1h .ibour wtt:iryou

jou14 nd houldn'r b111. bm 11s wonh U)'ibg bit
al:,klut rh.c: ~tn.r:a .and hnuhcs }l;tU Q.tc.. l\c:.ahv.i)"'I. ~rd

~~I< brwbpi. Surr. rhry >< mo1 o, bu1 <hoy :Uso J..c
~ &"" 'f r..ok<J :U<cr pr<l("'rl)'. Jnd rh. l''"""'ll qwll<j
o ;uurs.thlobrut.h ix wirhou1 cqintl
' fur p:unu. 1n my orfnJM. ""'>ha product ch. best
la Th"}' d1r fut mJ die colon ue dean ~d
!,pgltt. l ll>C' f"""l muth <~!) m.kc I~
~
bu good nd Nd po1rn V.UtJ<> I""''""'"" ....JljwdL

~ G\\ l'l"'" ,....., .. S- r.lllgc<'r rolor, I .!:so find
vh'K.tmu Foondq P""" rclfr wcful. So <SS<nti.lly
I miJC nd nurdi ltrdy. J h"p<fully ~ ck bcst
1....,. .JI. ICl' fxi. 1,.,. ,..... co hnJ nngc of ocryhu dut
didn't mill well ' "r:li
odtcr$.
WARMACHINE
Inks .trc one "'r the

nunf1~ p:a1nca-$
m1ni::trut:ej:,
gr.1"'' ... lites. Duil

Jht colo<S an be
imbued wuh depth
VJd ndins wirh
onr quid< ttir...c. md
dctAl1 tfut ~S ontt
Jo., an he =J<: IO
nugiGAll1 rc-.appc:u
with "dl-pl.iad
!l!Uf fOr nuting wU!i pm" !"" =
and hit< dq
lnusb.ng md w>slung-1f )'Oii re JIU< >Wang QIU-. go
~<Uh. Tl1cy to die Racr Hc.>d S<Ctron of 1hc WARMACHIN'E
d1111.aadout\vith 1nk;and l<l~ nont of.iB a.tt"<:ragc. ~hx
w.bs1rc ond Y""'D 6nd .111 of <h<sc mms cxpl.tmcd
there. Afu<c rhe <hruqud ucmn. will luvc bod" p:urus :utd rnks ~f'"') youd Iii for a hug< "1'iU)' o(
mo
look at- each of rhe four b.:ruuu CO\'trcd ln rhu book.

and coddc ch pm<ing ch.lien~<> nr ca<h l1oad on
dilrcrcnc uJ1uh1.
mini.!twrcs 11 :i liu:gc pa' t of rhc

WARMACHJNE upcrienrc. nd nor sumtthmg m
be dumi.ucd n ru:cumy evil In &,~. plnttng is
.., fun and rrw:ardfng hobby 1n Ir. uwn right. 1.,,.gm
hi>" muoh .wcctcr thor CNi.hmg tl<tOr) will be 1f >""
uc proud o( I""' be.aunfullj p.,n....i <mops! lri noc
eomcthing co be .bunted b)'. crcher. Thwi;h <he 1i:e of
cbc ~ "1.l\ ><nh fur 1ncn ih h<m of th< m=
apcna>d ptumr. b) chc nmc )'OUvc cud through
dus, I"" .,iJJ be nnrU need. YoUll be .un.,..j .i rhc grc.n caul<S
~ierring Smrred
nusn."'1 An undr.-c g1vu ~"" !WO rh,.nugcs-ir

n=is clur .ill future b)'Cn of p:unr ,..,if be <~ ro
pplr ro chc surf.t<t (nd wall <') <here l<>ngcr). nd
rlnc c111 be uh1<V<d wuh rh...., <1mp1c nd quick

<tthniqud. Olay, let's g mn<!l
of dilrr:rmr ngl<S so rhc P""' g<1'

the UCCSSC>.
and >l.o m.kc sure ~'OU done Ovtr&pn) nd 6ll in cbc
P.aindng
Ona your 1mnln1re; >r< rl<ncd nd :t.<cmblcd.

)'ou'U need co undcr~r thcrn. Scme prople: pau O\'er
d:ia. <r>g (m:nnlr our <lf lazrueu). bur rlm$ > huge
d~ fOU Uk a bbA undnaur. duJ. u w )'OUf 01d,-:ancge

When f>'ll"Dllg srumJ.l<ks. 1t bc:t.t ro we bLad< 'f""Y
u ndqro.u.. "'"""" \'Oil can ~'Ct lio.n euhcr hcibby sro<c:
or n :wco p>ru lto)f<- />bu UA' you "F"')' from Joa
'""'.ill
PAIHTIHG L KODELIHG GUIDE

,Jt, ,.1, Ir g0<1 wul><'ur uyutg )"" .lloulJ ''"'') 'l"'Y
\n .a, "'f\ubrcJ 2rn. pttfe.r:abh out'&kij o1tkl :&>:&)' b'om
ny clttrnal o< lli" rp!unca. r ... "I' a 'I"~ boa<h
nuJc tiom
I
1..1.!ir OOit "'tth cmc- 11dct ""'
O\U.
~\hic:b
e.ally ht!ps "'""" ch< OVCISJ'1'")'
P3innng O rder
"'F""",....,
Body Color
Once thl' mccl
IT.- ~tour of iht WJ)' ''""'on tt.tn
.., ,1,. tnJff\ wr .:u1o.. rn.. am-n .u1 ,,, '"' '"""'
pb1< ,nJ rl>< dco .,,, 1lu1 compnsc W.. nu1n .olor of
thr Lac-non
t\"'I .,., ... lll"lf its
c.111. dtnof.h rh1~
_.
""'hcrr
rhJt
b4ck
und(rcl'h1t
really
~t
"'tT I.c.1vc rht
1
bt.ck wwins "'oil tht .,,,,.... and bct~tn rhe JJmor
pt...._ 11 r<qutrn link pr~. b-.4 ,_.,. kl\ wuh
r.,
you.
(,)
) ,.._ " f"'O"C"S. i.. .........
""'- ~Th< M... k 11. rbt er<"!$' lcnJs .J<p<h
.:co ,.ock> .., the ~ ~ In pral """"' 1"'I .,J ~.,rbfrJJa ro &he mtf\W'Ufe. 'Tutt \Up: fl"'"""
,u
".,., ro get .,{th< ma;S)' rcduuqu< iKh 111 .uh1ni;

.tnJ dry bruUunlt our of the.'''")' 6t1t. ;111J rhcn moW:
"" ro the n'AUl Nd)' ~lllors. fin.1Uv '1n11olung "- 1rh rhe
dtt.ilt. Ytm II hnd rlm when )'OU br~k rh< J"nrutg

&... n 1mo 11mple np Wc.c chu. th.- ,.1,..ir r...lc .. Eu
qui.ion .ad rh< roulra Mt u bttrtr I 111 F'"1' ro till
,., i""nl rtnN hen:. but cnctf) chuan1< rh"''lf"'
<JO 1.. ;ppli<d "'.In) or rh< ""'J'k-JIUf rply rJu,
ttkt-.111' cafon.
Mtuls
lht hrst rh1ng
thJt
pnt on
.tn)
ft.U'.&nlJ-4C.k
"'"''*"'>
dr (I usmlli iu... i..u Jqn lw!Jy"' i-1 mo n;>l
!""' nn ..,_ qn.

rhmg Im ll""'l> ro 1<1l ynu m1gh1 dungc
1lw wA)' )'OU p.unt miru.11\l.CCS forc"d 1t 1.(rt.airtl'I 4..J
wtrh mt, nd " rh< mMt US<ful tr.-hnr" )"Uu <TU
c0ti'<' .urosa. tor ~INl~ .$l.QJll}kb-rn1u mt' ~tosr
lw\.by """' duo rod< r.idn>-<ormulltJ dr> ,.,.n .dso
,J11")' Tamt)".l p.a1nu.. ;and ""'fult mou nt thcllC .ace: not
grt.11, rht)' do 1mll r>ngc ol""dw" 'Y'"" One of
ohoc 1n p.tm,,,1,. " 1110r<h 1u wcilu 1n 11~IJ: smok<.
Ju.i Fflr tit.. i.h<nll1 "' of ,i,, .,.., rhu ,_
~ p:nnt.J W1rh 8ohpt ;ai..run.a nul.o good
.altmutl"< mJ P- lij;ln<r fuwh). :an-! ....u """'
)"" ,.'l>fit r.uh..- qUl<IJr U Jr Jri<> <Wl )"'111 bnh m j
tn11hocning huny. i tl""<r.ill) ..Id rrw Jr1>p of Tam)'
Tiunn~r to 1n~kc at brush on bctf"t Luu not roo mudl
'" >"{\IU w~nr ;a duck ;Qn.ilJ<tne) Sn1ukc h.u .i srr.ing.c
P""l'Y <oNJst<t")' Ir JCG bkc w1h rhn ldhcrc>
1-c"tt ro th<-...,+,,.. chm mlt. Tn en~'" <"<D ron
.uwl f1'Ukt. J.Ur~ n Joc-$nr hint\ UU:f' ruJJ.lr\ !11..-f obscun:
ch< \lct.uk. Th" ul<d brtlt gcruni: ,,.,J fl\ but oner
\'OU!"'''" )'ou'll ,.h1<w
fu.wr nJ ~y
qui.* muln. Otw: d>< Smdtt "Jry f'>U ,.,, i.:- It n
ch:ir cs .oJJ i VCf1 ~.i,, dry bnnh o1 ~hwmi.ul 1or do<
t.ipibp.u. Tiuro nl \\'uh "'o "mpk "'l'" F"' """
i-;.,,.., th<-=
.n
""''
l.i~t pomon ol )"'1 ><<>11l)>dt :.l.rc...l) P""'..l
P.IRYSS-MAGE llt:l'.TrR
OF IOS
Highlighting
I l~1J1ghnng m) ounJ Ille< ., onoc "'"'urning

rcchn1quc. hue trw ~~u pb<ed. .<mpl lniJ>lighr
nul<d JU ch< J1ffl-rn>. Thu rull) bnn~ the
nunumtt ro loft. n.l 1u ...Jly- bml oo .. i...,.. One
ol dx moo< ""f""U"' "'!*"of hi~t"'I': II ,nnng
1 fv ,...,.. JU" "f;l>t. ,f I"" go mo d.uk the) ........, J>0W
U 1ht
ur. l-uo f;O '"" b~hr .nJ thcy11 look <<Udr
111nv111g p.irtJI .and rhr .;ue:t< dtit .lf'I" ~'"'"''1- c.i rn"i up Jn
.& ba~j"- UtCr.tllic fioit.h.) givt: thc.1'n Q (oalrly r\tJt C03tOf
JJrJ... nw-uUi~ .u,h .Ll Bolrgun ~lcr.J m~1tthr cr.~r tbe
MU u..:l""""' \\'h<n me mtulli. !"""
om. t"IUum.ng ~rt of the process. but wdl ,..-nrtfi dw

dlnn If >"?" gcr oh< num body color l'"""d 611cf)
owrl). )'Ou'll end ur wuh' grur looking mtnl.llur
Keer "" nund rhoi1 ,,n n\t)n n11n1;t111n:.11 th" highllthu

,,,. pplJC<l ou rhc r>11tJ af'<ll, Since rht1i1 ttry litdc
.url- ,W.t
.,njJck. I '!'fly mr h~hliglm ru
" ...
rhc ~ cl rhc '"""' J'bca. l wu>llr I"" "" """ "'

'"'" 1'ghm ..,.,.. "'".,....Jy fur quick 6nbh -1
u nun) u ~t to r<n tor ciispUr qu>liry. The lim
h1ghl1~r an Ix JU" hnlr l1ghW' ch.in 11>. OOJ)' color.
o1.t1J )'\lU C'ilD c."Q\'cr qu 1rc Urge uca wu:h u Thr a0ri.i
lughb,.lu uooulJ b< p.unrcJ
far'"'""
nd be
11gn1fkndr Li:Jiw. ,,,.i wt...should be lii:J11n JP'
;and JUll h< .tf'P!i<J 10 ch< .Jgcs. Tri ro I>< ncn
ubolc,. )'OU un I ''" 1m:tllcrbrwl1 fur high11~lmng
tlun I would fo, pply1ng the b.>dy tolor UullJ
.s~:.e 0-u the s.honc-r tinnies iJllow h>t nwi" t:\)ntrol. A
rod op fu< Ffll mg h1ghhght:>10 rhc ~ ol .n '"'"'
rb" n u> me rhc .Jcr al rhc bnab nt!Wr tlun the "Fdu. .. m.no-. ,.., ,., follow the lints t:i th< mmunsr<
on
ru
ACOL\"TE Of \lr"OTH
:mJ'
""''-h mot< >Ur>td)

Secondary Colors
is E<f1<1';!ly .c>rond rok>r ch.u ""!'!'I.menu
ohe m.un boJy ,..,lor, !'troy mu<h ch< ....,., p:s 10<
thli ""'f .u h1r tht rnnuC') color-ht iU ~.Jt .u \-OU
un ,nJ !ct the unJmo.i1 hdp wnh th< h"'I"'~ i:ct
<umj'k.)\i>tn )"'1t< r.,nnng cm C)t"'un rml>OI"'
JUU .ht or ol .,, lron<Ld. th.r< ~ b< line
"' un.kmt kfi ........t ir ~ th< sluding .nJ
" 1,,..non trom ii..- 1-lu< n:no< pbccs. On rh< b.>.t
Th=
"
IRON LICH .\SPllY'< 10( '>
PAIHTIHG & HOOELIHG GUIDE
S.TAGI;: llY S f1\Gh

ntO'.'l'CI \D
<lllot .. 4')
...u Jll"rk lui;!il"1
~ bnng " "' ~
mq...pm .. J"d did W\tb tht b.>.!t .......
Tb.:~2~..aiq;1~" I
<'Olt O(ttthrf llr.l:tn llc:u.s Of
;<'Id mcc:allk" wfth Wit "'-" tnk a&kd "' IL If~

...id mJ. ' " T""' m<r>lhca ""' "'" i;<t .ally nd>
'""""'- i.... ,,,., = r Iott~ "Pl"> ,.., ...,..,..... dwr ..;11
Detail<
a ,_, :u 11...U 0...... tht bur - t rs drr I luilil;bt

~m ,. uh .Slumn!' G.>ld orid dwn ""1tl1 llumiib<d Guld.
~ >amcmnCS
m11 of !-'<14.r..J lihn righi >R ~
eai'... lO Ill"". fm.l shm< AdJ1ni: Sllwr to r-"df~r .~
~hbi,:bu .-.n ..,.uJ, tn th< linosh<d rol.>r IG<>lani: bl(
- p>lc. Th,. c.>r b< mr><.Li,l wnh I <Jl!lck gl.i::t ma; N
b.-..,wnmd)~ mk.
~ nutn p.m ofd.. uum.l"k ~"' 6nu.lt.J.o0

"1th
rh.... kn .. "'rub CHlt '"' Jtu~ fl,> .. mu<h O< . .
bnk u JOU liU htr<. lhr qn look pn: \l rLq "f"'l"'l ,, ii P""'"$- ..u.i. n.I '"""' an N l"'--ktd
out to S'" 1 l..,Jcr cJg<J lo.k. anJ ) vu "" "''"' ..JJ
dup$. ""'"hes an.I !wilt Jni.a;;r 19 "-" h1>mry ot
bud "~" .xni..t.. 11 ,.,,.. ...,.. 101..dc out rht ma.L Cr~aar-..m llio"2"2.\tf'f.I Jras m.nnJy In .-.um n.1rur.1!
IO b<St to pamc th<m hl.i.1.. hm, nd rhcn jwt ...!J ~ ~= .hadd "'lc.uhct ,. itb cilwi .&nd ~a
&mall i!d cl silwr d>< '1'j\ "hid> lend ,,..,,.._., &.. tbciI .mnoc You c:aa p>tnc b:htt In ~""''>' al
ln <..ct di.u :pttitt ~ ndt "' 1hwril>: Whitt r.oore V.~p. l MnJ U> U.tn With a!ttp. nm lvov.n. .mJ th<n
pi&ing ""' 6tw dn> 1. lia l...r rn ra= """1 bU.:I. ~-h mid"""iunJ uny 'f'O' ' ' wlun fur
"""-' thtn !ht .:..!or 1"" """'-la "'bl..i..uoun.! rb.: "'f hii;.'11.ipn. Tb< lry 10 adiin1ng rlut rKh. Jc.r
the~ !or oh:ad~ nd ocr>r"'""'" h>r th< q-... f<"'d ,,_,. ro :adJ a Ionic bn"'11. ink n;jot "' th< cnJ. 11.ttp
pwtt 1h.m bU<-1. anJ d,..n ,.J .,.,., "'I' ci lh.ar h$ rht ihc,ml< riidy und.!ur<d riJ C'!<fUU, 1"1!1' 11 .,.... th<
umc.pr1n.('.IJ'lt'.a,, k-.1\ ''1 '1'nt hlK1 n""3rrr..o.u r..-.~ s:irfx~.JUta.....din~dtc rup ltj:l~ ~ Th" 11n1i.dtc
I ,
B:a."' >.U v.1'h Rtpl II ur

O\Wbbck un&1l"\l,n. lt.a\c
W..dc. di.a"' &ti& n rOid ,,,

btm!""' iht 111.lj'<: <illv
pbl<>
11udrni;
<:alor .md ,Jj, ckrth ~ rh< lin,.IL

ll1 good to 2dd aJ1rrJc hlut ru 1hr nuni.iltur<"i ..0111"''lU"r"1us:no oc.irc 1h.n 'iM1lli hn~ ''' 1hl1r "'"l)Jt ~,. h d~'\c'Jnl
need ro h~ wry mu~h.juu on 1hr rrln1 uf rhl" robr or .u
J
Cygrrnr
rhr
di::cil '-"l(\r <ht rht oltOH\(. but t'\'C:f\ ,, lfult i11 ,,ffi:'q\,C
1
in tying ~our fJcti"n u\gcthcr.
mo.1r to1nmtlr1I)
h!kJ
1.olut i:r..1mb1n.J.fl\ln frir lh<!
Proteccorarc of Menoch
,.,.p.lu. of Cn;n " blut

boJy iol..r wuh ~IJ
tt'n.tll1~ .u. :a comr.ut Tut
blue t> n.;h mid tone nJ the
Pl '"'I-" ' from Jr htunn
"' . bngj>t
"$'.Li.
h>t rho:
~ ~rr
thttr ..~
Ul05t
Ukful P&mr Colo"
G>.m<.t Wothh"f" R..,.i Rlut. EnchotI Blut. Bra=

Bm s. Bwnul...! G.>ld. Shm1oi GolJ. ~n M=l
Ch.unmil. Morhnl Silwr
\!ll<J" Modd Colori R.>pl Dlue. 81.J.:. Wluu:.

Bron:<. GolJ. Sil"<r
('O
Cf'Qt(
UC1C'
"""
Ct
tht-
\\AR.""IACHl!'lf~
U..ful !>.mt Ct-Ion
G;tt11c<
\\~rksbop,
l<tJ (;.,..., c.;i,..,. Dl.4k. Skull
\l.'ht.Sluruo~ ('..,/J
Llquua (.ivasL&bk fr<>n\m "01a}t lln>n:c \ tO"
1'1nnng C)'P'l""" "",a<-fa u t11rl} >1r.ushrfun..:ani. il1C: kq ro rm1nn' tfw ~lt'fUr(' mU'U,l(Wct IS t~ lay
II!~ ~_..u,. e>MU ....., th<: i.b<li: u:.Jttto..t m
down i"">d !Lt b" l<'I'< on ti>< ult hrtc t<D.
~ 10 ) - C.n &<ru.,.,, ILi boJy rolot qu4 \\, _ l""' = ............ '"'"' ~l
,h.. m.11
I ""' """ of Rt,:I 8IU< ..nJ R.>pl b1w: .inJ &nJ th.. ake -?< o(..... ~hut " ~ tO i,.iw with ""h1t1
i u me St"" .,.,. ro .,..,.\ owi. lnr hn< hir:hi1gbt of J>.I"luncn. I W< a mt ,,( hqucr 8"'n%C Ydkiw
<Ot.>r,. R.opl Blue ..tJtd "' 1h< ~.. ,ala<. nd I
l"-!Udi
you m'Sht ihLn!..a mtulll<'a.lrot) nJ
it ll>'<f ~ ,,., ..iOll;nd th< algto of ell1n1ng h1~hl~1 tonu ... uh1.....d ..,. ddmi1 the pn{t" color t1.' ai...-btt"T a .ann ,.,tf\\ h1tt ithtuit n
u '"""ii>< nu>.. ..iJ they"" pplicd ,,, looking """""-fut p1nknh. ix;;,, b< .i;.,c1 of pumn.;;
;.t ptngtt'-1.r\'t1)' ~nu'lf"r .irtJ., u~l the hn.il httth1ight is
.lowo a loght col~rcJ b.t.< <<t. I nly .J,1 JJmll ' P"' .,j
FJ'licJ .!$ 11111 Im riglu on rite r.i&< of tht pl>1c.
brov.'n ro the "hut.JUM t< rakt" thr cdrc olf 1r. JnJ 1h<'n
I builc! up th< lughlt~lu hr 1<IJ111)l '""" wlmc r"'" m
wr
198
wuho.! ~ f.a<tWru ln
""'
\\'lurt,. Jdd<J h> ii>< hlll
d<ep r<J ...id ,,.,iJ That
\..no..
(o,. the bghh~hu
~t11lCt
dur m.>lu: up dx nJJ"fl'Y <ii

ii>< Mcnitt fix,c olf w!urt
.1.nr. """" .. 1..
I'"""'
is-..,
PRIHTIHG & HODELIHG GUIDE

tho 1mx. On yqu\'< go._ ibrb><e color. the b1ghlig)us
go on easily-Just follow di< edges of1hennor plates.
Tbc next ucp & "' add the dctp wine <olor th:u
roncrur,.- With the 'vbTrte -an:not. Tf )'\lU Y.~n: 11ear \virh
your body rol~r. all of die alell tlr.ir ue g<lmj<O bcn:J,
.d1uuld srlll be blod<. ftom the uodcn.v.1t. I()"'"' ~rush
"""!"' .Jirrle (.a i JnCYllWI) )'OU ,bould i:tke th< ruTit
i;o g<> ~&:-:incl rcp.:unr ln bb.ck. ~ dus \viii creit:e tbc
dcfuurion bc:twc-t.n the wb1rci: and red an-a~
[ aux dp red color from as<r011g ...:I .ucl1 ,. Re.d

(io~ or Vallejo Red and a $f?<>< of black. J .tlso add
l1tdc ~ mk to gll'e some cxm dep1h. SLl<e th .. 1s a
F.nrly deep colorj ir 1hoolJ cOvt:.r over rhc bb.:.k r.ubo!r
c:uil)-1 only ttqul one ''"" For the highlight toJt, l
>ddJiulo more ...:I and dicn a spor of wlti"" rhis swr
n> gcr o litdc pink. bm os long"' you !tap the highligb'"
sm:tll, the 01=ll cfTctt will be deep ...:I
Tbc. Wilrca.m:r.s ilrc. gtn(ralJy pitJntN Ju the: ..sa.mc. ...-..>lot'$
an: rite worjacks. I genc...tly pamr die robe~ oll'whitc
;and us.c deep red :and-gnld 3~ ce>ncr;isC- ""for$, Th-t arc
$(1111c gr~1 oppe>rruniaes to rc;aJJ)' go ro [O\\'ll on LhC'
\VJr.ros:tm ..ind sonlc of lht. ttoops.1 chc l.arg:~ ffat .ircJS
on the robes >nd do.ks ~ f'i>r romc cx<r:1 decomiUn,
:ind it$- th.it .sort of ci<.hnc~; tb3:t hrs the cerrn1l)hi~ ltcl
~r th miniamm p<rfccdy. 111c Sacumo< ii a gl'CO
ex:anlpl~ of thl.~-look ;it hOw the si1nplc .:iddirion
of ~111c pam:-hting has g{ven the whole mini:tn.lrc ~
,\uJnpcutlw-, dreocttii.-e f'td. ,o\nd while 1r looks like
u ro would be '1!fficuk ro achlevc. 11$ ~"'"""r .,..icr
rhan l"'" might nmginc. Tbe P"""'"'
a,!dcd in
lighrcr shade of <he b:tse color, m!X<d as you would
fur mid.con h1ghlighr. I "'e gond quoliry v.<< 00
brush und ensure my p:uni 1s :1r the nght consistency
co 80\Y ~n1ootl\ly onro the surF.uc. 11n~n I paint on
fulrty random swirfing, spiraling ..hapes, tr)'1ng to be
near but worklng quid<ly. You might have to hvc few
pl'>cti tries " ir, bur you'll l>c surprll<d how usy ir
i). The main thing !. to g<L du: p:1i1u a[ jwt rhc righr
n:
<oni><ncy nd .... good brto~h with hnc point> or

cou,.<, >hi im't d1c typ< of tbtng )'OU bould do on
m1ruAtUn.:: in rc.1ur .trm}~ bur ir's warrh ~pending .a
little more rime Utl rour ~Scnuc- warc.J~tc::r4
C\'UY
Khador
Srroug. bright red i... the m::iln
c.:>lar of :h(' Kh11d!lran fon:.es.
The warjacks r< painto<!
alm0<t c>:<l11511c!y m this color
and cl.le WmtkN frequently
we 1[ oh rh('{r otrm9r. TI1i&
1...W:. !Or srrlking bmle
O>cful Paim O.lorS
Gme.' Workshop! Re<! Goe<,

Yellow
Elood Rod. Sunburi<t
Vallejo' R.tJ. Clrnun~ 11,cd, Y.dlo
Tl1c lorg..r d..Ucng yoll'ce going ro f"" whn p..tlntin.Jl

Kludoroi trool"' u .1chic.ving uood. lmgln; hr, red
coJon Ar- ~'~ 1r~ :a difficult colQr io amt o\u- Large
~rt:i.".1: ;;md "dl1c"t! au
4.."Vi:.n coar. ]
d~'r "Se\!1Tl
to be
c.;tS~C:r ro get ~n C\'Cll lQOC OVt!f J l 1t1r~ unJCl'.\'.O.:.l.r, $(> r
M1n: wh11c1~ :tdJ..fto thtli
blue for <i';c llrghligh<>
with the bla.-f<, whid1 nlllk " <"' to opp!)' rite

m"tlllhC> Jnd fonds sn-cngu1 to cl1 1 shadi1is.
ir.>y
""TI1c b:is-c c:ofor 1 u.~c is 2 mix- uf
cd Gdt'e ilnd Vo1Jl1!jO

Red. 1 thin dus v.i[b red uik ~ ('r Ut..<W \ll;irtr:. I~~
ddinirdy g.,oing ro r:1-kc >'Ott rW{t o

.:i flat. c:YQ'l cD\c:ngc. but its wor
1rt:e L'.~-to 11r.h1c\lt

pcr5
.vefiilg. "'1tb a
flar Nlut. you on keep cllC hig h,. implc noil srill
""~ up with i gretr. look:1ng min~ (..Jo.at ooncentr.1t('
on keeping the pint pplkatiotl ... neat aJf poollbl4
duck tnot!,gh ro co\cr wt.LL bur so tTtcic.nd) dlin to A.o\v
>moochly.
Derails :ire picked our. with

llc:uco Bo..,
I keep the higbhgha "mFlc. using lllood r~cd mixed.
with ydlow and then whir<. I[ the ovtt:lll cfr.<r looks

to0 f'.utcl, gb= ir ove<wTth ~ nd yellow 1nk to rcYll't
tidmcss ..,;! depth- I kctp qi< high~ghr. "'".....i.
the l.!d~ of tl1c armur, lc1vlng. rhe oii1, Lr~n:as in tht
b$i< body color.
'""'
Kl\ildor.tu W:al'(';lsrcrs use rh~ .s.ttn e- rc!d on r.hdr- :am1ot',

coupled wirh rich. dork lcacl1u~ 11d blaok fur striking
coltir scbe1nc. I p(~fur ro paint ch.i~ir $kin in p:aJ(' t.Qn~.
cspcchlly on d11. Bucc:hcr-J rt:~)' w.intI tll gt''C: him
:in unsavory Jook! I .st.:trccd \\ 1rh a liglir t.:Qlort:d .s.ku1
ronc.-~ \vnhjt.ast a spot of blue added.ro knock some of cbe
warmth our o( ir, rhcn 1 highlighted by adding white. I
used n rhinntek cy<S finih rhe efTecr. 'The h<:td is ntidc rt,>
llcind out mote by painting dicJi11,collar lo grey. duded
with \;!..;k. Sorsch:i color scheme is filr imil:lr. buc
she h11s mc1rt bbi:k demits.. TI1q. rruil\iU her p.:ile- fucc
sr.and o\af tv~n more rh:in d1c.Bul1e:hcr~.,.d:ptoa!Jy whtn
her(.,.,... is &:wwd with bloc:lc Im nd; for h.,.
1
n..... "'"'' ~ ligltligtu.J

"'"h G~l-1
Cryx
or
The mnics chc Cryx arc dark

.tnd brooding. Block iron onnor
i coupled with p2k mti::tl!U:..
and <he W:U:i:tda glow >n evil
&n. l'k b'i>nc i :t i<tiking
ronrn.R" to the-dark mer.aJ,,.
Dct.llh""' ri<i!.cd ""r wrrh

GW>nm:tl
$fVUpt
1911
PRISTIHG t KODELIHG GUIDE

tl;ising-,'ftur MinU..ruru.
Gmcs \\'ork>!.01" &lt1111n Meo!. C'.h.lJnnu1I.

Bt"""h~ lk>n<. ugh! Gr<m
llASfNG 'r'OIJR
MlNlATURI,,
ST151' BY STPI'
V.dlcjo 111...:k. Whuc, (K>IJ

C.,xi.111 w1Jackuu slightly dillcr<nr '" p:imr from die
orhrr f.actioo1. uu:inlr bcotu;c the.re: ti- no m.un 1.\!llPr
wal on rhc body-i"" Jlffertnt sh.uics of mcul. th<
nuin '~ hon~ dirk uon.. nu~ .af( .J l'rw dtfi.rcnr w")''lo
ro g<t r<.1lly gooJ d.ulc
<OloL bur I Iv>< lound
th< b<.1 u ro mn wuh m1< ~f Boltgnn nd l>l:i.-tc.
U1Cn b11llJ up .1ronplc ol h1~hl1~ht
wirh BoltgUn
lnJ Ch.unmiil Yi!u "' rrtr ch, highb~,,. ~ t'""
\\'OUlJ whc-tt p.1~nting rht body colt\c of other W.11).Jd<s,
<un'n<urmg rhc ligbrct inno "'"~ 1hr tdi;cs of
ch< '"""' "' '"" c:m ppl) the hglua .b.dc. wtth .!')
l>ru:slnng. 'i11u rdly don't ''""' ,., hpnrn rh< """.dl
ni!or
much-jWI <mugh to bring our thr hope.
\\'hen rile higlilight< rt dry, I dd ~ .!l1ghd)' tll1n1\b:l
wash .,r Tmi)a Smok<-;u" u ~- 1<<ruld when
p.11n11n~ rbc mc:oJ :ll'Cb on udler .rompck- bt-Jng
ardttl 10 t;.tt b"C:tt COtr.tl-"'<' \\1th no r~dtmet-... Po-._
rull) J,.k <Ilion. lt)' ..Wini; bl.1ek Ink ro rhc Smoh.
''"
'"f""'
"'
~tut~ glue i\.palnrtd "'"

b.... b<~ GJttful "'" '" ~"
"" "" fttt.
\\'hen I"" h.-.., limsh.J l"""""S rour mn1'Wrts nJ

ik p>iu u rhoroui;hlr dry, the l.a-r sr.gc" w linu.h .,n
me
\Vhtlr ch11 pn>a>.> u pm') saaightforw:irJ
ond ~ur<!\. 11 n:lly wonh puum~ lmlc.th<>ughr mlo
it. Tha \Vilf Y"" b.t5c a p01niculJr m1niJrure \.."an mAkc. :1
dilfcm> bctw<.<n somctbing, <hAt look$ dcquorc Jnd
11 dk.:1 111.11 tmlxxli<> rh<: mJn1rurt'$ b.ckgr.>und
md J.:rth. ~ti>llf ld.lini; '"he ch>=w of 1hc
mo.kl. l111nlt ..bout ir-1u nor t..U)" ppr<>pn>t< ro
Im f"U' nughcy Cryi<1>n !Ore< rr<>dmg on ITc.<h gn:cn
gr.i..-th~ ~~und $hQuld be 1cor.:bcd from rhc <unc
of di< Dr>g(111 l..ordli hLghr! S11ml.>rl11th< lwCOI of )"Clur
Kha.i<lran Ju~:crnauu r.bould '"~ rhc ,..,..., of die
""*
rune~\\Ypl~od>abnd.
018'crft1r Krrinp .Jnd d1mJtci .Jfe ~ ro -xh~"t \\1ih

,Janie r l'\"ft)' Ns1c nutcn.ils. TI1( pi.ccurcs on tbtS p.ige
.:4how ho\~ ro nu1del 2t1. ~fft:cnvc bru~e-o ctrrilt" cfT~r

cbur irJll ht ~It~ $ubdy to IJH the mrnr.;uvre- Jw.r
foll<>w the
>ho'"" being mindful of ><'Olding Our
on th< p.iinrcJ n:unwurc.
"''&...
Ona l'"'" mutcr.d du. b,u,. ra.hruquc. you <Vt .dtcr

the w;iy >"'" pply 1t for mll Jam ni ddJ'm,nfl<"' Try
,~au don't \i.'.Ult ro painr rht" whol~ tn1n1;af\lrc ln the
p;u11rsng, sJur o\'i:r chc sut&ce in p;atd1c:t 31\cl !pr1nkling
Um J.ark oolor. Vrr 1he .hdr om me cdg1ni: and oom baklns &ad. al'<r Ir 1nd rou'w ..:h!c\'td WI')'
somr a( th J1lfuomr ih:apcd rLtrC$. Tht1 lend. "'me rcali111u.-cJ!ta. W.ubini; O\'et rht 6nish<d b.ut "'"h
'"""' lnttmnog dln-n. u... r.dc p>ld 10. """" of bl..d..anJ duk """'.,,, ;md 1hrn d'J' bnuhmg.. uh s)"1
the J<,'Or.mm. ;ind 'P'""$1)' tuc Smok<- ro mk w o'Okc.s f\>rtun:d b.nd><:lpc for rlK C'>""n minururc>.
w;um t.I~ off die 'olor. The nolr mong colar clur ,. Mo~mri<~r.a~ lc:nds lu>h lin1'1i. \\'hilt kss will mkc
conun<tHI} u5cd is the green lur 1h(: ,glowing h11tJc:j c.r dtr base look rocl<y m.i pard1c.f; lviug ,f., gr.. off
rhr w.1tj k<.
complctdJ' And pamang the b.A<: m rlbr~wn
The \\.attutc:n ~ wry muc. h the .u.me. color p.;alm:c. .ad11tvn .in a~n t.llOl"'t: dc..'it'fthkc: hn!Jh. Don't be 1fr.ud
Om uon .nd p.tk mtt>IJ,.-. wirh bbdt at dtrt)' bmwn mcopcrim<nt. You11be"1rrro lind101nC!J.rattllom10
dorh1ni: look. ttry cfre..-moe when coupl.J wuh rh p.ilc '""'""' m1"Wutts '"""" bri"!'ns [0 life!
km.,( tile "'' '".;tch nd tht l>l<Jchcd skull of rh Iron
Lich.
"'""
Ti,,. b "- dipp<:J in .hI
IQ"' t'1nt.. 1ner or 11ux1..J gnaJn
-Jnd u1ti.I meitn 'Qvcr:a~c '5

obtt111cd.
Th< ,LI nd " kft 10 dry tfi,,,..

ou!!l1 2nd th.en N""" <o.ir
of J.irk brQWn ink.
200
Th.> "1nd is ~ wnh

mid 1wwn ncl then bone <O
hnng our .the lCXtUrc.
White itfuc " p.iintcd on m

p.itcha nd mac P'2"
Rnnl1 r=al into p!>.:c.
tbc st.ai~ ~r.w iJ drybrushcJ

with bont ,.fan dty an& <ht
ml<. of th< l>.uc MC pauu.d
bl>d< ro ll<Ot<n the Got.Sh
AOVAllCCI) flAIHTINCi T ECH11f<1UES

.\WU..1v.re l'.11nt1n "' iMMDrthing \VU am ~
l"'mtn.. ""Ya...~ 1r clooon~ ...a11> ......... ;r
du
JU" ""'"""' .....p1. 11 <. . . opc'Od;"E

houn oS J*M1.1Uug wl on c-K.h min~ On!>
,...... -
'""" .. '"'"'"" .1..~.... '"~ ontt. :IOU ...... pomi.mg.

""'
~y
.,
"'"'" "' ... "'""
~- ........
b. I...._ i..ron ,.,,. ""*~ o.Jiu poopa..

llUIU.llllJ.'> nd 17Y IO ......... oul f.- ._... dTKt>""'
<>I...,..,....,.,
.. h""fti In the~., vople

p~ co
II)' fO 1.. L..- llOIM nC the p#YJork at.it ol rt Arwl go en.er
lf"\'oi .,, c.11lltd Jv,.ttttJ 1:h11111:1uc-...
figur~ - 1t.c pl.:1.cc

1u "-l111:h ,YCJur rt~'" 1t tl111~n" wou J.,,,u IOo.k ~t
1l1c- ,niou11uff', h',. ttl10 1ho rl,\cc 1Nu Jive.$ ,\'OU A
1 f'i&t Ufl(KlfHHlll,\ 111 .1tfd M.'l111t' liro and -.:h...r-.utttt- to a
l"t''" \Vhcthcir h ., palt.' 1'110 tt1,,kl\' 1onffl (or 1f1c hvang

d~" ttc.up
ol Cr:,v~ lll' rm!lilhns1.-d 11..L'cs
fQr
f l(luuh11", 1Jc11h iu'e l"a~y tu achieve an~
,.;n """It\' 1il111,, .1 u1inu11urc Hrn\ly i1\ tt J>t!Lling. Thi!

Iron f(in ttfl11111 hi.., 1111.r~' "'""'l"n figlitin.~ ror their
lruultt,and 11'1 pttlt,y '1r111@htf'q~arJ toe.Jnf)huizt- 1h~
tlillc-tt11t.:ct l0f'"t't'n thcut ..uJ 1t1-rir m..le-count~~"'
ln l\"llt1111I trn\Alf! 1.-c~ hnukJ be ltt.At~ \\Oh .a littk
nN'C ult1lr1,v. CuJ,.,., hnulJ ~ ltnJc l'ihlcf' &ad
warom aod tbo 1h.tidu11 ohnuld ht lite!< i... honh
You """ .Jw Id _,.. rJ,.., ....! ,n..r.,.... to r.....ie

focn ~ ..i.1,., lmt.,. .L... p, 1'-'fh ihU ......!. 10
Ix- Nn.llod ""h u,. o<
Scw-c. L ..,n looldilu"1Lr
bmort'-.~tnOOC'~ ~ b..,.t
-rk
sofFrveFi~'
1..... loc4
o( ~i.:.- ......P..
ol 1.....J< ~ lh&I. '"'"' It .io..... ~~ ..
-hat t..tp J-OU paant dw f.aio- on au~ - ~
,-pie pr<{tt ro do ha lira aftd _,,. M llw ~ ' ''"'" \\"'1.atntt ftntf..1
'~
rcw,"'OU ff tu"* Ii~
SrACiCIYSrACiC SOkScHA P>\INTCO OYER A 111.ACH UH011COAT

CL... ...-1 .uh f ft ch.. Ju tM u( bnr.-."'tl
.ul..J .a
l111l~
1lrpch
,\l'll..1"! ture 111-e c:o\let,.4e

1tr'kl tht f1llnl
It
f\lt'U
1"
rc-.ton.tl1I\ rhin
MJ
jt
tl,W!'tn , fill oil\_\' (tf ah ....

dlhul UI' ft ,HUiio~
ol
li..h
......
;.,L.
"'
.....,
p<oaf
~ill;. ;Jul), - i
anfull.l . . . tJu. """"'
r-. o.,,,,
c1r ... bolt

apply IQO modi ikff
- .)""' .,.. ;.... .U.-g 10 .&l .i..cfong ..... l.rdi
t:.s&n!
M.a.Dlf.i.rd
10 .dd
\pply
lbh color. ""

some lughl~lus.
....,..
Th~ ron:hu~
09K-ar~ next j"'QO, will
an<l
be ca~rul 10 lr-~\C' thr ,~A"'" 1lurk or
ho.veto go back 1n "''"h 01 .-1-.'"'J"'r lf)n1 l.u1r
U$C tbc :s.tmr lle1J1

color 10 p.1in1 1ht' uppt.or lip
and chin.
Add a Huie grc:,,\'

to Re.lo color an<I pnint
bc.t\vccn i-hr lop
And 1hc brQ\v.
or thr r_\'f:
fl,
'
,......,.
~-
nol ("&a.\ 10 M"r 1)u"' un S.,n.tlui. l,u,
ltcan dcarl.v be seen on d1r <nhrr tCG\elt fl-ta Jhov. n
in tlU! book.
1,,.,
:11ix 1;..
llfth
color .....i .pp!) 10 1bcd.M i..,.,.._ bndc< ol
ct.iii. ...J i..v......
\Ytd. dw c~ &on.-..
bl....! '"'" color .i.......
ooto 1 h.. cbc-dc:
hl
!\dJ ..
.i.. """" w she J:..,

botlb firn ...d bl<nd
down onto t~ lower i.4v.
PAINTlN(o FACU
lh JiU:~ 1 rh, fdl: .,J p<1nc of 1
,,, unill..ttl llUlliOI"
i.n,,..,
bo.oc n..f.
Mix
v.;th ..
....U Jew
spot
ol bftPt
m. <f.ttb. .\ppl~ chc c.,!or iuo i..i.- sh<
cbttkbones: .ANf hff.nd :n10 Che chcc-M._ 8"' GIJ't"tuf hi b;

sub<kha..
Add
.t
llulr mo;11'9
red ro th~ mi~ for 1he

lipo. Th .. " 1u.r .dded
to 1hc !o,v~r lip. II yuu
.-n..
t',\'l'~ ~nd n1u111h if
lc-w LC rqote-i1h tb~ f'\.,._ 11.)'00 JW.llll IA fotO

tnttfh ~hi1e lhc-1l looSr lilt "hr" Unnl (fl" Ill 41fflllt
~"'. l/.Jrfy Ftlki.,.), On Soruh.. hl,Y 1p>l ,,f
boot to.lor ,.. .....dJtJ IQ'OM ucfC' o( tbc! ~n..
~ linal >UJ<" 10 d .... up vuund 111< r:.tt.
Oo m.lc- f(ea.ul add"" cokW
.,,,,.4.1
"' 1hc J.ttl.a. '" o'c~l!

~ .- l>e~
,'\<!'J & l"l'- of l.i..tt linJ
i.....: .. "" ~-
fl<.,b
,J.,, and "PP!! cl>onl:r IO
VARIATIONS
~,. ltnW.:. t.an b. pomtn! ,.UJ. .,.~.n
cone.. n-m-ilk pot: olhlue~ IOt-.1 ~o thccalan. You.-.... W.. uwdttt .i...J.. i.,.,..,J, cM.H
licl><t
"w.
.....u~ ..i-~ '

i....1vr r..i ' .lttr<1 lip
coiat .J.o pa horibH, ku !UIWaJ fttl.
STAGc-BY~STAGE Hossm: WOOOS1'1AN -
PAINTEO OVER l!l.AC'K UNDERCOAT

The. u~' thr tuunr tn:hfl'<-1LI
rl4J
Son.cha unl('~!t. notNI.
f.l,f;f"J iU
11>c1o..... r........ ....i

U!'P" lip ,\dd toodi
it ft...h
the n~~ tJolor anti p.unt

c.vf'1)ly nvt'r dtt~ fi~'-' ~1\d
eari;
linr
\dJ 'f"" DI ...I

to ~'OUT Bc.J,
<"lot .nd paafl'f Jhc- """-er
lip ,.\\.tk~ .-urc 1his color
un '1 too ttd.
.,.,f """ '
S t.rt "'ilh dttper

n~~ tOl'lt> th.J.n 1Ni1h thr
feniale r.ce. i\dd .lightly
mort bru"''' or IAn 10
I~ I h.. """ &cwl
~ M )aw
0o1
II.)~
\~Uh
l..,10 <nia< '1 dor on

~
.,,J1: ot t:h\: e.~ ;arra
ri"lctr. nut ,ht! 1.IUl"f>t' ""d d~fine$ t ~an.a.
'-'t..h
/\ 1i11l~ ft--d an be ad<l

li,p.in...-s 10 gi"'e hem n m
...,')m~
i1ppca(Anl:e. 'rhis hlttk C$f>l~i;.lty
10
the c.httk!I of
\Vead1er-.. bcntun
tctive on Khador
11unli1tul't':A
Mi ,, ,lark 11;'1
color 1.\-ith * 1pq1 111
bro\vn ink atKI w;ash t)\'\'f
thr lace ot\ rnl_\ .
. u..
J.rk
A~"h <ab to paint 1h~
fon:b...J - - . ..,.J thuk

boM- bk..d do<. ft 0010
die '-er d.ttl. ~' thi
cir:>
Mxl '"'" pOck ""'
11.t ;... i - and bl.rid

,.,.. up onto
dw
(~ttl .
This~hrpw
lioot and p a """"CT"
rftile.
..... ,. Jw "PP"
Co .,_ .And ~.an in
dArli I~ cdO<
tip.
.t
'~ '~'"" n..h
;11l\d p.ain1 onto ihf'

fu<chrad hn.ts~ .,r -
and chttkbonn. l>on I
&nnc
forgtc 1h ra ol.o!
BLENDING
Ona- _rnu ha\:e m~ the basu:o- of p.;unnng
..ttch "' neatness, Mghfighri.a-g. and ah:acfmg sou
\viii he- 1tchu'l to add .,me- wbt.le~ ~nd tfepch to
~ ,..ork ro tn.Ju. tt really shine. Tht"n! u ('ll\lr
tf'Chru~~ ~ all othrt't tha1. c.ntt: ma.sttred. "'1.fl
hug<c!Jlr=<no 1heloolt oiyOYCnWii.uu'"'
.,..i..,.
lr<hniquc ;,, bl.ndin;. n>en &r< ""~ .,.,,

..,.bdj,i.Jora ,,._ ~ ~.. ....J i,i.-t.,
.i..& colon. but J.r 1tthoiquc "' ihe _.., '"' boda.
... he .,..,,.p1r below ...~ ,..,u just - f f bl...,ding
li<g!Jifhu.
T1w
'11>< ~ .. '""' ~- bl.oO "'*'n ... J - put

them ooto '"" ............... .md c:rem: ...!xk ~"""
trom tip "' cLvl< ,...,... TI.rtt tt ..,.on1 d>lt<tt1>
"'A\ 10 dn~ ~this. hut the one~~~ to Soc*
t !,.~;. th. ,,...,.bo-..J. O!Chniq..,. TMrc ue f.,.
r-11n1t fo rnnc-mber ,bat att ~.;at m pe.rfurl! 1tu.
tMi<fUO t.I rood blcndin&.
,\I\\~..'"' ;1pply J1n1 to 1u-if.-a- 1h...1 is totally

dry ll)'t..a are rr:ying to bJcnJ N;5hligbt O\t'r (_-okw
1ha1 1a llll w~t you"' iU t:nd up"~ b .i mcu. (Th-..1"" i
Ii ce~:hn1qur- 1hot1 blf'ndt ~o .er
""" tageihcr but
.... pta<t;..,Jly u.., ......1.k ..-ith ..-iyli< ,..."\,,J !. ....

"""- ..Uublc for oil. and nwnel. ...i..,. t!... "'3""'&
-.. ~ i.m,...;
tlM CNtiNat~"9 ol'fl't' puntit lt'.) )'Oll~t
10 I l~trf.> tbt<k fW!>I - mr ~ 1"1 poople -i_. ,. 10 i..,.,_ot-,.. pouu - -.it1y ~
lb.I II iJ) 1n&I.. II ru.. r 10 bimd. This ~
di) ~,.,, ..i - .ppi;..1.....i .i.e .......iu ....n
....u.b
iJ..-n,w J"ff hT
tno
\\ ~""" M!
cni.Kh Al ,.
~ aI ..il. II .,\'OU u:' llNI "A-orir.
umrr .'"'*
Oft
""di finJ II d1Jfac;u.lt and the
J ollllf y.1ll 1fry l11tlt1R' .\'UU hn1"h
\\flri.: 1.,, O.h",)'Oi1 h"'''c 1lw hiahlcghr ~oln,.

rn1111:1'1I. ~ h> "- ork ._., 'IUh. "'1.v it' pou1hlc.- As t00n u
.\'UU ttp1ll~ 1h.. hi~h'1f(l11 to ,1n t1rc.-o1, blend 1l right"'\'&.)'
bcrotci 11 lu "',l11u\I .. t\\ rl~"
uy to kt.~('f 1t ~implr.
1
1nnkl" I\ 1-n1,h\k" h 1 uau"lly c1itt'!r to go l>hck
''"''ti" it J,u.,r r11 h~r 1l1nn k'"(IP ,,n uying to @dl- theblcntl p\'tft&;t
II
l)on'1 O\l..t\vu1k ou11.lll'i'
.\'t'ltl
rhir
~;n h~. For
ru.IJ_v top qu.alu,y duplay 11un.,,1um 11'

no< wl<ammoo roo&pplyS-10 layro ol h1fhlifhl" r.1fl.
on blen<l.J
a.n area i.s ~inllhf'd ~'~" "'"'" s< l'-'c.k anil
win& ... mid Lone LhtU it l1t1H\Ya._y ht'CY, C'CU ' hf
~
lo~ an~ 1he h1ghligh1 l(you w111u H111tl,I 11101to
dep 10 Lbe $hading. luat hlcntl ~ cltcp c:olu1 nun 1h"
rt'tt
Inks nrc idral fut 1h1111 bul y(\U {ltlt ,,1 ., 11.r
Orce
11d."
cl.op
l.Mi~- ochruqu 11~('1( ('ouldn"t be mQfe implc
yuu ~ppl,v the h11hlight c:nlor \\Hh nnc brush aod

irnrncdi...tt"l\' uat 1h1 athc-r (\,h1d1 ta 1ut damp. not
WC'tl ro hltfkl lhC' .. 1~(' 1\1 mtnl!Qnc:d pttv'loo~ly,3ou
ni n.01 ,,.,,,,, cu hfn1I tl1e two colon 1ogrthu - thl.
is impnu1ble .. thf' Ol\t' yua rt pa_1n11ri1 ov'tr t.t dtj
You .,.. "''"t' 1h. orrond l.,...J, 10 f~ 1h ~of
IM ~bJifht ...!or. h '1bat In J...p l~ ottond bnJsh
(che onr Hh no paint on 1t) hrtd io )'OUr mouth eo
,VU QQ ..-,qp &I~ M the- color IL'~
f.
rs.
rnL
One" ynu h.1\ C' lal'lf:11

highligl11in1 nd bl.nding
illl ru. 11 '11f1oc.kJ lO '!C'll 11
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\Vii~\' JOU d11n t l'"'""e h ""'
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1h~ 1r..lauon
'--.,.------:-'.,.---' color
bQ
1h()'lill t
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1i..1 ' " "
mi,h1 ,....
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mud. ...:her "'"" ntA " " '
FREEHAND 0cOLUJO.\
n'W'f'e:
QfM" .va o1 min\o&llltt ~nnt rh.t.r

10 b< t8t.tt , _ _ _ , 4i.....t 1lwt ...~ bllici
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p<q>lo>...,..
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0
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on wG ch.,you .il"t' p;lil'lting 1hc- ~ht.I .ind 1lir11 ( 11trh1lly
aocur.ue
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lito&c
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hit ..ill
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t.<t rl.&t It
This can be used m <ill -'
ofa.1.-..,...,....,. ~-.. M g.nuaf n.lc ,,,... ~
"1rrod .i....... 11<-raro th<y""' rJ>lied- thepgav>t
tnn"""""'"
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t..oloiirJ H\k,
WASHIHO
'rhilli i 1ht" mC'lst ba...ta 1t"Chn1qut' for y,hkh inlu
tAn bC" uuJ, Bit1ir.a.llv it in,.'Olvcs pai.nrins- 1he i.nk
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rHnt H\l(l ~hr r~ctt$tS
,,,,J afo1~tn5
atn:~ 1
Mid de.\ail.J and provides. dt"pth
'rhl 1c:chnlf.1uc
i~ ~'
t.1.iI on :.re.'U
h11lr1 lur, Hnd ~ha.in 1nall ,.yhcre rhe tu1ure is
etr ..p vnough lor 1h.c ink 10 How into. h """ .tJso Ix
uir.rcl for gootl etlec:t on meral..ar-eas-. Try rru.Ting blue
L.8~ guocl bttth ,,flh finr po1nc ,\ 1T.al1_v
good Ji.air on.e bru'h &.
and brown tnk (a.im1ng ror a di:tt;>~ pu:rplt' color) ~nd

\.\1,1hin111: ow-ra ~ <."OAl oi Bolrgun ~let.al.
.~.,ur iJf'AI II w11I ccnnr I u
,.nJ
li1c bnttlts be.id t'noufh p.un1 10 ''

doaa'1 kttpdQ'"8 oa1. \\~nJ,or.nd :-;~ton St<ici
fuw P:1U''
; ~ 1mpoo.1blo 10
1,.., for 1hi. -.,of WO<!i
AOOINCi 10 P.t1rlff
B tJHdw~rtininkU"Csottnang_.,"'(llUUft
'I """' ,..... clttp ..........
adding ink 10 ....,,~
">
. - - - - -- ----. .,.w.
Kttp 1h~ p11n1 111 a nu-,, 1hin con1lf'n1~\ h

~uuld ~' 1nuutl1ly ff'(tlU th(! llp1 1h"u1h ii tt ' too
1hln it ,v.iU Ito" Poh1 the"''"'"'"'(' in ~n 11ncttn1rollAbl
'''"Y "h~n du: point ., .. ,~11li...:d In Ihe- ~UI Jttt'"'
J .... pw <ovpk
of drop> into eolO< on
.)'OUr ~ne :and mi-c: n tn
This alto has the ..dd.d
a.d\.-anmu of rh1no1"1
1hc oolor ~ightly .., 1ho1
11
";n IJmo. ~u-e.r. but the
opa<iry ";II still be goad.
Painting and modeling Guide

Tips and Technique by Alike McVey
Welcome to the WARMACHINE: Prime Remix painting
guide. In the next few pages we are going to take a quick
Tools of the Trade
look at miniature preparation and painting. T h i s is by no
I'm not going to go on at great length about what you
means an exhaustive guide; miniature painting is a huge
should and should not buy, but it is worth speaking a bit
and complex field! T h i s guide is meant to get you started
about the paints and brushes you use. Sable brushes are
down the road and will be particularly useful if you have
the best choice for miniature painting. T h e y cost more, but
just opened your first box or blister. T h e r e will also be
they also last longer if treated properly, and the painting
some useful information for more experienced painters,
quality of a nice sable brush is without equal.
including color scheme information for all the factions.

We are going to focus on painting warjacks since they
are pretty much unique to W A R M A C H I N E , but we will
also touch on other types of figures.
Painting
miniatures
is
large
As for paints, acrylics are really the best choice. They dry
quickly and the colors are clean and bright. T h e Formula
P3 range of acrylic paints is specially formulated to be used
on Privateer Press miniatures. They cover exceptionally well
part
of
the
and mix freely with other acrylic paints and inks, and many
W A R M A C H I N E experience and not something to be
of the colors cannot be found elsewhere. T h e use of liquid
dismissed as a necessary evil. In fact, painting is a fun
pigments means the colors go on particularly smoothly and
and rewarding hobby in its own right. Imagine how much
cover well even over black undercoat. Two thin coats of most
sweeter that crushing victory will be if you are proud of
colors will give complete coverage. All of the paint names in
your beautifully painted army! It does not have to be a
this section come from the Formula P3 range.
daunting task either. T h o u g h the size of the warjacks may

strike fear into the heart of the most experienced painter,
they are not that difficult to paint well if you know what
you are doing. By the time you read through this, you will
be armed with all the necessary techniques and tricks and
can begin painting like a veteran. You will be amazed at
the great results that can be achieved with these simple
and quick techniques. Okay. Let us get started.
Inks are some of the miniature painter's greatest allies.

Dull flat colors can be imbued with depth and richness with
one quick glaze, and detail that was once lost can be made
to re-appear magically with a well-placed wash. T h e y are
also great for mixing with paint because you can thin a color
with ink and lose none of its coverage. M i x paints and inks
anyway you want for a huge variety of different results.
KNOW THE TERMINOLOGY

BASE COAT - THE INITIAL FLAT COAT OF PAINT APPLIED TO
A SPECIFIC AREA. APPLY THE SHADE AND HIGHLIGHT COATS
OVER THE BASE COAT TO CREATE A THREE DIMENSIONAL
EFFECT.
SHADE - A DEEPER COLOR THAN THE BASE COAT APPLIED
IN THE RECESSED AREAS OF THE MINIATURE TO EXAGGERATE
DEPTH.
HIGHLIGHT - A LIGHTER COLOR THAN THE BASE COAT
APPLIED TO THE RAISED SURFACES TO EXAGGERATE THE
EFFECT OF THE LIGHT CATCHING THE SURFACE.
DRYBRUSH - A SIMPLE BUT EFFECTIVE WAY OF HIGHLIGHTING
A TEXTURED SURFACE. APPLY THE LIGHTER HIGHLIGHT COLOR
BY CAREFULLY FLICKING THE TIP OF AN OLD BRUSH ACROSS
THE SURFACE OF THE MINIATURE TO PICK OUT THE TEXTURE.
REMOVE MOST OF THE PAINT FROM THE BRISTLES PRIOR TO
DOING THIS BY BRUSHING THE SURFACE OF A PAPER TOWEL
UNTIL THE TIP IS ALMOST DRY.
BLEND - A TECHNIQUE FOR CREATING VERY SUBTLE

HIGHLIGHTS. APPLY THE HIGHLIGHT COLOR WITH ONE BRUSH,
AND WHILE THE PAINT IS STILL WET, USE ANOTHER DAMP
BRUSH TO FADE THE EDGE AND CREATE A SMOOTH GRADATION
OF COLOR.
WASH - THINNED DOWN COLOR APPLIED LIBERALLY TO
CREATE A SHADING EFFECT. THIS IS ESPECIALLY EFFECTIVE
ON HEAVILY TEXTURED SURFACES. PAINT, INK, OR A MIXTURE
OF BOTH CAN BE USED FOR A WASH.
GLAZE - A VERY THIN TRANSPARENT LAYER OF PAINT OR INK
USED TO TINT THE COLOR OF A MINIATURE. THIS WORKS BEST
WITH INK, AND APPLYING MULTIPLE GLAZES CAN GIVE DEPTH
AND RICHNESS TO A COLOR.
UNDERCOAT - THE INITIAL PRIMER COAT APPLIED OVER THE
BARE CLEANED MINIATURE. MOST UNDERCOATS ARE USUALLY
APPLIED WITH A SPRAY IN EITHER BLACK OR WHITE.
Painting and Modeling Guide
The
F o r m u l a P 3 range i s available i n a w i d e variety o f c o l o r s specially f o r m u l a t e d t o r W A R M A C H I N E m i n i a t u r e s
One other valuable trick in the miniature painter's
there longer), and using black undercoat presents other
arsenal is matt medium. You can add it to a wash color in
advantages. W h e n painting warjacks, it is best to use a
order to give it a little more body. T h e addition enables the
black spray undercoat that you can get from either a hobby
wash to stick to the surface of your miniature better and
store or an auto parts store. M a k e sure you spray from lots
not run off into the cracks.
of different angles so the paint gets into all the recesses,
You are also going to need a few basic supplies for your
painting area: a light, a pot for water, paper towels, and
something on which to mix the paint.
and also make sure you do not overspray and fill in the
details. It goes without saying you should always spray in
a ventilated area, preferably outside and away from any
electrical or gas appliances. I set up a spray booth made
from a large box with one side cut out. It really helps to
Getting Started
catch the overspray.
T h e first step is to clean the pieces. T h i s is the process

where you remove the marks left by the casting process.
T h e best tool for cleaning the metal is a half-round needle
file. T h e primary thing to remove is the "split line". T h i s
runs right around the extremities of the miniature and
marks the place where the
two halves on the mold met
when the miniature was cast.
Just
carefully
away
with
smooth
the
this
appropriate
side of the file. You may also

find some thin spurs of metal
sticking from the miniature.
These are vent marks and can
be
carefully
removed
with
either a pair of clippers or a

sturdy craft knife.
U s e a n e e d l e file to s m o o t h a w a y
the m o l d lines o n the m i n i a t u r e s t o
p r e p a r e the surface f o r painting.
Once
are
your
cleaned
miniatures
and
assembled,
you will need to undercoat

them.
Some
people
pass
over this stage (mainly out of laziness), but doing so is

a huge mistake! An undercoat makes all future layers of
paint easier to apply to the surface (and they will stay
O n c e t h e m i n i a t u r e has been s p r a y e d black, use a b r u s h to t o u c h in

any of t h e s p o t s you missed to give an even covering.

Painting Order
One way to make the process a lot easier is to paint your
warjacks in a specific order. In general terms you want to
get all of the messy techniques, such as washing and dry
brushing, out of the way first, then move on to the main
body colors, and finally finish with the details. You will
find that when you break the painting down into simple
steps like this, the whole task is far quicker and the results
are better. We are going to talk in general terms here, but
exactly the same techniques can be applied to any of the
warjacks. Just apply the relevant colors.
Metals
T h e first things to paint on any warjack arc the moving
parts and the areas that are going to end up in a basic
Base c o a t the m e t a l p a r t s of the m i n i a t u r e w i t h Pig Iron.
metallic finish. First, give them a fairly neat coat of Pig

Iron straight over the black undercoat. W h e n the metallic
paint is completely dry (it is good to have a hair dryer
handy to speed this u p ) , you can move on.
To give the metal areas some definition and shading,
you can apply a coat of Armor Wash. Apply the wash all
over the area, but do not let it run and form deep pools.
You can remove excess paint with a dry brush (don't forget
to wash it though).
W h e n the wash is dry you can either leave the metals
alone if you want a grimy finish, or you can add some
highlights. A lighter metallic color creates a good highlight.
You can use either straight Pig Iron again or Pig Iron
with a lighter silver tone added. For quick results you can
carefully drybrush on the highlights, but if you want a
W a s h o v e r t h e d r y base coat w i t h a c o a t o f
A r m o r Wash.
more subtle effect I suggest using the technique described

in the highlighting section.
Leave the black u n d e r c o a t s h o w i n g t o p r o v i d e d e e p s h a d i n g

and bring out the detail.
H i g h l i g h t w i t h Pig Iron f o r a quick a n d effective finish.

recesses and between the armor plates. It requires a little
Body Color
practice, but you are left with instant shading! T h e black
Once the metal areas are out of the way, you can start
in the crevices lends depth and definition to the miniature.
on the main body color. T h i s will cover all of the armor
T h i s stage is the most time consuming part of the process,
plates and the details in the main color of the faction.
but it is well worth the effort. If you get the main body
Try to be as neat as you can since this is where that black
color painted fairly neatly, you will end up with a great
undercoat really pays off. Leave black showing in all the
looking miniature.
A p p l y the first h i g h l i g h t of
C y g n a r Blue Base and C y g n a r
Blue H i g h l i g h t o v e r a d r y base c o a t of
C y g n a r Blue Base.
N o t e h o w t h e edges a n d raised surfaces are picked o u t .
Lighten the highlight c o l o r f u r t h e r b y a d d i n g m o r e Blue

Highlight to the mix.
I
A c h i e v e the f i n a l h i g h l i g h t c o l o r b y a d d i n g M o r r o w W h i t e t o
the mix. A p p l y it just to the v e r y edges.

Highlighting
the undercoat help with the shading. For example, when
H i g h l i g h t i n g may sound like a time consuming technique,
of an Ironclad, there should be a line of undercoat left
but a few well-placed, simple highlights can make all the
around it to
difference. T h i s really brings the miniature to life, and
blue armor plates. Once the base color is dry, add simple
it is not difficult to achieve. One of the most important
highlighting to bring out the shape just as you would with
aspects of highlighting is getting the tones just right. If
the body color.
you paint the Cygnaran symbol in Rhulic Gold on the top

create the shading and separation from the
you go too dark, they won't show up, but go too light
and they will look crude. All of the main faction colors
are provided in two shades in the Formula P3 range. Just
Details
paint on the base color and then add the highlight tone to
Once the main parts of the warjack are finished, all that
create a lighter shade. You can add as many tones are you
is left is to pull out the details. Do as much or as little as
like here by mixing progressively more of the highlight
you like here. T h e eyes look great if they are painted as
color to the mix.
if they glow, studs and rivets can be picked out to give a
Keep in mind that on most miniatures you apply the

highlights to the raised areas. Since there is very little
surface relief on a warjack, apply the highlights toward
the edges of the armor plates. It is common to apply
one, two, or even three lighter tones for a quick finish
and as many as eight to ten for display quality. T h e first
highlight can be just a little lighter than the body color,
and you can cover quite large areas with it. It effectively
turns the remaining base coated areas into shading. T h e
second highlight should be painted on a far smaller area
and be significantly lighter, and the last should be even
harder edged look, and you can even add chips, scratches,
and battle damage to show a history of hard-fought
combats. If you want to pick out the rivets, it is best
to paint them black first and then add just a small dot
of silver to the top to lend more contrast. In fact, that's
a pretty good rule of thumb: when you pick out fine
details, it is best to paint them black first. T h e n paint
the color you want and leave black around the edge for
shading and separation. For the eyes, paint them black
and then red over the top. It is the same principle as
leaving some black undercoat to create shading.
lighter and just applied to the edges.
Painting the Factions

Secondary Colors
There is generally a second color that complements the
main body color. Pretty much the same goes for this color
as for the primary colorbe as neat as you can and let
Cygnar
Painting Cygnaran warjacks is fairly straightforward.
Cygnar Blue Base covers over the black undercoat in one
application, so you can achieve a flat body color quickly.
T h e first highlight is a mix of Cygnar Blue Base and
Cygnar Blue Highlight. Add a little more Cygnar Blue
H i g h l i g h t into the mix to achieve the remaining highlight
tones, and then apply them to a progressively smaller area
until the final highlight is applied as a faint line right on
the edge of the plate.
Give the gold areas a coat of R h u l i c Gold with a little
brown ink added to it. If you add ink to your metallics
you can get some beautifully rich colors, but you may
have to apply two coats since they will not cover as well.
Alternatively you can add a spot of a deep brown, like
Battlefield Brown, to deepen the gold nicely and give it
a slightly more matte base over which to work. Once the
base coat is dry, you can highlight with lighter tones just
as you would with any other part of the miniature.
D e e p s h a d i n g a r o u n d s c u l p t e d derails helps t o pick t h e m o u t

f r o m the s u r r o u n d i n g area.
Cygnaran troops and characters dress in similar military
Sanguine Base goes on really well over black. In fact
schemes. Apart from the dominant Cygnar blue, other
the black undercoat gives Sanguine Base a little more
common clothing colors are Ironhull Grey and Rucksack
solidity than painting it over white. One coat will be fine
Tan. Natural colors are also fairly predominant like leather
for smooth coverage. For the highlight mix, start adding
tones for bags, packs, and straps. A great combination
Sanguine Highlight to Sanguine Base. T h e more highlight
for deep leather is Battlefield Brown highlighted with
you add the lighter the color will get and the smaller area
Bootstrap Brown
you should apply it to. T h i s color can start to get a little

pink, but as long as you keep the highlights small, the
Protectorate of Menoth
overall effect will be deep red.
T h e key to painting the Menite miniatures is to lay down a
Troops and characters are generally painted in the same
good flat base color on the off-white areas. Menoth W h i t e
colors as the warjacks. T h i s makes the Protectorate one
Base covers really well, but if you are working over a black
of the most consistent color schemes of all the factions.
primer, it may take a couple of coats to be flat with no
There are some great opportunities really to go to town on
hint of patchiness. Once you have
a flat base color, the
the warcasters and some of the troops. T h e large flat areas
highlights go on easily. Just follow the raised areas and
on the robes and cloaks beg for some extra decoration, and
edges of the armor plates.
it is that sort of richness that fits the ceremonial feel of
T h e next step is to add the deep wine color that

contrasts with the white armor. If you were neat with your
the miniatures perfectly.
body color, all of the areas that are going to be red should
Khador
still be black from the undercoat. If your brush strays a
T h e main challenge with Khador miniatures is getting
little (as is inevitable) you should take the time to go back
that bright, flat red that is characteristic of the faction.
and re-paint in black to create definition between the white
Khador Red Base covers well, but you might need a couple
and red areas.
of coats to get a really flat base over which to work. It is

worth persisting though because a flat, neat color makes
the rest of the painting easier. W i t h a flat color you can

keep the highlights simple and still end up with a great
looking miniature. Just concentrate on keeping the paint
Cryx
The main color on the studio Cryx miniatures is Cryx Bane,
application as neat as possible, thick enough to cover well,
and like the other main faction colors, it comes in Base and
but sufficiently thin to flow smoothly.
Highlight versions. You can darken this color further by adding

Thamar Black to give a suitably somber tone. Some of the most
Keep the highlights simple. Use Khador Red Base
distinctive features of Cryx miniatures are the glowing green
mixed with Khador Red Highlight to build the highlights
parts, and the effect is easy to achieve. Just apply a base coat of
up gradually and keep the lighter colors in small areas. If
Necrotite Green, and highlight it by adding Morrow White. If
the overall effect looks too pastel, glaze it over with red
you are particularly adventurous, you can try the glowing effect
and yellow ink to revive some richness and depth. Keep the
shown on some of the miniatures in this book.
highlights towards the raised areas and edges of the armor,

and leave the main, flat areas in the basic body color. Doing
so preserves the brightness of the red.
You do not want to paint the whole miniature in the

same dark color. Vary the shade on the edging and some
of the different shaped plates. T h i s creates some really
Khadoran troops and characters follow the same color

scheme, but they are generally a little more subdued than the
interesting effects. Use pale Blighted Gold for some of the

decoration and edging.
warjacks. Paint clothing and uniforms in military tones like

Greatcoat Grey. It is a mid blue grey excellent for all manner
T h e warriors use very much the same color palette as
of troops, particularly Winter Guard. Battlefield Brown is a
the 'jacks. Dark iron (try mixing Pig Iron with Thamar
useful all-around color for boots, gloves, packs, and straps, and
Black) and Blighted Gold metallics with black or dirty
it makes a great leather tone when highlighted with Bootstrap
brown clothing looks very effective when coupled with the
Brown. Of course there are plenty of bright red areas on the
pale Thrall Flesh and 'Jack Bone. Thrall Flesh gives a great
warrior models and some, like the Iron Fangs, are almost
undead pallor that can be shaded with Cryx Bane Base and
entirely painted in Khador Red Base.
highlighted with 'Jack Bone.
PAINTING THE FACTIONS

[11ch faction ha" ii un1t1ue p11lctte ot "team colors." Color
choices can com C) thl tone or alignment of a miniature
and lt>nd a particul.ir fl'CI to the model and its army. To see
how thi-. work..,, tak~ ,1 look at the WAR MACHT "E factions:
Cygnnr displays tlw colllgiate and militaristic colors of
bright blue, whitl', ,rnd gold . The Protectorate features the
lradition,11 rt'ligioui. ,md royal colors of burgundy and linen
<1long with fil.'ry nwt,11lics. Khador's combination of rtd,
1~1
-
s tet'!, ,md gold 1.., both strong and aggressive. Finally, Cry \
cMries a da rk aura with blighted green-grey, gold, and the
eerie glow ut necmtit~ This section wiU give you a basic
approach to painting these colors for the four factions.
We p.1intl'd lhcsl.' model!> using exactly the colors and
techniques described, t1nd you can, too!
__
..,,
~
BASECOAl
The lnlllal coa1 of paint on which everylhing else w ill be built.
It is important thac rhe baseco.11 iS very clean and C\ery color is
where It should be. Your shades and highlights will coordinate
with lhe b.isecoat and main color choices.
DRYBRUSHING
The quick way co highlight a texcured surface. Use a lighter
color, but remove most of the paint from your bnish by
slJ'Oklng the brlslf's on a paf>er towel until che paint is almost
gone. Then carefully and quJckly move the brush back and
forth across the surface of the miniature.
HIGHLIGHTING
A fighter color applied 10 the basecoar in the raised areas of a
miniature to create the look of light hitting the surface. When
highlighting In multiple steps, keep a litde bir of the underlying

color showing, overlopplng them like the shingles on a roof.
SHADING
A darker color applied to the basecoat in the recessed areas
of a miniature to create shadO\\'S. Exagserating the shade and
high light colors\\ 111 add to lhe ,lsuaJ appeal of a model
'
WASH
A tinted mix liberally applied to the basecoat >create detailed

shading. The wash wlll run into the smallest crevasses on a
model and dry a\ a shadow. so It needs co be a darker color
than the bascooa1. The wash mix works well as 4 partS Mixing
Medium. I pan p.ilnt/lnk, and 3 parts water.
..
"""
--
CYGNAR
Rhulic Gold
u.,e Cygnar Blue B,is1', Rhulic Gold,

Cold Sllcl, .ind lh.:1mar Bl.1cl-. for the
basC'coat. RC'mcmbl' I to make s u re
thlsc baiwcouli, MP 1w,,l .:1nd in the
corrL'Cl nn:m;. You will 1wcd to apply a
cou ple of coots for solid coverage.
Cold Stc-l'I
For shading, start by milking a wash

of Armor Wnsh mixed w ith a touch
of Bloodstone and Umbra! Umblr.
Apply this to the gold <ll"e<ll>. Apply
pure Armor Wa$h to the Sll't'I Ml!,1s.
Once the shading is done, highlight the
edges of lhe blue armor with a loycr of
Cygnar Blue Highlight.
I hamo r Black
PJint Solid Gold on the raised edge'>

of the gold areas and Quick Silver
on tht' edges of the steel areas. Mix ii
littll Morrow While with Cygnar 131ue
I lighlighl ns a final highlight tolor
and as apply it in a thin line on the
uppNmost edges of the blue armor.
Finish by painting the eyes Khador
Rtd Base.
PAINTING TUTORIAL
Let's paint a l'roll'doratc of i\lcnl1th P,iladan of the Ordt.>r of the Wall from t. rt
PRIMER
The l' tl'n.,in~ mcti'll

on tlw model will look
hesl O\Cr dark primer,
-.o prnnl' h11n an bl.1ck.
I hl l'rnll'dor.1tL' <.-olurs
wall cm l'r tlw l,l,1lk on
lhl n1m nwt.11 arc.I'>
\Vithout ,1 pr11hlcm.
BASE COAT
u~ (old "ill't.'I Im the
nwt.11
Jn,1-.,
Rhulic
G<ild tor tlw gtild .11'\w;,
S.uigu int B.:isc tor tlw
burxundv .1n.;1s, .md
\.knoth \\'hate B.1~ lor
the 1 re<im an..i... Use
Skome Rl'i.i t11r the gems
and Tham.1r R1.11"k tor the
'\\Ord
gnp.
WASHING AND
SHADING
A goud, ..rmplc, ,111d 1,1.;t
'' ')' lo paint is ll1 \'"'""

thl ml'1.1ls for -.h.1dinit
lhtn highli~ht l'Wrything
d~'. Pnr lhrs model, mi\
somt Umbr.1' Umbt.r and

Bl0<xh1<1nl' with Armor
Wno;h .md w.1-.h llw gold
''1th th m1\lU1\'
THE FIRST
HIGHLIGHTS
llighlight in h\O stagt'S
f1lr more imp.ill. I 1rst.
highlight the g11ld \\ ith
~olad Gold, the metal
Silvcr, the
Mtnoth
\\'hilt' Highli~hl, thl.'
burgundy \\ ilh !-i.rnguinc
Highlrght, tlw gtm.. with
Kh.1drn Rtd B,1st', .md tlw bl.irk with a bit of Coal Black. Lea\ c
SL>mc of tlw b.1t-l'\llal .,!wwing for dl'plh.
\\ 1th (..h11(k
cre.un
\\1th
tti
hnish.
THE SECOND
HIGHLIGHTS
u~
color of brighter
\ ,1lu s in thr'> ..tcp-
it's good to l'\agg\r,1ll'

on u model. I lighlight
lhl cdgl's 111 tlw cr1..am
with ~forrow White
.ind lht bur~undy with
.i mix ol Mtnnth Whill'
1lrghlight .rnd ':>.ingunw
l lighli~ht. I t.1vt s11t1w of Lhl' first highlight color showing.
Finbh tlw gtm hy p.1i11tang .1 bit of Kh.1dor R!!d Highltght
undtr al .ind <idding ,, dot of \ilorrow v.,h1te to the lop and
hollnm. hni-;h tlw '\Hird h.1ndlc with a mix of \knoth
\\ l11tl' I lrghlight .md Co.:il Black. Finall)~ paint \tidlund
Fl(sh on tlw pnl.1din'.. t.Kt'.
FINISHED
R1..ad)
h.11tlt!
1h1.. entire last and
..implc pruct s took

1u .. 1 J cou pit of hours.
:'\othing I.mt )-iu'>I
,1 b.l'>l'CC'l.ll, ,1 w,1,h
on th1.. mct.11-;, .ind ,1
n>upl1.. ol h1ghlightsbut lw's looking gn,1t.
\Jotiu how his h.1sl
is lini..,lwd . S1'l' "B,1sing Your Model" on p. 2-ll ior how
to do thb
KHADOR
Kh.1dor Red Ra...e
Rhulic Gold
Pig Iron
I ligh ligh l the ri vets with Cold Stl'l'I,

the gold w ith a little Solid Gold, and
llw baM.'Cl.1Jl for tlw Kh,1dor faction is

Kh,1dor Red B,1M.~. Rhulir Cold, ,md Pig
Irun. You wll I ncl'd to apply .i fow co.its o(
tlw Kh,11.lor Rld Bi1<;\.' to cover the tlrea full)'.
THINNING PAINTS
Try thinning do"n paint Y. ith ink
insu:ad of wa1er 10 achi eve a thin
co nsistency wilhouc dllullns the
tolor. A llule Rw Ink addw 10
Kteador Rw Base will yield a nice,
red, ct 1nrwr palnc. You can even
mix up the Ink and paint colors for
cuMom hade:. JU)I ai. you can with
tlw edges of the red areas with Kh,1dor

Rl'd I lighlighL
It's a good idea to pilinl Jn Jrl.'.1 blnri...

before you appl} any mltnl color., lo
it, so blacken the riHt~ with fhJm.ir
Blaci... to gel them ready for tlw mlt.11
paint. \.la!...c a .,hading color b~ mi\lng
Umbral Umber and hih.. BhJl' with
Khador Red Base. 1'<1int tlw, mi\ in th\.
recesses and o;hadlm" ol thl. r1:d Jl'\.'il'i .
Appl) a littll' Armor \Va .. h in bcl\n'l'n
the red and ml.'lal areas.
When t\\O colol'li sil nexl to each

other on a model. separating t hem
"Ith a thin dark line (either black

or a ..ery dark version of one of
the a<Uace nt colors) emphashes
1hem i ndividually and h elps 1he eye
in1erpre1 the image more easily. ln

o ch er words. it looks goodl
multipl e pillnt colors.
CRVX
Blight0d Gold
For the Lr\" b.1 ...1ccl.ll, use C. ry>13.rnc l3il'>l' tor th<' hull, Blighted
Gold and C..old ~tt.<.'I for the metals,
CtMrlc; C.rCl'n tor tlw glowing arc,1c;,
ond 'j,1ck 13tHW for th1 tusk!>.
Cold SlllI
Wash the tu~k~ with Battll'ficld Hn1\\ n.

Highlight the hull with d ml\ tif (. rrx
Banc Bru.e and C~' ' Banc I lighlight.
Highlight the glm\., with lo~.111 t:flcn.
(.n:irls C rc<:>n
'jack Roni!
fh1 final highlights are Cryx Banc

I llghlight on the hull, \ilcnoth White
Bilst on the tuo;ks, Nccrotite Green on
the glow'i, Quick Sihcr on the -.t~x>I
edgl'~" and Cold Steel on the gold edge....
PROTECTORATE OF MENOTH
Menoth V\lhitc Base
For Lhe basecoal, use Menoth White

Base for the cream area, Sanguine Base
for the burgundy area, Rhulic Gold
and C1ld Steel fo1 the meta ls, and
Thamar Black ror the Munofix.
Sanguine Base
Rhulic Gold
Begin by shading the metals with a

wash of Armor Wash, then add some
Bloodstone and Umbra! Umber to
the Armor Wash to make a shadow
wash for the Rhulic Cold . High light
thl, bmgundy area with Sangui ne
Highlight and the cream area with
Menoth White Highlight. Painl a thin
line of Coa l Black on the Menofix.
Cold Steel
Thamar Black
For the final highlight stage, use

Solid Gold on the g(lld areas, a mix of
Menoth White Highlight <ind Sanguine
Highlight on the burgundy area, and
Quick Silver on the metals. Apply a
thin line of Morrow White on the cream
a rea. Lastly, mixCm1l Black and Menoth
White Highlight togclhcr and apply a
thinner line of Lhis on the Mcnofix .
BASING YOUR MODEL

Decorating a miniature's base lakes the model to a whole new level of realism and c,rn significan tly increase its "wow factor."
IL doesn't need to be elaborate, tho ugh; thC' step-by-step process described here is simple ilnd quick. Other uncomplicated
options include pninting Lhe sand a diffenmt col n1~ using mo re (or no) static grass, and even using baking sodc1 for s now.
With a little practice a nd imagi.nation, you will be able lo create works of natural battkficld beauty on any base.
Begin by applying some white gl ue

thinned with a little \\~ ater. You can
use ii good brush for this- just make
sure you use water-soluble glue and
wash your brush thoroughly.
Swirl the base in a container of hobby

sand until you have tlw coverage you
want. Let dry.
Crccitc a stain of wat~r, Brown ln l-.,

and Umbra] Lmbl'r and paint the mix
into the sand. Let this dry.
Drybrush the sa nd with Rucksack

Tan. Drybrushing can be messy; be
careful not to get Ru~ksack Tan on the
feet of th\'.' miniature.
Using white glue, gl ue S()mC static

grass or flock onto the base and let dry.
Give the base .-ind grass a final

(.i rybrw;hing of 'jack Bonl". Clean up
any mess on the edge of the base, and
you have a finished piece.
The color scheme of the Circle Orboros

incorporates the most natural tones of
any HORDES faction. Various greens, browns,
earthy greys, and black harmonize to create
a wild and earthy look. The scheme achieves
contrast by balancing warm browns, bronze,
and flesh with cool black, grey stone, and cool
green tones. Much of the contrast is achieved
through differences in value, such a when da:

green nests within shining bronze or agreer
glow spills from cracked stone. When paintiro
a scheme of natural colors such as this one, pa_
particularly close attention to the value contra:
This will help you avoid an army that from a:a:
ap pears m uddy or is hard for the eye to inteJF:--
BASECOAT
HIGHLIGHTING
The i nitial coat of paint on which everything else will be built II is
A lighter color applied to the basecoar in the raised areas of a
importan t that the basecoat is very clean and every color is where
miniature to create the look of light hilling the surface. When
it should be. Your shades and highlights will coordinate with the
highlighting in multiple steps, keep a little bit of the underlying color
showing. overlapping them like the shingles on a roof.
DRYBRUSHING
SHADING
The quick way to highlight a textured surface. Use a lighter color,
bur remove most of th? paint from your brush by stroking the
miniature to create shadows. Exaggerating the shade and highlight
.... bristles on a paper towel until the paint i s almost gone. Then
carefully and quickly move the brush back and forth across the
surface of the miniature.
colors w~I add to the visual appeal of a model.
WASH
A tinted mix liberally applied to the basecoat to create detailed
GLAZE
shading. The wash will run into the smallest crevasses on, a model and
A mixture of water and a small amou nt of ink that is applied in
dry as a shadow. so it needs to be a darker color than the basecoat.
successive JayerS to subtly tint an area.
The wash mix works weJJ as 4 parts mixing medium. I part paint/ink.
and 3 pans water.
-fMflL f'LStt
Step 1) Basecoat with a 50 / 50 mix of Midlund
Flesh and Ryn Flesh.
Step 4) Highlight with a 50 50 mix of Ryn Fle;:,,h

and mixing medium. The mixing medium will
help keep the transitions smooth and the overall
look silky soft.
Step 2) For the initial shading, use Midlund Flesh

mixed with Battledress Green and some mixing
medium for translucency. Apply as soft shadows.
Step 3) Mix Midlund Flesh, Skome Red, and
mixing medium for the final shading. For a
feminine look, avoid accentuating the paranasal
cleft (the crease in the upper lip) and make sure
there are no hard lines when you are done.
D Midlund Flesh
Battledress Green
D Ryn Flesh
SkorneRed
TOOR~ -fLStt
Step 4) Begin highlighting with a mixture of Gun

Corps Brown and Ryn Flesh
Step 1) Basecoat the flesh with a mixture of

Midlund Flesh and Gun Corps Brown.
Step 5) Apply final highlights using Ryn Flesh.
Step 2)Add Skorne Red to the previous mixture

and use this to apply shading.
Step 3) Add Battledress Green and Thornwood
Green to the previous mixture and use this for
the final shading.
-:: ;
~~~~.J.)_
.:::~~ -~--
D Midlund Flesh
'
Battledress Green
Gun Corps Brown
Thornwood Green
Skorne Red
0Ryn Flesh
BOO~T f'Lfilf
Step 1) Basecoat the skin and fur with a mix of
Trollblood Highlight, Menoth White Highlight,
and H arnmerfall Khaki.
Step 5) To complete the skin, sh ad e under the

muscles with a m ix of Ironhull Grey, 1enoth
White Highligh t, and Hammerfall Khaki.
Follow with a final blend of Exile Blu e an d
Battlefield Brow n.
Step 2) Blend a mix of Beast Hide and Hammerfall

Khaki into the skin areas that will become darker,
like the hip area. Wash the fur near the h oof w ith
a mix of Trollblood Highlight, Battlefield Brown,
and mixing medium.
Step 3) Add Gun Corps Brown and Blood tracker
Brow n to the skin mix, and blend it onto the skin.
As the blending steps get d arker, p aint less and
less surface area so the color shifts transition
w ell. Blend pure Battlefield Brow n into the
bottom area of the fur.
Step 4) Continue blending the skin, this time
u sing pure Bloodstone. Paint the tips of the fur
area with thinned Tham ar Black.
D Trollblood Highlight
D Menoth White
~ Gun Corps Brown
Bloodtracker Brown
Bloodstone
Thamar Black
Highlight
D Hammerfall Khaki
0BeastHide
Battlefield Brown
D Ironhull Grey
Exile Blue
P~TTR~V
GLOTH
Step 1) Basecoat the cloth with Ironhull Grey,

then paint the lightning bolt pattern using
Trollblood Highlight. Use Cryx Bane Highlight to
basecoat the fur lining.
Step 2) To give the impression the lines in the
pattern overlap, follow the course of a line using
Ironhull Grey. You can also clean up the pattern
as you go to save time. Next, give the fur lining
a wash of Thomwood Green mixed with Beast
Hide. Trace a line of Umbral Umber mixed with
Thamar Black along the edges of the cloak where
the fur meets the cloth to separate the areas.
Step 3) To shade the cloth, mix Idrian Flesh, Exile
Blue, and a small dot of Thamar Black. Apply
this mix to the folds of the cloak, and while it is
still wet, use a second brush to blend it over the
basecoat. This method shades the basecoat and the
pattern simultaneously. For the fur, take 'Jack Bone
and apply it using the side of your brush to paint
multiple strands of fur at once. If this is
done correctly the paint should stay out
of the crevices.
Step 4) Mix Ironhull Grey with
Morrow White and highlight the hood
and edges of the cloak but not the
folds. For the pattern highlights, mix
CREATING DRUID
LATIICE PATIERNS
To recreate the patterns
found on Circle Orboros
garments,
first
create
radiating
arcs
from
central
illustrated
point
((~
as
here
black. Then intersect

in
the arcs with randomly
positioned hook shapes,
illustrated here in grey.
J&
some Trollblood Highlight w ith Menoth \\.hite

Highlight. Using a fine tip brush, trace a fine line
along the top of each bolt so they app ear to catch
the light. Highlight the fur with Menoth White
Highlight applied the same way as in step 3 but
isolating only the tops of each fold.
D Ironhull Grey
D Cryx Bane Highlight
0'Jack Bone
Thornwood Green
0BeastHide
Umbral Umber
Thamar Black
Idrian Flesh
Exile Blue
D Morrow White
D Menoth White
Highlight
UIGQUERV BRO~ZB
Step 1) Begin with a basecoat of Molten Bronze
mixed with a touch of Umbral Umber and
thinned with a little Brown Ink and water.
Step 2) Wash the inner recessed areas with a mix
of Meredius Blue, Iosan Green, mixing medium,
and water.
Step 3) Paint thin shadow lines under the raised
bronze areas with Coal Black. Paint the undersides
only. Imagine a light is shining above the model
and you're painting in the shadows under the
rajsed sections.
Step 4) Glaze the recessed areas with Turquoise
Ink. To avoid leaving pools of watery paint, use
just enough in a thin layer to tint the area. Apply
multiple coats to get the desired effect.
Step 5) Blend Molten Bronze onto the central
raised portions of the lacquered areas for
translucency. Highlight the bronze trim with
Molten Bronze and clean up any messes caused
when creating the lacquered look.
Step 6) Use Brown Ink to glaze the lacquered
areas that would have a shadow cast on them
from the raised bronze areas.
Step 7) Highlight the bronze with a mix of Rhulic
Gold and Brass Balls.
Step 8) Apply a final highlight to the upper
edges of the bronze with a mix of Brass Balls and
Radiant Platinum.
D Molten Bronze
Coal Black
Umbral Umber
Turquoise Ink
Brown Ink
D Rhulic Gold
D Meredius Blue
D Iosan Green
D Brass Balls
D Radiant Platinum
STO~
Step 1) Basecoat the stone with Bastion Grey.
.-:
....
Step 2) Use an old brush to spatter the surface

with colors such as Thamar Black, Menoth White
Highlight, and Underbelly Blue.
Step 3) Apply shading using a mixture of
Greatcoat Grey and Thornwood Green plus a few
drops of mixing medium for translucency.
..
Bastion Grey
D Underbelly Blue
Thamar Black
Greatcoat Grey
D Menoth White
Thorn wood Green
Highlight
Step 4) Highlight with a mix of Trollblood

Highlight, Menoth White Highlight, and
mixing m edium.
qR~qLOW
Step 1) Using watered-down Menoth White
Highlight, allow the paint to flow into the areas
you wish to glow.
Step 4) Add Menoth White Highlight to the

mixture from step 2. Use a fine-tip brush to dab
this color into the corners and cracks, letting
capillary action carry the paint into the recesses.
Step 2) Repeat step 1 with a mixture of Wurm

Green plus one drop of Yellow Ink and a few
drops of mixing medium and water.
Step 3) Apply a glaze of Green Ink to the areas
where the glow is least concentrated.
D Menoth White
0Yellow Ink
Highlight
0Greenlnk
Owurm Green
:p~1n9
t:frcfe~rboro$
Begin with a basecoat of Molten Bronze mixed with a touch of

Umbral Umber and thinned with a little Brown Ink and water.
LACQUERED BRONZE
This technique creates the appea rance of bronze showing through
a layer of translucent green. In the end it will appear Jj ke lhe

green color barely covers the bronze underneath.
Wash the inner recessed areas wi lh a mix of Meredius Blue, losa n
Gree n, Mixing Medium, and waler.
Colors Used:
Iosan Green
RhuJkGold
Coal Black
Brass Balls
Q Meredius Blue
Brown lnk
Turquoise Ink
Mixing Medium
Umbra! Umber
( ) Radiant Platinum
( )Molten Bronze
Paint thin s hadow lines under lhe raised bronze areas with
Coal Black. Paint the undersides only. Imagine a light is shining
above the model and you' re painting in th e shadows under lhe
raised sections.
Basecoat the skin and fur

with a mix of Trollblood
Highlight, Menoth
White Highlight, and
Harnmetlall Khaki.
A DIFFERENT APPROACH
TO SKIN TONES
When painting skin tones one normally starts with a midtone
basecoa t, then shades down, and fi nally highlights. Here, we
instead create a transition of colors for the basecoat. Then we
simultaneously shade down bolh areas withou t highlighting.
D
Blend a mix of Beast
Hide and Hammerfa ll
Khaki into the skin areas
that will become darker
in colo~ like the hip
area. Wash the fur near
the hoof with a mix of
Trollblood Highlight,
Battlefield Brown, an d
Mixing Medium.
Colors Used:
.
O
Exile Blue
Ha mmerfall Kh aki
seastHide
Gun Corps Brown
Q Ironhull Grey
Q Menoth White Highlight
Battlefield Brown
TroUblood Highlight
Bloodstone
Thamar Black
Bloodtracker Brown
Mixi ng Meclium
f.I
....ldJ:e the recessed areas with Turquoise Ink Glazes are essentially
\l'I)' thin layers of paint or ink with a hl!avy dilution of water. You
dvn't want to wash the area and have pools of watery paint, so use
IUSl enough to make a thin layer in order to tint the area you are
clv.mg. Aply multiple coats to get the desired effect.
g
Highlight the bronze with a mix of Rhulic Gold and Brass Balls.
~.end
Molten Bronze onto the central raised portions of the

....:qucrcd areas. This will lend translucency. Paint the bronze trim
1th Molten Bronze lo act as a highlight and clean up any messes
esused when creating the lacquered look.
i::hlly glaze a shad ow w ith Brown Ink in the lacquered areas
that would ha ve a shadow cast on them from the raised bronze

.1reas. Again, imagine a light is shining above the miniature and
:-.amt in the shadows.
Take the mix used in

step 2, add Gun Corps
Brown and Bloodtracker
Brown, and blend it onto
the skin. As the blending
steps gel darker, paint
less and less surface area
so the color shifts have a
good transition to them.
Blend pure Battlefield
Brown mto the bottom
area of the fur.
Continue blending the

skin, this time using pure
Bloodstone. Paint the
lips of the fur area with a
thinned Thamar Black.
Apply a final highlight to only the upper edges with a mix ofBrass
Balls and Radiant Platinum .
BASE
<
1{
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e \\
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PAINTING DRUIDS
M ETALS
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RUN E STO NES

9
ljtl l l tll) (,J l'

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(;1l'at
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lj)
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Ll ) i1 111ld , , ,s,111 c;rcc11 ((l
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1
Step 5) l<l1.I tl1 i 1111~cl NlCr<> li tc C1 1c11 '' ' 1l1e

1~rollll l <1Cill I Ji j~l1l igl11 ''' ill1 13, 5f i<>1 c;1l')' t1 11lf
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Step 6) 1\111'.l l
ft 111 i l t ttl ' t lt'
IJll1
'l'tl)lll,lt>t)t.I I li1;l1Iigl1l
lel l't)llli) ( rll'l!ll
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II
D
D
H a mmcrfall Khaki
Cryx Bane I lighlig h t

ldrian Fl esh
D
D
'Jack Bone
II
Brown In k
Menoth Wh ite Hig hl ig ht
Rucksack Tan
II
T hama r Black
THARN: ANTLER BOWS

S tep 1) Alttr p riming the l'nlirl' model with Formula P3
BIJcl.. l'nnwr, bawcoat tlw bowi. with a couple of lc1ycrs of
th1nnl'd I lammerl.111 Khilki. Ui.ing paint that is too thicl..
'' 111 ob ... curt> tht.' dC'lail'> tin tht how.
Step 2) u.,1ng Cry' Bnnc Highligh t, two-brus h blend over
the.! bri>.td .ll'('il'- o t thc bow. r he strea ks added to thii. darke r
color l,1te1 will cna tc 'isual textu re.
Step 3) Blend some J{u-.:k'>,H:k TC1n over part of the Cryx
B.mc I lighligh t lo r n' ,1tc colo r tr<1 nsition. Repeat using
Ru1' k$,1CI.. f'an miMd with a lilllc fdrian Flesh. This is lo
build ,, foundilti <111 for the nC\l step.
Step 41 U<.e \our -.m.1lll' r bruc,h to paint thj n striations of
'J.tcl.. Born.. .111d Ml'noth White Highlight ove r the antle r.
S tep 5) l,,.,mg ldniln 1 ll'sh, blend transitions around the

ring., on tht bll\\ and where any ilnllcr join ti. occur. Ke..>p
tht runt a little trJn ...luuml lo allow the te\lurt> crcJ tcd in
o.;lep 4 lo .,how through. 1 r,1cc the runes carved inlo the bciw
with ldri,111 flC'sh
Ste p 6) Blend (Jil tt h:ticld 13mwn into the ldrian Flesh tu
cr('Lllt' J dart..l' r hrown. Cl<.>,in lip the transitions between tlw
br<iwns, t.ir1s, ,111d whitci. with two-brush blending. fouch
up il l1)' ~ t l'iiltion !> th.it h,w e become muddied.
Step 7) Sh,1tlc ,111d line the bre<1ks between two su rface-. on
the bow with ,1 ml -<turc of Brown Ink and Thanrnr Blacl...
Highlight Llw cc.J ~c~ of Llw rune1> with 'Jack Bone Jnd
Mcnoth White' I lighlighl.
ThOm\\ood Green
LJ Trollblood H1ghhght
-
Umbral Umber
Step s.> Us1n'l a so/so mix of Beast Hjde and

Gun Corps Brown. baseco.1t all the \\ood and
fiber area~ Since \\e will be 'l\ashmg this area.
it's good to hae the base coat a lude hghter
In color ~ausc the wash wtll darken 1L
El
iep::: J
,1
Dnbruoh using a ligh1er appllcaiion of

Gre)
Step 4.) Make a 50/50 mix of Trollblood

Highlight and Menoth Wh11e fllghhgln and
lightly drybrush the upper edge of thf.' stone.
Step 6.) Ba.eco.it the ropes "1th Menoth White

Base and 1he "ood cores '\\1th the wood base
color "1th more M<'noth Wh11e Highlight added.
Note; It's o Im rostrr and helps "ith coverage
to JUSt pnlnt the en11re area with the wood base
color and 1h1>11 ~o back and paint on the rope and
wood core colors on top of the wood base color.
'it4'p 10) To create the glowing effect.

l;i~er on thl' darlo.est color first flll all the
deprl'Ss1ons or the runes "uh losan Green
P.11n11ns about a m1lhme1er around the runes
!:I\ es ;i sense or i:low
Step 8.l After the w;ih

dnes, highllgh1 thl'
raised area:. by u~lng th<'
layering method. ror thl'
wood. use the wood bnse
color mixed with Me1101h
White Highlight. For 1h~
rope. use pure Mcno1 h
White Base.
Step 9.) Add more Menoth Whltr Highllgh1

to all 1he colors s1ated in the previous
stage, then layer with the newly mixed
colors on the tips or 1he raised arens.
Sup 11 ) Cnrerully layer Necro1ite Green into

the depre~slons or 1he rune. Don't let this
color lenk outsld~ or the runes.
41
IE
42
I
- - - - - - - - - - - - - BY ROB H A W K I N S - - - - - - - - - - - - - Painting a large model like the Woldwralh can seem a daunting t.1sk, c<>pcc1nlly if you intend lo highlight lhe glowing runes
that C(IVcr its entire <;urfoc, In this tutorial, I'll snow you how lo l!Uickly pc1int this colossur; of stone and wood wilhoul
b\!ing owrwh1.1\mcd by a. its beautiful detail.
- -
18
MODELING & PAINTING
--- -
--- - - - - - - - -
=-~
--------------
---
ASSEMBLY TIPS
Begin by assembling the model, leaving the arms separate.
Keep all the small metal logs on their sprues as well. This
allows you to paint the logs quickly and all in one go. If
they were attached, you would need to take care not to
mar the surrounding stone when painling them.
When working on this tutorial I had the three small meta]
pletles on the Woldwralh's chest and sides attached to its
body. Painting around them i~ possible, but it ate up a lot
of time. Since the goal of this tutvrial is to show )'OlJ how
to paint the model quickly and efficiently, I'd recommend
keeping these large pieces separate. H's much easier to
reach the wooden understructure in the later steps.
PAINTING
Use Formula P3 Black Primer for the under.coat. The paiJ1ting will be broken down into three main steps: the stone, the
runes, and the wood and vines.
PAINTING THE STONE
When painting a large model, I approach it Like a piece of terrain and use an orgaAic process of drybrushing and washing.
This helps bring out the details and texture of the stone, creating-a rich, weathered Surface.
Step 1) Drybrush the entire model with Bastion Grey, using a couple passes to build u p the color. Be sure to get the
sides of the stones. Don't worry if the paint bleeds into the recesses or gets too bright; the model will be washed in
the next step to deepen the tone.
Step 2) Mix up a wash using Armor Wash, lronhull Grey, mixing medium, and water. Paint this over the .entire model,
making sure it penetrates into all of the recesses. As you work, blot the model with a paper towel to prevent the wash
from pooling on the surfaces. The result should be a slightly mottled appearance to the grey stone with nicely shaded
recesses. Allow the wash to completely dry before moving on.
--
---
--
--
-- -
---
MODELING & PAINTING
19
Step 3) Drybrnsb the color back up with st1ccessive Layers.

Begin with Bastion Grey.
Then apply Trollblood Highl ight.
Finally, apply a mix ofTrollbl.ood Highlight and Menoth

White Highlight.
Step 4) To finish the stone, mix another wash of Brown

In,k and Ironhull Grey, and add a small amount of Armor
Wash. Thin the mix with a lot of water so it won't go on too
heavily. This wash helps soften the drybrushing and gives
the stone a slight brown tint. Paint it over the stone, and
blot it with a paper towel like in step two.
PAINTING THE RUNES

The runes are a vita Uy important detail of this model, and painting them isn't as tough as it seems. The layer of white is
the most time-consuming step of the whole mode.I, but adding the green tint afterward proceeds much more quickly. The
results are well worth the effort, as you'll see.
Step 1) Thin Menoth White Highlight with water and mixing medium. Paint this mix into the recessed runes using a
sharp work studfo bmsh. Poke the \Vash into the areas where the runes are thickest and where they intersect, anq let the
mix flow out into the rest of the rune. Then, bring the brush to a point and use it to pull the wash out into the thinner lines
of the mnes. If the white color thins out too much, add more Meno th White Highlight to the mix and dab it into the white
runes. Try to keep the white as controlled as possible, but donrt worry if a little runs onto the surface of the stone.
20
MODELING & PAINTING
- -------- -- ---
-----~-
--------------
- ---
----
Step 2) Make a wash of Necmtite Green and Cygnus

Yellow (about 60/ 40) and thin it with water and mixing
medium. Paint this over the runes in broad strokes, and
watch the glowing runes pop with color! Cover the entire
plate, taking care to keep it away from the edges.
If the wash runs into the recess around the edge, quickly
blot il up using a dry brush.
This wash tints the stone green around the runes,

enhancing the "glow."
Step 3) Finish off the glow by washing Yellow Ink thinned

with water in patches in the center of the rune plates.
n
r
'>
;i
PAINTING THE WOOD AND VINES
The next major step ls to paint the log-and-rope understructure of this organic construct. Again, it's a simple matter of
applying basecoats, washes, and a little drybrushing.
Step 1) Basecoal all the logs, ropes, and vines with Gun
Corps Brown. Don't forget about those little stumps on the
metal sp.rues!
Step 2) Drybrush the wood with Rucksack Tan. Use a small

drybrush so you can keep the paint on the wood and vines.
Then basecoat the exposed ends of the logs with a 50/50
mix of Rucksack Tan and Menoth White Base.
---
--
MODELING & PAINTING
21
Step 3) Drybrush the ropes with Moldy Ochre.
Step 4) Mix Brown Ink with a couple drops of Armor Wash.

Add mixing meditun toJ1clp it Aow into the recesses. Wash
this over all of the logs, ropes, and vines.
Step 5) When the wash is completely dry, apply a very light dry brush of Menoth White Base on the raised areas.
FINAL DETAILS
We're in the home stretd1 1 With the tbree major steps out of the way, alJ that remains is to finish off the details and to
base and assemble the model.
Step 1) Basecoat the gemstones with Thamar Black, then

blend up the color using losan Green and Necrotite Green.
Add a spot highlight at the top with Morrow White.
22
--
MODELING & PAINTING
- ---- -
--
--
Step 2) Pick out the leaves all over the model with Ordic
Olive, and add a highlight with Wurm Green.
------
--
-- - -
- -
--
--~~
Step 3) Before gluing the arms in place, finish off the base
of the modl'I to mt1tch your army.
l.
Step 4) Attach the .irm<; and the small logs and the
\Voldwrath ii. finishl><l and ready for the tabletopl
CONCLUSION
I hope this guide ha<, g iven you a few ideas to
help '>pc?ed up the painting of large models.
r.11nting gargantuilns and rolossals is no different
than painting a <;mailer warjack or warbeast. Just
rcmember to breal\ the proces:. down into a few
main steps <1nd t.1cklc each one separately.
'lil next timt!
--
-------------
-~--
-----=
---= ----=-- - - -- -
MODELING & PAINTING
--
23
For Blood or Gold:
Farrow
slaughterhousers
of the circle orboros
By rob hawkins
In this Modeling & Painting series, were going to show you how to convert various Mercenary and Minion units to match the
aesthetic of their preferred client factions. Never content to limit ourselves to a simple palette swap, like painting Steelhead
Halberdiers in Khadoran colors, well expand our focus to converting the models equipment to reflect modifications obtained
during extended deployments.
Converting Farrow Slaughterhousers into a Circle Orboros-themed unit is something of a challenge. These are fairly solid models,
so simply replacing shoulder pads and other armor bits isnt really an option. Instead, weapon swaps are the way to go. One of
the weapon shaft styles happens to match the Warpborn Skinwalkers halberds, and since the Slaughterhousers have a piecemeal,
mismatched appearance to their armor anyway, I decided to supply part of the unit with the Warpborn Skinwalker weaponry. The rest
will have the voulges wielded by the Druids of Orboros, adorned with trophies and skulls.
painting the slaughterhousers

a
A) Using Formula P3 Clippers, cut away the red-shaded

portions of each weapon. Trim the ends of the weapon
haft flat with a hobby knife.
54
Modeling & Painting
B) This will leave you with the Slaughterhousers

weapon haft and the head and end of the Skinwalkers
axe. Leave as much of the narrow posts as possible to
function as a pin to secure the parts together.
C) Use a 1.25mm drill bit to make a hole in each end of

the weapon shaft.
D) Super glue the end parts into the holes. If the fit is too
tight, file the post a little until it fits.
E) With the Skinwalker weapon completed, assemble

the model.
Step 2: Sculpting the Shoulder Pad

The weapon swap is a simple conversion to give the Slaughterhousers a little Circle flair, but if youre feeling
ambitious, you can add some sculpted detail to the shoulder armor.
A) Press some Formula P3 Brown/

Aluminum Putty onto the shoulder
armor, making sure to cover it all the
way to the edges.
B) Flatten it to create a thin layer,

then smooth the surface with your
sculpting tool. Trim away any excess
putty to create clean, smooth edges.
C) Using a mechanical pencil with

the lead removed, press some rivets
into the putty at the armor plates
attachment points.
The putty will cure rock-hard, so let it cure partially before continuing. Drying times may vary, so let the
model sit for about an hour, checking on it periodically. You can gently poke the putty with the point of a
sculpting tool to test its firmness. When the point wont go in and the putty feels firm and rubbery, move
on to the next step.
Modeling & Painting
55
D) Using a marker, draw lines to indicate where the raised

areas of the shoulder pad will be. Look at other Circle
models and replicate the lightning bolt-style details.
E) Slice away the putty with a Formula P3 Hobby Knife,

essentially drawing with the blade and pulling out the
negative spaces to leave behind a raised latticework.
F) Once youre satisfied with the results, let the putty

cure completely and gently file over the surface. This
will smooth the latticework, square the corners, and
remove marker lines that might interfere with priming
and painting.
Step 3: Adding Druids of Orboros Voulges and

Gallows Grove Trophies
a
A) Use parts from the Gallows

Grove to attach grizzly trophies to
your Slaughterhousers weapons.
B) Begin by removing the redshaded portions of the parts.
c
D) Attach the completed weapon
and finish assembling the model.
C) Use a .85mm drill bit and rod to pin the parts together as shown.
56
Modeling & Painting
painting the slaughterhousers

Step 1: Painting the Flesh and Fur
A) Basecoat the Slaughterhousers
flesh and fur with Gun Corps
Brown.
B) Wash the flesh and fur with a mix

of Thornwood Green and Umbral
Umber.
C) Once the wash has dried,
drybrush the flesh with Gun Corps
Brown and add a few highlights
of Gun Corps Brown mixed with
Rucksack Tan.
D) Wash the fur mane with a mix of
Umbral Umber and Thamar Black.
Darken the fur at the tips by adding
extra Thamar Black into the mix.
Step 2: Painting the Leather Straps

A) Basecoat the leather straps
with Battlefield Brown. Be sure to
include the straps at the head of the
weapon. Basecoat the bandages with
Rucksack Tan.
B) Highlight the straps with a mix

of Battlefield Brown and Bootstrap
Leather, bringing the mix to straight
Bootstrap Leather for the final
highlight. Give the bandages a light
drybrush of Menoth White Base.
C) Pick out the rings, rivets, and
chain mail with Cold Steel, then
wash the metal with Brown Ink.
Wash the bandages as well, but take
care not to darken them too much.
D) If the bandages become too
muddied, as mine did, add some
highlights with Rucksack Tan and
Menoth White Base.
Modeling & Painting
57
Step 3: Painting the Wood and Bones

a
A) Using a controlled drybrush so you dont mess up

your previous work, paint the bones with Menoth White
Base and the wooden weapon head with Rucksack Tan.
B) Paint the brass details of the weapon head with a mix
of Molten Bronze and Rhulic Gold.
Step 4: Painting the Armor

a
C) Wash it allbones, brass, and woodwith Brown Ink.

D) Once the wash has dried, lightly drybrush the bone
back up with Menoth White Base and highlight it with a
mix of Menoth White Base and Menoth White Highlight.
Similarly highlight the wooden voulge head with
Rucksack Tan and Menoth White base.
A) To match the color scheme of the

Circle Orboros armor, basecoat the
plates with a mix of Molten Bronze
and Rhulic Gold. Pick out a few
details like the gauntlets, hoof plates,
and weapons with Pig Iron.
B) Wash the brass armor with Brown
Ink and the steel with Armor Wash.
Take care not to get any of the wash
into the sculpted recesses of the
shoulder pad; the next step will be more
difficult if the recesses are too dark.
C) Mix equal parts Iosian Green and

Turquoise Ink and paint it into the
recessed areas of the weapon heads
and shoulder pads. If any of this
wash strays onto the surface, touch
it up with the armors base color.
Highlight the edge of the Skinwalker
axes with Quick Silver.
D) Since not all of the models
have sculpted shoulder armor,
incorporate the green color by
washing the armor with the
Turquoise Ink/Iosian Green mix
to create a patina on the brass. This
is particularly effective around the
armors rivets and large studs.
58
Modeling & Painting
Step 5: Painting the Final Details
Highlight the lips and ears with a mix of Gun Corps Brown and Midlund Flesh. Give the models a once-over to pick
out any additional details like the tusks, wolf tails, necklaces, and earrings. Base the Slaughterhousers to match your
Circle armys basing scheme, and theyre ready to butcher your foes!
Conclusion
I hope this gives you some inspiration and ideas on how to incorporate Farrow units into your army. You could
theme the entire unit to match a Druidic or Wolf theme, or you might use a mix as Ive done here. Since the
majority of this conversion revolves around weapon swaps, its easy to apply these techniques to other factions
as well. Its not difficult to imagine Skorne-enslaved Slaughterhousers armed with Karax halberds and painted
in a red-and-gold color scheme.
Modeling & Painting
59
(l)ainting
lfqinn nf !fuITblig~t
THE 12 STEPS
TO EVERBLIGHT
El
Begin by basecoating the Resh

with Frostbite mi xed with a
touch of Exile Blue and a touch
of Skome Red.
Add more Exile Blue and

Skorne Red to the basecoat for
the shading.
II
Highlight the flesh by adding

Morrow White to the basecoat.
Wash the desired flesh areas

1....;t:h a mix of Khador Red Base,
Carnal Pink, Murderous Magenta.
Mixing Medium, and water.
Painting the beasts of Everblight can be accomplished in 12 easy

steps. These steps include the flesh, d1itin, and teeth. This is the way
wepaint them in the stuctio-1'\fith Everb light's approval, of couise.
Colors used:
Sanguine Base
Skorne Red
Gun Corps Brown
Khador Red Base
'Jack Bone
Exile Blue
Murderous Magenta
Morrow White
Q Carnal Pink
Thamar Black
Frostbite
Red Ink
Battlefield Brown
Brown Ink
Umbral Umber
Mixing Medium
Hamme rfall Khaki
BLOOD SPLATTER
TECHNIQUES
Many of the Legion models incorporate ripped skin and fl esh th at
show the ravages of dragon blight. Adding gory details to these
models emphasizes their character and increases realism. TI1ere
a.re two techniques we use in the studio to create these effects: the
"blow" technique and the "flick" technique. Let's look at how ead1
works, the differences in the results, and some common mistakes.
l3low Setup: The paint

mix tute I use to simulate
blood is a mixture of two
parts Brown Ink and one
part Red lnk. Load a Fine
hobby brush Mth ink.
Wipe some of it off on a
paper towel, but make
sure your brush retains a
point. Position your brush
about half an inch away
from the target area.
Blow Action: Next just

blow a very hard, short
burst of air on the brush lo
spatter the paint. Be sure
to have a second, slight!}
danip brush handy to
soak up any overspray.
It's best to practice this
on something else before
committing to a miniatu re
Colors used:
.
Red Ink
Brown In k
Shade the washed areas with

a mix of Khador Red Base and
\ lurderous Magenta.
Reclaim any flesh areas with

Morrow White and chitin areas
with Thamar Black.
Basecoat the teeth with 'Jack

Bone.
Highlight the teeth with

\1enoth White Highlight.
Basecoat the chitin with a mix

of Battlefield Brown, Umbra(
Umber, and Cun Corps
Brown.
Shade the chitin with a mix of

Thamar Black, Brown Ink, and
Red Ink.
Umbra ( Umber and Sanguine

Base.
m.
Blow Results:
The blow
tech nique
is great for
precise,
focused
spattering,
Because it is
easy to control and yields a random pattern
this is the technique I use most often.
Flick Resul ts:

The flick
.. t
technique
!
; :
:,
creates swaths
.J,J( f; ,' . r~ of spatters so
ti..! . -~ :"
' '; -~-;,.
"i '
is great for
;..~, '/
',:-.
simulating
blood flung
.1p m the heat of combat. Remember
o have a second brush reildy to dean
1.1p immediately after each fling, as this
...oehnique is not very accurn le.
..
'..
.,
}'
..
Blow Overkill:
The most
common
mistake when
using this
technique is to
oversaturate
an area by
overloading your brush or layering too
many spatters on top of each other. Try to
keep the spatters concentrated on one part
of the model and remember: a little goes
long way.
Flick Wrong
Brush: One
common
flicking error
is to use a
brush that
does not come
to a fine point,
such as a flat or dry brush. Another is lo
forget to point your brush lip between
each flick. The result of these mistakes
is the same: an enti re ly ra ndo m spray
pattern, like when a toothbrush is used lo
~patter paint.
Highlight the chitin with a

mix of Battlefield Brown and
Hammerfall Khaki.
Flick Setup:
For this
"' ' 1
technique~
a work orb
hobby brush.
Load up your
brush and
wipe a little
off, maintaining a point on the brush tip.
Then position the bru-.h about half an inch
.1way from the target area. Pull the tip of
your brush back as far as it will go and
let fly!
Combined
Technique:
Using blowing
and flicking
together can
create some
especially nice
blood-spatter
cffocts. You can also use thCi>e techniques to
paint spattered mud and create texture on
stone surfaces.
BLJGHTED FLE5H
Step 1) Mix a smaJJ dot each of Exile Blue and
Skorne Red into Frostbite for the basecoat,
making sure Frostbite remains the dominant
color. Add a couple more dots of Exile Blue and
Skorne Red to the mixture for shading.
Step 2) Mix just Skorne Red and Exile Blue for
the final shad ing color.
Step 3) Mix some of the base color with Morrow
White for the initial highlights.
Step 4) For the final highlights, add a little
mixing medium to Morrow White to ease the
transition of color.
Step 5) Use Thamar Black to black out the eyes
and draw a thin eyebrow line.
Step 6) Fill in the eyeballs \\ith Trollblood
Highlight, leaving a thin line of black around the
rim of the eyeball.
Step 7) Add tiny dots of Morrow White to g ive
the eyes expression while maintaining a lifeless
and alien look.
Step 8) Apply a thin glaze of Murderous
Magenta on the lips nnd upper eyelids.
D Frostbite
Exile Blue
0Troll blood Highlight
Skorne Red
D Morrow White
Thamar Black
Murderous Magenta
BEA5T FLE5H
Step J) The blighted Nyss and their warbeasts
share the same ski n tone, so start by shading and
highlighting your beast's flesh as described in
the section on blighted flesh.
Step 2) Wash the areas with a mix of Khador
Red Base, Carnal Pink, Murderous Magenta,
mixing medium, and water.
Step 1) Basccoat the chi tin with a mix of

Battlefield Brown, Umbral Umber, and Gun
Corps Brown.
Step 2) Shade with a mix of Thamar Black,
Brown Ink, and Red Ink.
Step 3) Highlight with a mix of Battlefield
Brown and Hammerfall Khaki.
Step 3) Shade with a mix of Khador Red Base

and Murderous Magenta.
Step 4) Reclaim any flesh areas with Morrow
White.
Khador Red Base
Murderous Magenta
D Carnal Pink
D Morrow White
Battlefield Brown
Brown Tnk
Umbral Umber
Red lnk
[]G un Corps Brown
Hammerfall Kh aki
Thamar Black
PLATJnum ARIDOR
Step 1) Ba..ecoat the am1or w ith a mixture of Pig Iron,
Beaten Purple, and Cxile Blue. \fake sure lhe iron metallic
dominate.., the mixture.
S tep 2) For the -;h.1ding, mix equal parts Coal Black, Exile
Blue, nnd Sanguine Base, then add a couple of drops of
mixing medium for translucency. Apply this mixture as a
wash to define the armor's complex textu re of the armor.
Step 4) After m.1ttc-...caling the model, highlight the edge<.

of the <lrmor with Quick Silver.
[] Pig Iro n
Beaten Purple
Exil e Blue
Coal Black
Sang uine Base
D Radiant Platinum
D Qu ick Silver
Step 3) J ligh ligh t the text ure using multiple layers of

Radinnt Pl.1tinum. Blend as you go, and allow some of the
color from thC' previous s tep.., to show through.
BLACK LEATHER ARIDOR

Step l ) 13asccont the ILalher armor with Thamar Black to
ensure an espcrially dark bclse.
Step 4) Paint thl' trim and rivets following steps I, 3, and 4

in Pl<llinum Armor (see above).
Step 2) Mi>. Coal Black with Exile Blue and a drop of mixing
medium and use this to apply highlights.
Thama r Black
Coa l Black
D Frostbite
Step 3) Add Fro!>tblle to the prev1ouc; mixture and continue

highlighting 1n ..,uccc!>sivc layers, adding a little more
Fro<,tbite to the mh.ture for each layer.
Exile Blue
BLOOD 5PLATTER TECHnJQUE5

Blow 2) Blow a very hard, short burst of air on
the brush. Be sure to have a second, slightly
damp brush handy to soak up any overspray.
lt' s best to practice this on something else before
committing to a miniature.
Blow 3) This techn ique is great for precise,
focused spattering. Jt is easy to control and
yields a random pattern. Take care not to
oversaturate the area by overloading your
brush or layering too many spatters on top of
each other.
Blow 1) Mix two parts Urown lnk and one part

Red Ink. Load a fine hobby brush with ink. Wipe
some of it off on a paper towel, but make sure
your brush retains a point. Position your brush
about half an inch away from the target area.
Brown Ink
Red Ink
..
D
Flick 3) Be sure to use a brush that comes to a
fine point and to point your brush ti p between
each flick to avoid making an entirely random
spray pattern.
Flick 1) Load a work or base hobby brush with

the ink mixture and wipe a little off, maintaining
a point un the brush tip. Positi.o n the brush
about half an inch away from the target area.
Pull the tip uf your brush back as far as it will go
and let fly!
Combi ned Technique: Using blowing and

flicking together can create some especially nice
blood-spatter effects. You can also use these
techniques to paint spattered mud and create
texture on stone ~urfaces.
Flick 2) Thi., technique creates swaths of spatters

and can be messy, so have a second brush ready
to clean up immediately after each flick.
. .
...': "''
.. .
.,
..
. , ...
:
.
. T .,_
,/ /. . : .
.
(,/~ .
;. : -:.'": .
.J
.:.
. .
. ....
\ --:.
..... f
.'
"-
...
:" 1.~, ; '
.,
... ' ...

~
'
..
'.
'I
D
II
D
D
Morrow Whi te
0.1 ttle fie ld Brown
Be a s t H id e
Ca.rna I rtcsh
M e noth W h ite Base
II
II
II
II
D
Murd e rous Magenta

S a n g uin e Base
U mbra! U mbe r
Exile Bl u e
II
D
II
II
Bh1e Ink
H amme rfa U Kha ki
Brown Ink
T h a m a r Black
Fros tb ite
ARCH ANGEL: BEASTLY DETAILS

Tht> J\rchanglI ha., an 1monnc1us amount of detail p~ckcd
onto a t.mta-.tic ..culpt These details are all themes that
.1ppt'a1 on othlr Legion ~Jc..t<., but with the c;ize and detail
ol thl' mtlliel ,.. e Cclll achil'Vl' more striking results than on
sm,11Icr bt.aw
Step 1) In thi., inMgc, the .,kin has been highlighted and
!-.hadt.>d l:'\Cl'pl tur thc fin.ll \forrow White highlighting. The
bon} armor plilting h.1s been ba~coated with a mixture of
Battlefil:'ld Brown .md BtMsl Hide. The gums and tongue
haw bc1m b,1sccoatt.>d with Carnal Flesh, and the teeth have
bt'en ba<.1..co.11cd with Menoth White Base.
Step 2) Ust' ,, glrt/C or Murderous Magenta mixed with
Sanguilw Ba!-l' to alter the color of the tlcsh and mouth. You
can also u ~e thb mixturl' tti work some colo r into the wing
n1embr.11ws.
Step 3) Add Umbr,11 Umber to the mixture from step 2 and

work tlw 1ww mixlurl' into the deeper crevices that separate the
told' 11( flec;h. Also blend thic; mixture into the base o( eadl tooth.
Step 4) Bhmd a mixtun of Umbrell Umber and Exile Blut

lllltl the base ol the teeth and u ...e it ~paringly to !>eparalc the
vant'U" p.irb lrom one another.
Step 5) Blend I ro-.tbitc into the back of the mouth .llld into
tht All" on tht' sidt of the head.
Step 6) lJ.,1ng .1 3; I ml\ture ol Blue Ink and T urquoic.c In!-;,
gl.ve the Ml'" \'OU painted Frostbite in step 5 to crtatl' ,,
glmv ing eflcct
Step 7) U!>mg 11.lmnwrf.lll Khaki, highlight the armor plat~
with ' i>erie~ of p.1rallcl hncc:: that accentuate the textun. ol
tlw bony plate~.
Step 8) Sh.idc thP brown plates with Bmwn Ink mixed with
.1 ~mnl l
;imounl of Battlefiel d Brown.
Step 9) Add Thamar Bl<lck to the m ixture from step 8 .md

bltnu thl' 1ww mixture toward the points of the armor pl.1tc~
ilnd into the crevice!- as additional shading.
LJ Arcane Blue
-
Basllon Grey
Beast Hide
Beaten Purple
Bloodstone
Brown Ink
Coal Black
[=:I Cold Steel

-
Cryx Bane Base
Greycoat Grey
ldrian Flesh
Mmng Medium
Red lnlo.
RynFlesh
Sanguine Base
Thamar Black
Step t.) Instead or laying down a standard

basecoat, mix up a wash using Ryn Flesh and
Trollblood Highlight for the skin. Nollce how
the white primer coat shines through providing
automauc highlightS.
Stf'p 3.) Making sun~ 10 kl'ep the wash wet and

at the rh;ht consistency, add some Cryx Bane
Base to the mlxtur<>. and apply another layer of
sh.1dows to the skin
S1ep z.) Add some Mixing Medium and a sizable

portion or Bastion Grey to the previous wash.
With this mix, apply the wash to the undersides
or the mu~cles to begin defining shadows.
Step 4.) 111<' last layer for the skin gives the
shadows SOlll<' sctiOth depth and separates
the Individual muscles. Add Coal Black to the
prl'vlous mixture and apply sparingly to the
rcces~ld areas or the nc~h.
Menoth Whue Bast-
LJ Thrall Flesh
LJ Trollblood Hlghllgh1
-
Umbral Umber
LJ Underbelly Blue
SS
no QURRTER mRGR2InE: mDDELinG RnD PRinTinG
Step 9.) Apply the first coat for each or rhe remaining areas of the model.
Wash rhe chitin plates with Beast Hide. coat the straps with ldrian Flesh,
and hit the teeth and claws with a layer of Menoth White Base. Wash
the sword with Bloodstone. Finally, wash the loincloth with a wash of
Sanguine Base mixed with Beaten Purple.
Step 10.) Shade the natural armor with a wash of Umbra! Umber and
Sanguine Base. I concentrated this towards the edges of the plates.
Step 7.) One way to dominate the copper of the armor with verdigris is tO
use highlighting. Since you have saved so much time already, however.
th is extra step shou ld only take a little bit of rime. just use a 50/50 mix
of Thrall Flesh and Arcane Blue for the verdigris color.
Step 11.) Take Thamar Black and shade the natural armor. Then, mix
Brown Ink with Thamar Black to create a wash to shade the straps,
sword, and loincloth. Give the teeth and claws a similar wash using Red
Ink and Thamar Black. Drybrush Cold Steel on the sword. After finishing
the base, this Nephilim warrior is ready to crush all those foolish enough
to stand against rhe Legion of Everblight!
Step B.) To make the details of the armor pop, go back through and apply
some quick and subtle line highlights using Underbelly Blue.
56
Painting GUide
HORDES: Exigence is packed with monstrous new models
ready to be brought to life by your brush. We start with a
full step-by-step guide for Absylonia, Daughter of Everblight
that includes methods you can use for other Legion models
as well. Youll also find tips for approaching some specific
areas on your models: adding character to meaty trollkin

fists, creating a convincing glow on heated metal, painting
realistic metallic weapons, and bringing out the delicate
details of feathers. These techniques help models stand out
on any tabletop, so grab your brushes and paints and get
ready to take your models to the next level!
Absylonia, Daughter of Everblight

To bring out the inherent motion and character of this
dynamic model, we integrated some additional textures and
tones into the standard Legion paint scheme. Follow along as
this monster comes to life and takes to the skies.
Flesh
Step 1) Basecoat the flesh areas using Frostbite mixed with
small amounts of Exile Blue and Skorne Red.
Step 2) Darken the basecoat color with additional Exile Blue
and Skorne Red. Use this mixture to apply some shading to
the flesh.
Step 3) Add more Skorne Red and Exile Blue to the mixture
used in step 2 and use it to define the deep shadows of
the flesh.
Step 4) Apply smooth blends of Morrow White to define the

flesh highlights. You may need multiple layers to build up
the color.
Wings
Step 5) Highlight the wing membranes with Carnal Pink.
Blend Carnal Pink into the flexible joints of the model as well.
Step 6) With a mixture of Beaten Purple and Ironhull Grey,
create a scale-like pattern on the wing membranes.
102
Step 7) Add small amounts of Battlefield Brown and Exile

Blue to the mixture from step 6, thin it with water, and
blend it over the scale pattern as a translucent glaze. This
will help integrate the pattern into the existing highlights
and shadows.
Step 8) Accentuate the scale pattern with a mixture of Umbral
Umber and Exile Blue.
Step 9) Apply subtle blended glazes of Beaten Purple and
Exile Blue to further integrate the pattern.
Spikes and Chitinous

Armor Plates
Step 10) Basecoat the spikes and chitinous armor plates
with Battlefield Brown. Blend the edges into the flesh and
add a subtle scale pattern by dabbing with the blending
brush. Reinforce this pattern with some well-placed
freehand scales.
Step 11) Highlight the spikes and chitin with Beast Hide.
Aim for a feathered texture to give these areas some
extra detail.
Step 12) Emphasize the highlights and texture with lines of
Jack Bone.
Step 13) Apply a blend of Thamar Black with Brown Ink over
the tips of the spikes to help integrate the texture. Then paint
lines of Thamar Black at the end of each spike to complete
the effect.
Frostbite
Brown Ink
Exile Blue
Coal Black
Skorne Red
Menoth White
Highlight
Morrow White
Carnal Pink
Beaten Purple
Ironhull Grey
Battlefield Brown
Umbral Umber
Beast Hide
Jack Bone
Thamar Black
Radiant Platinum
Pig Iron
10
11
12
13
Blue Ink
Red Ink
Quick Silver
Menoth White Base
Ember Orange
Sanguine Highlight
Yellow Ink
103
PAINTING Guide
Cloth
Step 14) Basecoat the cloth areas using Coal Black mixed
with a small dot of Thamar Black. You need to basecoat only
the surfaces that face the light; the other surfaces should be
left primer black.
Step 15) Add Frostbite to the basecoat mixture and apply
highlights to the cloth.
Step 16) Add a small amount of Menoth White Highlight to
the mixture from step 15 and use this to apply final highlights
to the cloth areas.
Armor
Step 20) Apply a coat of matte sealant. Once this is completely

dry, highlight the armor with Quick Silver.
Face
Step 21) Coat the eyes and teeth in Thamar Black to separate
them from the rest of the model. Using an extremely fine
detail brush, apply some final touches in Thamar Black and
Morrow White to define the enraged expression, making it
easier to read at a distance.
Step 22) Paint each tooth with Menoth White Base, being
careful to leave a border of black between them. Use the same
color to start painting the eyes.
Step 18) Shade the metal areas with a mix of Coal Black,
Beaten Purple, and Pig Iron.
Step 23) Highlight the teeth and eyes with dots of Menoth
White Highlight. Then use glazes to add tones to the details
of the face. Glaze the teeth and eyes with Ember Orange, then
glaze the lips and eyes with Sanguine Highlight. Reapply
any lines obscured by the glazes.
Step 19) Use a mixture of Thamar Black, Blue Ink, and

Red Ink to apply lining and definition to the metal.
Then return with Radiant Platinum to clean up the lines
and rivets.
Step 24) Carefully add final tones to the eyes and teeth with a
thin glaze of Yellow Ink and a thin glaze of Red Ink. Now you
only need to base the model, and Absylonia will be ready to
fly into battle!
Step 17) Basecoat the armor plates with Radiant Platinum,

taking care that this layer appears solid and uniform.
21
14
15
16
22
23
17
104
18
19
20
24
P~fntinx
S'<!n~
Basecoat with 'Jack

Bone. Then wash
the skin with a mix
of Balllefield Brown,
waler, and Mixing
Medium.
After the wash is

dry, go back and
highlight with
'Jack Bone.
Mix some Menoth

White Highlight
in with the 'jack
Bone an d continue
highlighting.
Appl y Menoth
White Highlight
o n the uppermost
edges as the final
highlight.
Paint a little Skome

Red mixed with
Battlefield Brown
under tile eyes. Black
out the sockets,
mouth, and lips with
Thamar Black.
Paint the teeth with

the Skorne Red I
Battlefield Brown
mixture from step
5, and paint the eye
with Menoth White
Highlight.
SKORNE SKIN TONES

ei vastSko rne Empire sbetches over hundreds of miles of
rous terrain, and as a result their skin coior varies much li.ke i.n
ans. Skin tones can differ from ho use to ho use, so here are two
tions fo r how to paint skorne skin. Zaal's skin technique invol ves
ark co ntrasting skin to ne utiJizing quickJy washed shadows
He the Extoller's skin techniq ue takes more time and ca re to
alance softer and warmer shadows.
ti
Colors used:
.
Skorne Red
Battlefield Brown
Thamar Black
'Jack Bone
Mixing Medi um
Basecoat the red

parts of the armor
with Skorne Red.
Begin shading with
a mix ofUmbraJ
Umber and ExiJe
Blue. Finish the
deeper shading by
adding Coal Black
to the shading m ix.
SKORNE~~RMOR
,..,I
When p ainting a
Skorne horde it
is important to
un derstand how to
paint the red and
gold armor clea nly.
Here we show how
the Privateer Press
studio does it, but feel
free to experiment
to fashion your own
process. Note that the
trick to vibrant reds
is using ink glazes.
Remem ber that glazes
need to be thin and
applied conservatively
with multiple coats.
Colors used:
e
skorneRed
Q Ember Orange
Q
Hearlfire
Exile Blue
( ) Radiant Platinum
Q Rhulic Gold
Q solidGold
.Coal Black
Red Lnk
Umbra! Umber
Yellowink
Thamar Black
Brown Ink
Begin highlighting
with a mix of
Skorne Red and
Ember Orange. Add
more Ember Orange
and Hearlfire Lo the
m ix and continue
highlighti ng.
EXTOLLER
Paint the teeth

with Menoth
White Highlight
(MWH). For the
lips, first paint a
line of Thamar
Black mixed with
Mv\/H on the lower
lip. Then add more
MWH to the mlx to
create an off-white,
and dot o nto the lip.
Basecoat the Extoller Mix Gwi Corps

Brown, Bloodstone,
with a mix of 'Jack
and some of the
Bone and Menoth
basecoat color and
White Highlight.
blend it into the
shadows and recesses.
For the final shadow,

blend with a mix of
Corps Brown and
Bloodstone to the
Gun Corps Brown
mix and blend this
and Bloodstone.
color deeper into the
shadows.
Blacken the eye

Hig hlig ht the s kin
w ith a mix of Me no th socke ts and lips with
White Hig hlig ht and Thama r Black.
the basecoat color.
Paint Bea ten P urple

onto the lips, a nd
color the eyes w ith
Menoth White
Highlight.
Colors used:
Beate n Purple
Blood sto ne
Q Menoth White Hig hlight
Gun Corps Brown
'iighlight higher with Ember Ora nge.
'JackBone
~
/
I\
I ';
Glaze the area with Red Tnk mixed with a

touch of Yellow [nk. Around five coats will
do the trick. Finish the red with a final glaze
of Red Ink.
;~l \
;(f
I
Add Menoth White H ighlight lo Beaten

Purple and use it to highlight the lips. 1ben
add more Menoth White Highlight to the
mix and make the final dot.
Thamar Black
For the final highlight paint a li ne across

the to p with a m ix of Ember Orange and
Heartfire.
\ ,
basecoat color
and touch up any
overspills, mistakes,
and zealous
shadowing.
.,,,,, , "
/
;:ecJaim the trim w ith Tha ma r Black, the n

=asecoat the gold trim w ith Rhuli c Gold
-:inned with a touch of Yellow In k a nd
~:own Ink. Shade the gold w ith a mix of
~wn lnk and Ye ll ow lnk.
Begin highlig hting the gold w ith a mix

of Rhulic Gold and Solid Cold. Continue
hig hlig hting w ith a mix of Solid Gold and
Rad ia nt Pla tinum o n the higher points.
G ive the go ld a series of final highlight

points on the upper Lips with Radiant
Pla tinum.
.................................................
BY TED BURGESS &
MEG MAPLES
PR1nr1nu THE SlEUE AnlmAnTARAX

THE ffiALACHITE LEUIOfl
Battle cn>-.im." "'" "'ml: u ti b1 r:-"'SI m~cl<> n \\' .\R\1 ~CHI'- and
HORDES and pr~nt a lut ot !.pace to cover .1nd quit(' ,1 bit oi J~taiL ln thi-.
tutorial, we' II Ix> li--ins an arll-;tk cunC\'f'I C"alll '
., ' d lo cre.-itl? n thrcedimefl!'ional appear.mre on,, I\\ odlmcn 1m JI ... url.lC"t.1 h1.' armor on the S1egt>
Animantar.:ix will bt painttd IL> hlok likt !.(,11;>-. nl malachite. ~tal.1chite i.., a
rough, unt.?\'~n-looking ... tcnc. .md '' l' will u"'' /ro11111<' l'Ht:il to create that dft'CI.
--
32 GUTS & GEARS

--
&
:s
td
-e-
ge
a
:t.
--
GUTS & GEARS
33
--
34
GUTS & GEARS
------
--
--
GUTS & GEARS
35
36 GUTS & GEARS
CONCLUSION
So thore we hovq it, a completed Skorne Siege Animontorox. Wa hove successfully creoted o three-dimensionol oppeoronce on
a two-dimensional surface using the technique known as lrompo l'oeil. It should bo noted why bronze was chosen as the metal
color. The compliment lo green is red, and Molten Bross has a reddi1h tinge to it. Using thoH two colors together creoles o very
sharp, dynamic color scheme. Furthermore, using the compliment to green really help1 to moke the lrompe l'oeil surface more
believoble . Hove hm ond keep pushing yourself to paint bigger ond betterl
---
--
--
GUTS & GEARS
37
sol id Gold
SKORNE GOLD ARMOR

Basernating mcx.fi:-1., th<1t art' hea' Hy armored ran be
ch,11ltngmg. \,INalhc- paintc; tl'nd to be thicker than nonnwtallk p.1111l'; ,1ntl ciln c.fi'itort details on the model if
applied too thick, .1nd trying to basccoat in thin layers of
meta Ille paint c.m ml'an spending a lol of time on the first
step. 111 order to snv<. yourself headache and a lot of time,
use drybrushing to appl)' the b,1secoat, as we did on the
Mommolh. Drybrushing c.m get messy, which is why it
is best as o first stq J on hcavil)' armored models such a!'
Skorne. Onet llw bnsl:!coat is t1 pplicd, move on to another
area of tlw model and come back to finish the armor later.
D
II
II
II
II
II
Midlund Flesh
II
U mbra! Umber
Bastion Grey
Cryx Bane Highlight
Cryx Banc Base
Ba ttlefie ld Brown
lronhull Grey
Greatcoat Grey
Hammerfall Khaki
Sa n g uin e Base
Red Ink
Coal Bl ac k
Ste p 1) Prime tlw model wilh Formula P3 Black Prinwr.

Using a 'i0/50 mi>.turc of Midlund Flesh and Bastion Grey.
pDint the belly, t,1il underside:!, inner arms, and palms. This
will Sl'rvc as tht' bawcoat for the belly. Basecoat the re!>t ot
the model in B.istion Grey
Step 2) lh1s s tep b to crlate visual texture. Breai.. a
p.1ci..in~ peanut in half and use the bro~cn face to ;ippl)
sornl' Cn' Ban<? B.1c,e and B;ittletield Brown on the hc;id
and uppl'r drills u.. 111g your basecoat colors, blend th<'
hlmzon whNe tht colors ol the grt') skin and the l>cll~
O\l?Cl rh1., doesn't Ol't'd to be perfect-just tr) lO blt!nd
the seilm for a soit tranc;1tion
Step 3) Using Create-oat Gre), .-ipply the first layer ot
shadows to tlw sk111 \'1i\ Greatcoat Grey and Sanguine Baw
to get a du.,ky purple and shade the belly with it.
Step 4) Appl y the fin.ii s hading to the skin with a mix ol
Grc,1tct1al Cn')' Co.11 Black, and Umbra! Umber.
Step 5) Rccl.lim p<irt!'l of the b<isccoal using B'1slion Grey

c1c; ncct'SSMy. 1lighlight the belly with Mid lund Flesh, thln
highlight tht grey !>kin wilh Cryx Bane Highlight. Piel<. out
some of thl' tl\lllrl' ot the 1.kin using a mixture of Cryx Bant
Highlight .1nd Trollblood Highlight.
Step 6) Add ,1 fow drops ol mixing medium to a 50 "ill
mi\turc of Bca..t Hie.le ,ind lronhull Grey. Use thi .. Ill
highlight thl' d.-irk grc} s kin, blending it over the linl"'
c~.lh!tl in '> lt'p 'i l'h1"> "111 soften those lines but allm' them
to -;ho'' through
Step 7) \i11x I lammerf.ill KhaJ..i and another drop or two ot
m1\lng mt>d1um into the. pre\iouc; mixture. Apply this a<; a
highlight on thl' dark grey .,kin. Usi ng \1idlund Flesh, pick
out some of the wr1nldcs on the bell).
Step 8) U'>ing l l.1mmcrfoll Khaki, add the last highlight~ to
the hidt'. Mi\ .,omc Hammcrfoll Khaki wilh Midlund Flt~h

.111d .1pply final highlighting lo the belly. Finally, u-;e a mi>.
of Red Ink .1111.I S,1nguine Base to apply a red glaze over the
mas oi i;kin wi th piercings and tea rs.
4. The Gladiator's skin is washed down with

a mix of blue and brown ink, hue keeping
the resul!lng color on the blue side. A tiny
spot of matt medium is added to make it
adhe re better to the surface and also give
a flat color that is appropriate to the beast's
natural hide. The wash has to be applied
fairly care fully - don't let ic fonn inco pools
on the surface.
Once the miniature has been undercoated black, you can base coat the areas that are going
to be gold. It's worth making sure that the whole model is covered with the undercoat - with
large a nd complex pieces like this lt's really hard to get to all the recesses with a spray, so
you'll have to go In with a brush and black paint. We used GW Shining Gold for the base coat,
and it may take a couple of thin coats to get a good even cove rage.
1.
PAINTING
ainting large miniatures

isn't a nything new to a
W armachine player, but
with the Gladiator you will have
to trade the steam pistons in for
tou gh animal hide, a nd the steel
pla tes in for delicate filigreed a nd
e namelled armor. The G ladia toi:1s a new paint ing c haUenge,
b ut hopefully a rewarding on e.
T here is a lot of texture to t his
miniature-the skin is heavily
textured and some of the armor is
covered with a fine filigree pattern.
Both of these a reas of the model
can be pai nted q uickly with wash
techniq ues - t his also bri ngs out
the detail and gives some d epth.
The Skorne faction color
scheme is a very distinctive red,
black and gold, so the neu tral grey
skin color of the Titan doesn 't
compete too much w ith this - a
brighter color could clash a nd give
a messy look to the miniature.
The foUowing pictures take
you stage by stage th rough the
pai nting of the Gladia tor.
z. Once that base coat is thoroughly dry it is

washed down to create the shading and bring
out the der:all. We used a mlx of brown and
yellow ink. with just a spot of matt medium
added to make it adhere to the surface better.
The mix is thinned a lot and applied liberally.
It should be left to dry thoroughly before
doing anything else-this can be sped up by
blowing on it with a hair drier.
3. The next see p is to base coat the skin and

red annor. The annor is painted with a mix
of Scab and Blood Red, and the skin is given
a base coat of Wargames Foundry Granite
- which ls a warm mid grey. On both areas
you are aiming for a smooth e ven coat that
you can work over.
5. The skin is highlighted by adding white to

the base color - just follow the creases and
folds in the skin for where that highlights
are applied. The armor is highlighted first by
mixing Blood Red and red ink - note how
the base color is le ft showing over the lower
areas of the armor plates - this is so that the
ove rall effect remains quite deep.
6. This photograph shows the second stage

highlights to the armor and skin. The red
highlights are built up first with Blood Red,
and then Blood Red and yellow and white.
The highlight color for the skin is lightened
with skull white.
0
7. The tusks were given a base coat of a
mid sandy brown color, and highlighted
by adding white to this color. Note how
the hlghlighlS have been applied down the
length of the tusk. this helps to bring out the
ridged texture.
9. The last stage is to paint the details on the

face. The gums and tongue are painted with
a deep pink - take care with the gums to
leave the teeth black at this stage. If you get
some pink on the teeth you can paint over
them wld1 black again.
10. The tongue and gums are highlighted by

adding white to the base color. Note how
the highlights have been dappled on to the
tongue to give a realistic look.
12. This Is the finished model, without the

banner added.
8. This photograph shows a few different

things. The gold has been highlighted with
Shining Gold, and then Shining Gold and
sliver. Cenain areas of the armor have been
glazed with red ink- we did this to the armor
plates that have surface texture. just thin
down the red with water and carefully apply
it over the texture. The ropes have also been
picked out in red and highlighted.
BUILDING THE BASE
o give the Gladiator extra

impact we put it on a scenic
base-this also adds to the
character of the model, making it
look like it comes from a specific
landscape type, in this case cracked
and poisoned earth. This may look
like quite a complex base, but in
reality it was really quick and easy
to make. The basic structure of
the base was made from Plaster of
Paris, just mix it up following the
instructions on the package and
pour it into an empty blister-box lid
to d1y- about 6mm deep is perfect
for this. Once we have the plaster
mixed, we pour a few different
depths of plaster into blisters at
the same time - saving the rest for
different basing projects. When the
13, 14, 15. These photographs show the way the red was painted on the banner. The base coat Is
a mix of Scab and Blood Red. then the highlighlS were built up - first with a mix of Blood Red
and red Ink. then by adding yellow and white to this color. When the highlights are dry, the
banner is glazed over with thinned down red and yellow ink - this makes the color deeper
and richer.
plaster is thoroughly dry we turned

it out of the blister and started to
break it into the shape we wanted.
This is quite a messy process, so
you might want to put a couple
of sheets of newspaper down on
your work surface. An old pair of
pliers is really useful here-hold
the plaster "sheet" in one hand and
use the pliers to crack and break
the edges into the shape you want.
Once you have the shape just right
it can be stuck onto the base. You
wiJI find it's easiest to cover the top
of the base with putty to create a
Oat surface.
When you are breaking up

the plaster you will end up with
lots of broken pieces-this makes
great rubble. Paint the top of the
plaster slab with glue and sprinkle
and press the broken pieces into
place. Once they are dry you can
wash over with thinned down glue
to make them really secure.
The photographs and captions
below take you step by step
through the painting process.
The whole base was given a coat of

Bleached Bone - this is thinned with water
and applied liberally, making sure to totally
cover the rubble on the top.
1 -
2 - When the base coat was dry. the bone

color was washed down with a mix of
Scorched Brown and Chaos Black - only a
little black is added to take the warm edge
off the brown. The wash is thinned down a
lot with water before it' s applied.
3 - The next step was to thin down Vermin

Brown and add it to select parts of the base.
Note how It has been painted around the
edge of the slab to make It look like strata
running through the rock. You can be quite
liberal with this color-much of it will be
covered with the highlights.
4 - The highlights are built up with Bleached

Bone and Skull White . They are applied with
a small artists sponge-just mix the color as
normal on the palette and dip the sponge in
it. Most of the color is wiped off on a paper
towel before it is carefully dabbed Into
the surface; this creates a natural dappled
effect. The highlight color is lightened and
the process repeated.
Finished Titan Gladiator standing on it's scenic base
5 - The color is added back in by re-applying

some thinned Vermin Brown. Palnt a little
area onto the base and then use a second, wet
brush to work it into the surface.
6 - Final highlights of pure Skull White are

added to the edges.
slaves
For Blood or Gold:
Skorne
By rob hawkins
In this Modeling & Painting series, were going to show you how to convert various Mercenary and Minion units to
match the aesthetic of their preferred client factions. Never content to limit ourselves to a simple palette swap, like
painting Steelhead Halberdiers in Khadoran colors, well expand our focus to converting the models equipment to reflect
modifications obtained during extended deployments.
My inspirations for this Skorne Gatorman Posse were Nile crocodiles, some of which display a mottled yellow-brown
coloring. I imagined a more arid variety of gatormen living near the waterways of the Bloodstone Marches and
enslaved by the Skorne Empire. Under the command of a paingiver taskmaster, these brutal creatures are brought
into battle adorned with ornate armor and weaponry.
Converting the gatormen

Start by assembling the head, body, and legs of the
Gatorman grunts and puttying any gaps in the joins.
We will be using Praetorian Praetor shoulders for the
gatormans knee pads.
Parts Used
Cataphract Arcuarii left shoulder x9
Praetorian Karax shoulder x2
Praetorian Praetor shoulder x8
Tyrant Commander & Standard tyrant right arm x2
Tyrant Rhadeim weapon x4
Tyrant Xerxis banner
Modeling & Painting
33
Step 1: Attaching the Knee Pads

a
A) Create some straps for the

armor by slicing strips of thin
plastic card. The card should be
about 1 mm thick and the strips
1/16 wide. Use a steel ruler and
a Formula P3 Hobby Knife to
make straight, even cuts.
B) Apply Formula P3 Super Glue to the

inside of the plastic strip and wrap it
around the back of the models knee. Hold
it in place until the glue sets.
C) Trim the excess plastic and glue the
shoulder pad onto the knee, making sure
the horn points upward.
Step 2: Replacing the Halberd Heads

a
A) To give the Gators more ornate weaponry, you can use

any halberd head you like. Ive selected Tyrant Rhadeims
weapon. Begin by cutting away the red-shaded portions as
indicated. Once you remove the plastic halberd blade, use
your hobby knife to whittle away the wrappings on the
gatormans weapon shaft, creating a smooth, even end to
the handle.
B) Cut the end of the weapon handle to match the angle
of the halberd head. For added stability, use a Formula P3
Drill and 0.85 mm rod to drill and pin the parts together.
C) Super glue all of the parts together for the Gatormen

arms and weapon. Check the fit on the model to make
sure the spikes on the knee pads dont interfere with the
arm placement. If they do, clip off the arms shoulder peg.
This will allow you to twist the arm a little so the weapon
or hand clears the knee pads.
D) When you are satisfied with the weapon placement,
super glue the arms onto the model. Dont worry about
any slight gaps in the shoulder joins; these will be hidden
by the shoulder pads.
34
Modeling & Painting
Step 3: Converting the Shoulder Pads

a
A) Well use the Cataphract Arcuarii left shoulder pads on the grunts and the Tyrant Commanders right arm for the
leader. Because the backs of the shoulder pads have holes for banners, we need to do a little extra work. Use a hobby
knife or file to carefully remove some of the metal so both sides of the armor match. In the image, you can see the red
areas that should be trimmed away to create the scalloped shape. You also need to remove the Tyrants arm.
B) Add some Formula P3 Brown/Aluminum Putty to smooth over the remnants of the holes and even out the thickness
of the edging. You need to reverse orient the Tyrant shoulder pads on the Gatorman leader as the outside point is
now at the top. Because of this, the horns will be pointing out and down. To get them going the right way, bend them
upward with a pair of smooth-tipped pliers.
C) Attach some plastic strips just as in Step 1, then glue the shoulder pads in place. The Gatorman grunts are finished
now its time to work on the unit leader!
Step 4: Modifying the Leaders Headdress

a
A) Carefully slice the feathers off of the leaders head.

B) Trim the little bird skull on his forehead so a Cataphract Arcuarii shoulder pad will fit over top. Before attaching this
shoulder pad helmet, trim and putty it as in Step 3.
C) Fill in under the shoulder pad with putty and fit the feathers in place. It may be necessary to trim the bottom of the
feathers a little so they fit snugly against the helmet and over the plates on the gatormans back.
Step 5: Converting the Leaders Staff

a
A) Remove the red-shaded skull at the top of the staff to create a

smooth point at which to attach Xerxis back banner. You wont
need to pin the parts together, but use a 1.90 mm bit to drill a hole to
accommodate the peg on the banner.
B) Super glue the two parts together and carefully bend the
streamers so they have a more natural hang.
C) Conceal the join with a little putty. Roll a thin sausage of putty
and wrap it around the staff. Flatten it a little with your sculpting
tool to re-create the staffs wrappings.
Modeling & Painting
35
painting the gatormen

Step 1: PAINTING GATORMEN FLESH
a
Colors
Used
Armor Wash
Bloodstone
Bootstrap Leather
Brown Ink
Gun Corps Brown
Jack Bone
Menoth White Base

Midlund Flesh
Moldy Ochre
Rhulic Gold
Rucksack Tan
Sanguine Base
Skorne Red
Solid Gold
Thamar Black
Umbral Umber
A) To create Gatormen with a sandy hue, begin by basecoating the model with straight Rucksack Tan. Dont worry
about the armor and weapons, but apply a coat or two to ensure solid coverage.
B) Basecoat the underbelly, including the underside of the jaw, with Moldy Ochre. Then lightly brush over those scales
with a 1:1 mix of Jack Bone and Moldy Ochre.
C) Next, apply a wash of Bootstrap Leather, Gun Corps Brown, and Rucksack Tan to the underbelly. Use a clean, dry
brush to wick some of the wash away from the bulges on the chest and belly.
D) Finish off the underbelly by highlighting the scales with a little Menoth White Highlight.
E) With the gatormans underbelly out of the way, its time to move on to the rest of his leathery hide. Wash the sides,
head, and limbs with Gun Corps Brown darkened with a little Umbral Umber.
F) Apply another wash of straight Umbral Umber on the sides closer to the back plates. Paint this wash into the
shadows between the fingers as well as under the arms and legs, in the eyes, and along the mouth and nostrils.
G) Finish up by using a Formula P3 Small Flat Brush to drybrush the color back up on the gatorman. Use Bootstrap
Leather and Umbral Umber on the sides and straight Bootstrap Leather on the head and limbs.
36
Modeling & Painting
Step 2: PAINTING THE BACK PLATES

a
A) Carefully basecoat all the back plates with Bootstrap Leather.

B) Wash the plates with Umbral Umber, taking care that it stays in
the recesses and doesnt pool on the scales. Once the wash is dry,
drybrush the color back up with Bootstrap Leather and mix in a
little Rucksack Tan for the final highlight.
Step 3: PAINTING THE ARMOR

a
Forces of HORDES: Skorne has a comprehensive guide for painting red and gold armor. Im matching the standard
faction color scheme but using a slightly different technique to knock out the armor quickly.
A) Paint the straps with Umbral Umber and highlight them with Bloodstone and a little Menoth White Base. Then mix
a batch of Rhulic Gold and Umbral Umber and basecoat the armor, including the gold bits on the weapon.
B) Drybrush the gold with a 1:1 mix of Rhulic Gold and Solid Gold.
C) Apply Armor Wash into the slits on the tips of the shoulder plates. Then use a Formula P3 Fine Studio Brush to paint
Skorne Red into the recessed areas of the armor. Thin the paint with a little water so it flows smoothly.
D) Once the red has dried, wash the armor plate with Brown Ink. This will shade both the red and the gold to define the
details. After the wash dries, touch up the highlighting on the gold trim with a 3:7 mix of Rhulic Gold and Solid Gold.
Step 4: Painting the Final Details

a
A) To quickly paint the mouth, basecoat the mouth and tongue with Sanguine Base and then highlight the edges of the
tongue with a mix of Sanguine Base and Midlund Flesh. Pick out the teeth with Menoth White Base, and then wash
the whole mouth with Brown Ink. Paint the eyes with a sliver of Menoth White Highlight and a vertical line of Thamar
Black for the pupil.
B) Basecoat the weapon handle with Gun Corps Brown and the claws and bone spikes with Menoth White Base. Then
wash all of those elements with Brown Ink. Add a little Menoth White Highlight to the tips of the spikes and claws.
Modeling & Painting
37
Step 5: Desert Basing

a
A) Begin by basecoating all of the sand with Bloodstone.

B) Next, heavily drybrush the sand with a mix of Bootstrap Leather and
Moldy Ochre.
C) Finish the sand by washing it with a mix of Brown Ink and Gun Corps
Brown.
D) Paint the base rims black, add some static grass, and the model is ready
to fight for blood and glory!
E) The extra details on the unit leader require a little more work, but they
follow the same steps for the wood, bone, and armor.
Conclusion
There are many armor parts available in the Privateer Press Online Store, particularly for the Skorne range, so feel free to
experiment with different configurations. And remember, shoulder pads arent just for shoulders anymore. Cyclops halberds
would offer a suitable alternative for the weapon swaps, as well. Circle-themed Gatormen can take advantage of parts from the
similarly sized Tharn Ravagers and Skinwalkers. The possibilities are limited only by your imagination!
38
Modeling & Painting
PAIMTIMG T~0LLBL00D~
TrolJbloods is a great army to paint for
those who want some variety in their
color palette. The overall faction paint scheme
is unified by the grey-blue flesh tone and
balanced with a wide range of contrasting warm
brown tones, while the various breeds of fullblood Trolls offer painters the chance to depart
from the standard color scheme. The units and
characters include splashes of color, often atartans and prominent details. These tartan...
an eye-catching component to the models ar
also provide a place for painters to impron_-..
by creating their own tartan designs. All theelements combine to make the Trollbloods t: _
perfect choice for the creative war gamer.
BASECOAT
HIGHLIGHTING
The 1niual coat of pa.int on wt11ch everything else will be bwlL h IS

1mponant that the basecoat ~ very clean and every oolor is where
11 should be Your shades and h1ghhghts wfll coordinate wnh the
b.isecoat and main color cho1re;
A hghter color applied 10 the basecoat In the raised areas of

miniature to aeate the look or light hmtng the slirface. \\he:'
h1c:hhghung 1n mulup!e steps. keep a little b11 or the un9erlying co:
showing. overlapping them like the shingles on a roof.
ORYBRUSHrNG
The quick way to highlight a textured surface. Use a lighter color. but
remove most or the paint from your brush by stroking the bnstles
on a paper 1owel unul 1he paJnt Is almost gone. Then carefully and
quickly move 1he brush back and ronh across the surface of the
miniature.
SHADING
Gl.AZE
A mixture or water and a small amount or Ink that is applied in

successive layers to subtly tint an area
A darker color applied to the basecoat In the recessed areas oI .a

miniature to create shadows. Exaggeraung the shade and higr'1~
colors will add to the \ISual appeal or a model.
WASH
A unted mix liberally apphed to the basecoat to create detaile6

shadtns The wash will run into the smallest crevasses on a modei anG
dry as a shadow, so 11 needs to be a darker color than the basecoo
The wash mix works well as 4 pans Mixing Medium. I pan paint
and 3 pans water
-=.0LLmn fA([~
, ep 1) Lay down a solid basecoat of Trollblood
..e. Use a 50 I 50 mix of Trollblood Base and
~ ~guine Base to shade the skin.
' ep 2) Wash the lips and eye sockets with a mix
.,..rollblood Base and Murderous Magenta.
ep 3) Use a mix of Trollblood Base and Cryx Bane
-.e to apply a final layer of shading.
ep 4) Highlight with a 50/50 mix of Trollblood
,e and Troll blood Highlight. Be sure to leave
"'le of your basecoat showing for the mid tone.
ep 5) Apply Trollblood Highlight sparingly to
tops of the cheeks, jaw, brow, and skull for

fina l highlight.
ep 6) Use a mixture of Battlefield Brown and
e Blue with a drop of mixing medium to color
. chin growths .
Trollblood Base
Sanguine Base
Battlefield Brown
~urderous Magenta
Exile Blue
Cryx Bane Base
t?p 1) Basecoat the leather areas with Idrian Flesh.

ep 2) Shade the leather with Umbra] Umber.
~p
3) Use a mixture of Brown Ink and a small

ount of Thamar Black for additional shading.
~p
4) Highlight the leather with Bootstrap Brown.
2p 5) Apply final highlights using a mixture of

tstrap Brown and Rucksack Tan.
Idrian Flesh
Thamar Black
Umbra! Umber
Bootstrap Brown
Brown Ink
D Rucksack Tan
WHtLP
~~In T0 M t~
PIK[ TR0ll WH[LP

Step 1) Basecoat the miniature with a mix of
Sanguine Base and Trollblood Base.
Step 2) Add Thomwood Green and Thamar
Black to the basecoat color for the shadows.
WIMH~ TR0Ll WH[LP

Frostbite and Trollblood Base.
Step 2) Add Mcredius Blue and Thomwood

Green to the basecoat color for the shading.
Step 3) To create the highlight color, add

Trollblood Highlight and Khardic Flesh to the
basecoat color.
Step 4) Finish the belly with a coast of I<hardic Re-
Sanguine Base
Troll blood Base
Thom wood Green
Thama.r Black
D Trollblood HighlL
D Khardic Flesh
Step 3) Add Trollblood Highlight and Morrov.

White to the basccoat color for the highlights.
Step 4) Finish the belly with a coat of Morrow Wt-~
D Frostbite
Trollblood Base
D Meredius Blue
Thomwood Green
D Trollblood HighllgD Morrow White
[A~TH&0~n T~0LL WH[LP

Trollblood Base and Gnarls Green.
Step 4) Finish the belly with a coat of Thrall Fles~
Step 2) Add a mix of Thomwood Green and Umbral

Umber to the basecoat color for shading.
Gnarls Green
Thornwood Green
Umbra) Umber
Step 3) Add a mix of Trollblood Highlight and

Traitor Green to the basecoat color for the highlights.
Trollblood Base
D Trollblood Highlig
D Traitor Green
D Thrall Flesh
Step 1) Basecoat the krielstone with Bastion Grey.

'>1ix equal parts TroUblood Highlight and Menoth
\1Ute Highlight and heavily drybrush this mix to all
he surfac:es using a flat brush. 1his gives the stone
--0me texture, so the chalkier the effect the better.
Step 2) Ca refully drybrush again with Menoth
Vhite HighJight.
Step 3) To define the shadows, mix Greatcoat
Grey with Formula P3 Mixing Medium and
vater, then apply this over the stone.
Step 4) AppJy additional shading using Cryx Bane

Base. Use a generous amount of mixing medium
at this stage so you do not obscure the texture.
Step 5) Highlight with a blend of Trollblood
Highlight and Menoth White Highlight mixed
with plenty of mixing medium to augment the
translucency of the paint. Apply edge highlight'>
using Menoth White Highlight.
llJ Bastion Grey

D Menoth White Highlight
Greatcoat Grey
Cryx Bane Base
M~TAL
Step 4) Highli ght the metal with Cold Steel.
-Step 1) Over a black undercoat, drybrush the

"letal wilh Cold Steel.
Step 5) Using Quick Silver, pick out the rivets

and add some scratches.
.;;tep 2) Shade the metal with a coat of Bloodstone.

Step 3) Wash the area with a mixture of Brown
~k and water.
Dcold Steel
Bloodstone
.Brown Ink
D Quick Silver
Step 1) Apply Beast Hide at the top of the fur

area and Bootstrap Leather nearby as your base
colors. Keep the paint heavy and thick so it will
stay wet for the next steps. Leave a space of the
basecoat showing between the two colors to
create a mixing field.
Step 2) Use a clean, moist brush to mix the two
colors in the mixing field. Be careful not to mix
the two colors entirely into just one color. You
should leave the two base colors alone on either
side and mix only the area between them.
Step 3) Apply Battlefield Brown as your third base
color next to the Bootstrap Leather that remains
unmixed. Leave a mixing field between the two
colors. (You may notice there is a pattern here.)
Step 4) Mix the Battlefield Brown and Bootstrap

Leather in the second mixing field. Rem~ both
colors must be wet in order for them to mix properly.
Step 5) Repeat the process once more by applying
Thamar Black to the bottom of the fur as the last
base color. Then mix it with the unmixed Battlefield
Brown. Let th.is dry completely before the next step.
Step 6) Mix a wash of Battlefield
Brown, mixing medium, and a touch
of water. Apply this wash to the upper
half of the fur.
Wet blending is a rast and run technique tha t involves m1Xtng

different colors or paint on the miniature while the paint is sull
wet Do nor thin your palms, and move quickly to prevent them
from drying too soon.
Step 7) The final stage is drybrushing. On.

'Jack Bone over the Beast Hide, Beast Hide
the Bootstrap Leather, Bootstrap Leather o
Battlefield Brown, and Battlefield Brown c
Thamar Black.
D Beast Hide
Th amar Black
Bootstrap Leather
'JackBone
Battlefield Brown
TAKTAM~
Step 1) For this pattern, solidly basecoat the
tartan using several thin coats of Exile Blue. Use
different color tones on the cloth and skin to help
distinguish them visually.
Step 2) For shading, blend a 50 I 50 mix of Exile
Blue and Armor Wash into the deep crevices
and along the fabric edges. Then mix Exile Blue
with progressively greater amounts of Frostbite
to gradually build up the highlights in areas that
would typically ca tch the light.
Step 3) Using Menoth White Highlight, paint
equidistant thin lines across the cloth. Don't
.vorry about painting through the deepest
.:revices; drawing the brush only across the raised
..urfaces ends up shading the line nicely.
Step 4) Study tartan images to determine
,here to place the second color. Using the same
technique as step 3 but with a slightly larger
~rush, lay down stri pes of Sanguine Base to
Teate a basic pattern.
Step 5) Carefully highlight the Sanguine Base

stripes by mixing in progressively greater
amounts of Khador Red Base until the brightest
parts are 100% Khador Red Base. Lighten the
small square junctions where the red stripes cross
each other with Khardic Flesh. Further highlight
the brightest of these by mixing in Ryn Flesh
(1:1) and applying this to the most raised areas.
The thin Menoth White Highlight stripes don't
require any highlighting or shading. Use Exile
Blue for any necessary touch-ups.
, I I
I ,JR.
l ~~r'll
Sanguine Base
.Armor Wash
Khador Red Base
D Frostbite
D Menoth White
D Khardic Flesh
Exile Blue
Highlight
0RynFlesh
PAIMTIM6
T~0LL&L00P~
PYRE TROLL WHELP
1-Basecoat the miniature with a mix of Sanguine Base and
Trollblood Base.
2-Add Thornwood Green and Thamar Black to the basecoat
color for the shadows.
3-To create the highlight color, add Trollblood Highlight and
Khardic Flesh to the basecoat color.
4-Finally, paint the belly with Khardic Flesh.
Whelps grow from the flesh cut from a pureblood troll's body, and
as a result they take on the physical characterics of the progenitor.
This offers a Trollblood player the chance to customize his whelps to
batch the trolls in his horde. Here are some steps for painting your
whelps to match the Earth born, Pyre, and Winter Trolls.
Colors Used:
Sanguine Base
( ) Khardic Flesh
Thorn wood Green
Q Trnllblood Highlight
Trollblood Base
Thamar Black
WET BLENDING
BISON FUR
Wet blending is a fast and fun technique that looks great on the
finished miniature. Basically it involves mixing different colors of
paint on the miniature itself wh ile the paint is still wet. Do not thin
your paints; pull them straight from the pots; and move quickly to
prevent your paints from drying prematurely.
Colors Used:
Q BeastHide
0'JackBone
Battle.field Brown
Bootstrap Leather
Q Mixing Medium
Thamar Black
Apply Beast Hide at the top of

the fur area as your first base
color. Keep the paint heavy and
thick so it will stay wet fo'r the
next steps.
Apply Bootstrap Leather near

the Beast Hide as the second
base eolor. Keep it wet and leave
a space of the basecoat showing
between the two colors to create
a mixing field.
Use a clean, moist brush tom.ix

the two colors in the mixing
field. Be careful not to mix the
two colors entirely into just
one color. You should leave the
two base colors alone on either
side and mix only the area
between them .
Apply Battlefield Brown as

your third base color next to
the Bootstrap Leather that
remains unmixed. Leave a
mixing field between the two
colors. (You may notice there is
a pattern here.)
WINTER TROLL WHELP

-Basecoat the miniature with a mix of Frostbite and Trollblood
>i:SC?-
EARTHBORN TROLL WHELP

1- Basecoat the miniature with a mix of Trollblood Base and
Gnarls Green.
:-Add Meredius B,Jue and Thornwood Green to the basecoat

::-r for the shading.
2-Add a mix of Thornwood Green and Umbral Umber to the

basecoat color to use for shading.
~Acid
~Add
;,-...Finish the belly with a coat of Morrow White.
+-Finish the belly with a coat of Thrall Flesh.
Trollblood Highl ight and Morrow White to the basecoat

for the highlights.
a mix of Trollblood Highlight and Traitor Green to the

basecoat color and use it as the highlight.
Colors Used:
Colors Used:
Thom wood Green
Q Frostbite
Thomwood Green
Troll blood Base
Q Trollblood Highligh t
Gnarls Green
Q rrollblood Highlight
'-leredius Blue
Traitor Green
Troll blood Base
Morrow White
UmbraJ Umber
Thrall Flesh
Mixing Paints to Maintain H armony
Repeat the process once more

by applying Thamar Black to
the bottom of the fur as the
last base color. Then mix it
with the unmixed Battlefield
Brown. Let this dry completely
before the next step.
When mixing paints to create highlight and shading colors,

include the basecoat color in the mi x to help create a
harmonious blend. For example, when painting the Earthborn
Whelp we mixed Thom wood Green and Umbra! Umber
togetl1er with the basecoat (Trollblood Base) to create the
shading color, and we mixed Trollblood Highlight and Traitor
Green together with the basecoat to create the highlight color.
Mixing paint this way helps tie the colors closer together and
improves the overall look of the minia ture.
Troll blood Base
Shade Key
Basecoat Color
;.ng Medium, and a

10:er. Apply this wash
- half of the fur.
The final stage is drybrushing.

Drybrush 'Jack Bone over the
Beast Hide, Beast Hide over the
Boots trap Leather, Bootstrap
Leather over the Baltlefield
Brown, and Battlefield Brown
over the Thamar Black. Voiln!
Gnarls Green
Painting Trolls
Trolls of che Bloodstone Marches By Todd Amngron
Base Coat
Base the bone spikes wlth 'Jack 8-0ne. the steel with Ph:
\Haps with lronhulJ Grey, !:lie quills with Sanguine Base. thv
Bloodstone. i.he skin with 6.un Corps Brown. the sack with
large leathers with Umbml Umber, and the Axe wrap wuh
Ba~c the sold with Plg:Jron washed with Blighled Gold.
Iron, thf' for<-arm

lc.uher \lrilp!t with
Rurksuck fon, tht'
BootsltAP l.Pa!hN
Base [oat Colors:

Bon e Spike - 'Jack Bone Steel - Pis Iron Nalls
Bootstrap Lca1hcr
Forearm W raps - lronhull Grey Quills - Sanguine Hlghlight

Leather Straps - Bloodstone flesh - Gun Corps Brown
Sack - Rucksack Tan Large Leathers - Umbra! Umber
Axe Wrap - Bootstrap leather Gold - Pig Iron, Blighted Gold
Shading
\\ash tht bone Pike "ith a ma of "Jack Bone. BIO<ldMone.. and Ba11Mield
llrown W~h me steel wilh a mile of E\lle Blue and 8dttlefi\'ld Brown Wash
m spots llghdy with a mJx of lJmbral llmbe_r illld a touch of BauledrP~., Grt'('n
Wa~h 1he fo!"('arms "raps with a mtg of lronhull Grey, utle Bluf, and J touch of
Thamar Black. For rhe quifis. use a wash of Sam:ulne Base mixed with Red Ink. a
touch of Green Ink, and a touch of Blue Ink. Wash tht> !rather str11p~ with I\ mix
of Bloodstone and Brown Ink. Wash the sktn with a mix or Gun Corp~ Brown,
l Kile Blue, and maue medium Wash thf:' sack with 11 mix of Ruck~ack Tnn and
a wuch or Exilt' Blue. Wash tlte large leathers with Ol mix of Umbrnl Untbcr 1111d
Exile Blue. Wash the axe wrap with a mix
Boomrnp I 1111ther, Brown Ink, nncl
a ~our.I\ of Blue Ink.
or
USE> thrt't' separate washes for the gold. Keep each wash folrly thin and build up
slowly ro create depth and a smoorti metal surface. I Ol'Caslonally loy down the
1Y11,h In larger flat areas and wtck up the wash in area~ whcre I want hlJ!hll~ht~ to
appt'nr. St'e the upper back plate of the Axer for a good cxnmpl1 of rhl~ Thi' lirM
wa~h i~ chree pam Rloodsrone. one part Brown In!.,, and o small touch o( Armor
Wa~h The second wash is a mix of E.icile Blue and BaulefiPld Brown. this ~hould
be nrore blue in hue. The final wash is Umbra! Umbt>r with a rouch Bottlt'dres
Gret'n Thr~ ftnal wash adds some cone on larger surface Mea~ and mellow~ the
blend~. so don't u.se 11 on 5111aller, more te~rured area~.
Shading Colors:
Bone Spike - 'jack Bone. Bloodstone, Banlelield Brown .
Steel - Exile Blue. Battlefield Brown
Foreann Wraps - lronhull Grey, Eltile Blue, Tha mar Black
Quills - Sansume Base, Red Ink. Gr<."f?n Ink. Blue Ink
Leather Straps - Bloodstone, Brown Ink

Flesh - Gun Corps Brown, Eltile Blue, mane medium
Sack - Rucksack Tan. Exile Blue

ta.rse l.eath.e rs - Umbra! Umber, Exile Blue
Axe Wrap - Bootstrap Leather, Brown Ink, Blue Ink.
Gold - Step 1.) Bloodstone, Brown Ink, and Armor Wash: Step 2.) Exile
Blue, Battlefield Brown; Step 3.) Unlbral Umber, Bnttleclrt'SS Green
51
Highlighting
When rughliglunlg. Stait wnh one h1ghllitht color and v .idu.illy hdttt>n u11 10
tlu! hghtest color High~ IM steel with Pig Iron and Cold Strt>I HIJ:hhgln the
forearm slrilps srantng With lronhull Grey up to Menoth H1ghhl!ht Hl'!hhllht the
leather straps with Bloodst0ne up 10 Menorh While Ba<>e H1i;hh1thl the Re;h
wnh Gun Coq> Brown up co Midland Flesh Use more M1dlund ~h .ind ~mall
touches or Ryn Flesh around lhe 6ngertip~ and racial area~ lhiihh11h1 the sack
wnh Rucksack Tan. co Menolh \Vhlce Base. ro a few ,mall touches or Menoth
White H1ghhghL High~ht me laf1e leather ponions wnh Umbr.11 Umber. 10
Bloodstone. then to Menoth While Base a1 rhe >ery t'd\ll'~ llt1:hhl(ht the gold
pans wllh Pig Iron and Cold S1eel.
HiqhliqhtinQ Colors:
Steel - Pig Iron, Cold Steel Nails -
Bootscrap Leather
Quills - Sanguine Hlgllllgh1

Forearm Wraps- lronhull Grey, Menoth White Mlghllgh1
Leather Strap s - Bloodstone, Mcnoth Whi te Rase
Flesh - Gun Corps Brown, Mldlund Flesh, Ryn Flesh
Sack - Rucksack Tan, Menoth White Base, Mcnoth White ~fghllght

Large Leathers -Umbra! Umber, Bloodsione. Ml'noth Whlu Base
Gold - Pig Iron, Blighted Gold
Detailing
HIJhltgln the bone spike with Menoth Whne Base up tu Meno1h While H11:hhlC)lt.
H1ghhght the rhetS with Cold Steel and Quick S1lvl'r. for the naifs. bae with
Bootstrap leather and then slow!~ wortc ro 1he e<l1t' in h.i1ch1n~ la>t'l'1 with
Bootmap Leather. 10 "tenolb Wtu1e Base 10 !'1enoth White lh~ll1eh1 Gla1e the
forearm wraps wfdl a mi'( of lronhull Grey. Blue lnl. and a touch of Thamar
Black. H1ghligh1 the quills with Sanguine Whire lhghltqht up to '1l'no1h White
Base Base die eyes with Morrow W1111e and then touch up wnh C)'lCnu Yellow
Gldze the llesh wtlh a deep bu~undy made from a ml~ or Rt>d Ink. a 1ourh or
Green Ink, a ouch or Blue Ink. and man!' medium Bf' willing 10 use more mane
medium as this extends the ink nicely, finally. highlight the rlvel'li with Cold Steel
and Quick Silver.
Detailin11 Colors:
Bon e Sp ike - Menoth Whi t e Base. Mcnoth Whit e Highlight
Steel Rivet s - Cold Steel, Quick Sliver
Nails - Bootstrap Leather. Menoth Whil e Base.

Menoth White Highllghr
Forearm Wraps - l ron hull grey. Bl ue Ink. Tharnar Black
Quills- Sanguine Highlight, Menoth White B11se

Eyes - Morrow White, Cygnus Yellow
Mouth and Teeth - Mjdlund Flesh. Beaten Purple. Midlund Flesh.
Menoth White Base. Menoch White Highlight
Flesh - Red Ink. Green Ink, Blue Ink, mane medium
..
...
Spocs - Sangui ne Highlight, Menoth White Ba!>c

Axe Wrap - Booestrap Leather. Menorh Whuc Base
Gol d - Cold Steel, Quick Silver
Base Slate
I made the slate base (see p1eture on pa11e so) out of modeltn11
puny. form Into pancake shaped "~fors. nnd lea' e 10 wre
Once cured. break ii apari. sha~ wlrh a hobhy knife unul 11 fits
on the desired base. Primer 11 black, then lay down n base coat
of Jronhull Grey. With a narural sp0nqe, slowly add in Menoth
White Highlight and build up thl' paint, un1ll you are almost a1
a pure Menoth While Highligh t that you lay down only In a few
spots. The glaze is m0de with a mix of Blue Ink, Drown Ink. and
a couch or Thamar Bla~k. Then lighrly dry brush 1he edges with
Menoth While Highllghc.
t each gr0Wt11
Highfight. Make sure
sides, as this will pop
out from the rest of the chin.
Take Sanguine Base and run a

Hne along the underside of each
quill. This separates each quill
from its neighbor and defines the
shadows.
Highlight the uppermost half of

each growth with a 50/50 mix
of Khardic Flesh and Sanguine
High light.
Base coat che tongue and gums

1<1th a mix of Beaten Purple and
.,_,..-
Tro llblood Base.
,-
Black. Then. using Menoth White

Highlight, paint the eye, being
careful to leave a ring of black
a round the entire eye.
~~.Jt.
I~
Gradually acid Carnal P ink to rhis

mix a nd highJight the rongue and
gums sparingl y. for the tongue,
uy applyi ng (he highlights
usmg a series of dots layered
on top of each othe r (known as
"stippling").
:1-~.
Continue painting the eye by

adding a dot that connects the
top and bonom of the eye. There
should be no white showing on
the top or bortom of this dot
since even the sl ightest bit of
white in e ittter place will change
the expression dramatically.
iJ~-
-:
Use a 50/50 mix of Trollblood

Base and Thomwood Green to
shade the skin. When shading,
pay special attention 10 the
sunken cheeks. eye socke ts, and
furrowed brow. When shading and
highlighting, ignore the chin, since
it will be painted later.
Troliki~: ~~:~.-
pale chins with

rocky growths jutting from them .
Mix Trollblood Highlight with
Menorh White Highlight and base
coat the chin. Blend the edges so
chat they fade into the rest of the
face.
Base coat the teeth wfrh a - mix

o f Ember Orange and Battledress
Green.
Add ~ tiny dot of Mo"r row White

to the 1>upil of each eye so that is
appears co be catching the lfght.
Mix a dot of Ember Orange" with

Menoth White Base. then highlight
each tooth witlta series of parallel
lines that run the length of each
one (known as "feathering").
,.._-
. , 1: ' '
'
ff..:'.'
Run a line Of Cryx Barie Base

a long the underside of each brow
and cheekbone.
..
Highiiglu using Menoth White

Highlight. When painting these first
two steps, don't worry about hitting
the rocky growths as you will ju~"t
paint over them later.
. ; ; :,.... .
'~
~4~~
Lastly, uw Menoth White 1-t\ghl!ght

and the feathering technique
above w add the final highlights.
PAINTING GARGANTUANS
n
D
D
II
II
Gun Corps Brown
II
D
'Jack Bone
Umbra l Umber
Thronwood Green
Brown Tnk
Beas t Hide
Thamar Black
Battledress Green
MOUNTAIN KING: TEXTURED STONE

flw towering Mountain hing b guaranteed to look grt.at
with even a ba'>k paint job, but one wa}' to make this bcasth
lCntcrpicce stand out i-. to give thl' mountafo gro\\'ing out
oi his body som~ l'xtra 11..'\ture .1nd character.
opaque coating o( Gun
Step 5) Apply additional shading using a miJ1.turc oi Bro\\n

In!.. and Thomwood Green. Remember that some fo1.1?.. o(
the !->tom: structtm' will not recciw this and sub-.t>qucnl
shades, dlpending on the direction of the lighting vou Jtl'
simulating.
Step 2) Using a large formula 1'3 flat brush. spatter the

stont w1Lh 'Jae!.. Bone
Step 6) Using a mixture of Brown Ink and Thamar Blar!.;,

appl} cxtrcmcl)' darl.. -.hading to rock facec., that arl'
overhanging.
Step l) Bast?coat the !>lone with
<111
Corps Brown.
Step 3) Add i1dditional '>Pilllcring with a 50/ 50 mi'(ture 01

L mbral Umbt'r .md 1hamar Bl.Kl....
Step 4) Apply shading ll'>ing Battledress Green. Isolate e.1ch
f,l(e of the '>tone and apply .. hading separately to each 0 1w
that rL'quires it.
Step 7) Highlight thl' edger, and upward-slanting fau-. '' ith

Btast Hide. Adding some mixing medium to the paint ''ill
hdp thL texture show through the layers.
Base coats are the first co.it or p.ilnt brnsht'<l

omo the miniature Just like "palnllns by
numbers, base coailni: applies dl'!tifj)(I
Fonnula P) paint on the part or the
miniature that needs to be colored A few
rules apply, hoevcr First much like a
coloring book. stay Inside the lone'> by only
covemlg the specific arl'a Tiiis cl~anlmess tS
ery unportam for ma!.i1111 a m1m.iturl' look
good. Second. make wre that th<> color paint
is opaque. nus m1gt11 take more than Ont'
coat of paint but \\1th Formula P) pillnl~
'" Will need re"t'I' coats than
\\llh ~tll(
other brands.
Washes are m1xe~ of f>')1m and/or Ink. maue

medium. and water. There are diffPrt>nt
ratios for th~ mixes, and no one rauo Is
perfect. but a wash must be darker 1Mn
the painted art>a II covers. Tiw Fom1ula Pl
line has two pre-made washes: Armor Wash
and Flesh Wash. I'll Include my ratios 111
this article so you hav(' n platform to j ump
from. Apply washes liberally onto a surface
so the wash runs 11110 the rcrcsscs. clnrk1ns,
and dries 111 pine: to trcatc shadows. This
technique Is fast and i;Ns you results.
DrybrushingDrybrushing ls the olde)t 1echnlque In the

book. U!Jhtly dip u brush in the color ~ou
"anL Then
off the paint wllh a paper
towel until no more conies off the brush In
reality. a bit or paint rem.11ns on the bru5h
'o". "gorou ly "ipe the brush ()a(k and
fonh on the area you want drybrushNI The
pamt left on the bru5h "111 come orr on the
raised areas of the m1mature ~1mulatulj
"'P<'
1sh1ed areas. Although fast. drybrush1ng 1s

t\J>lcally messy Do this early 111 the process
>0 ~-ou can co"er up mist.ii.es
LayerinQ
La1enng 1s a simple blending tl.'(hnlquf'
thaL ,.,"hlle a bit more lime consumlm; than
"ashes or drybn1sh1ng. Is still fast and i:lv<'S
.,onderful results. When layerlm:, 1mlm on
rhe shadows and highlights w11h pu1e pnl111
dfter you apply the hase com The n ile i s:
paint a darkl'r <'Olor In 1hc rcl.'cSsl'll nnd u
lighter color on 1hc OC<'l'l11S or raised ar<ns.
Base roat the wood with lWO layers of Bootstrap

Leather. Gening some paint on the metal areas
now does not matter, but when you paint the
metal, be very clean and careful not to get II.
on the wood.
53
El
Drybrush again using Menoth White Highlight
look at the mess. Good tl1i11g we did thls 6rst.
Thin down Battlefield Brown to ;0/50 mix of

water and palm. Then palm a line around
where l he metal plates meet the wood to
separate these rwo pans.This mix "stains
the wood, allowing 1r to retain most of Its
original color.
To shade, llberally apply Armor Wash to all the
metal areas and allow it to dry thoroughly. The
wash flows imo the recesses to create shadows.
Jt will still stain the metal darker all over, but
this is Just che naiure of washes.
Very carefully drybrush the metal parts with
Base coat t he rest of the cannon and carriage

wllh Pig Iron, covering over the errant
drybrushing.
54
Quick Silver. Try not to get it all over the

wood- you only need silver on the highest
areas. If you get silver on the wood, simply
dr.y brush over Ir,
Now some rusr for-character. Thin Bloodstone

down wit h water in a 6o/40 mix and layer
where you feel rust should go.
After priming. b.l~ roar all the fll'sh areots ,;11h Trollblood Base. Base coat the dark learher w11h Umbra! Umber: the pants, under slurt, and straps with
Gun Corps Brown, and the pouches and tamper straps with Beast Hide. BaSI! coat any wood with Bootstrap Brown a.nd the tartan wltb Bloodtracker
Bro"n. Next, bosc coat the following: am1or With Pig Iron. brass with Brass Balls. quills wlrh Skorne Red, the bottle with Gnarls Green. and the cloth on
the tampt'f and fuse cord with Menoth White Base. Use a 50/ 50 mix or Underbelly Blue and Trollblood Base ror the whelp Anally, b.1se coat the tongues
With Beaten Purple and the teeth "'1th Bloodirilder Brown.
El
Mix 50/50 Coal ~lack and Trollblood Base and parnt Into d1e recesses of the Resh. For the tartan. mix 50/50 Bloodm1cker Brown and Baulefield Brown and
paint into lhe recesses. for the areas based with Gun Corps BrO\\n, mix 50/50 Gun Corps Brown and Battlefield Brown and paint into the recesses The areas
based m Beast Hide ge1 a So/so mix or Beast Hide and Umbral Umber. Shadow the whelp with Trollblood Base JUSt llke the Others. So rar. all the shad~ m tltts
section has ~ done ,;1th layenns. Now wash the armor with Formula P) Armor Wash. See 1111. A on following pa~ for addldonal shading.
El
Layer the skin wtrh a 50/so rnlx or Troll blood Base and Trollblood Highlight, p;ilntlng only the raised surfnces of the mln1111ure. The dark leather Is
h1ghUgtued with a 50/50 mix or Umbra! Umber and Boomrap leather. HJghhght the pants, under shirt. and straps with a 50/so mix of Gun Corps an4
Hammerrall. The pouches and straps based In Beasr Hide get a mix or 50/50 8east Hide and Menoth White Uigllllght for hlghllghllng. Tl'ie tartan uses a
75/z5 mix of Bloodtracker Brown and Rucksafk Tan. Highlight the qums with Khador Red Base. teeth with Moldy Ochre, the bottle with losan Green,
the whelp In Underbelly Blue, nnd the wood with a 50/50 mix or Bootstrap Leather and Rucksack Tan. Finnlly, layer Cold Steel 0 11 the a r mOI',
See fig. A on following page for addittona.l hlghllghtJng.
55
Use a 2572')50 mix of TroTiblood Base, Ttolihiood HignI1ID\t, a8d UndeibeH{Bl~'."io highlight the skin. Highlight the dark leather "7mi Bootstrap Leath.e r.
the leather straps with Hammerfall Khaki. the pouches and straps with Menoth White Highlight. the quills with Khador Red Highlight, tbe tee.th with
Menoth White Highlight, and the bottle with Necrotlte Green. The whelp is highlighted with a 50/ 50 mix of Menotlt White Highlight and Underbelly Blue.
The chin 'nubs' a re painted with a mix o f 50/50 Skorne Red and Battlefield Brown. To paint the eyes. cover them with Thamar Black, then dot with Menoth
White Highlight. Finally, give them a black dot for the pupil.
Apply Morrow White dors on the len~s. To complet'e 'tliflarfar\ go iifihi;

order: highlight rhe red with Khador Red Highlight. Then place a Cygnar
Blue Base 1>atch where the red crosses meet Finally, paint a thin line cross
pattern on the tartan using Menoth White Hlghlight.
~to m~l<e . some

washes for thf! wood, fuse, and
tamper. To make the wood wash.
mix two drops matte medium, one
drop Brown Ink, and one drop
Armor Wash, then apply on all the
wood and the fuse. For the tamper
cloth and brass. mix lhree drops
matte medium, one drop Armor
Wash. one drop Uoibral Umber,
and one drop water and apply.
Now w
ro paii:li the sand. make a mix of equal parts Brown Ink, Umbral U~be~
apply liberally. After rhis dries. drybrush Rucksack Tan over the sand and
then drybrush with Menoth White Base to ijnish.
COST RNG AOE POW UP Off
SELF
1'10 NO
die on melee damagl" rolls ai:;~in.st
\\'hen thb> modd b<>XCS cl l.i\'ing model with a
.un. rhto; mndf'I can he..iJ d3 d.\m,1ge points. II' thl~ mcxiel
~ OO~td 01od'l is remo\'ed from play. Pig Famt lasts for
~1 ~a.in." .1n 3ddition,1I

~
~
""""'
B<looo - Wben this model

is dc~troyc..'<I, each living
warbea~t B2.B with it heals
d3 damage pointci.
a rmy thal incltldes RorSh.
If Ror<;h i" desttvyed <..lr
'"' ..,. - e.c.iuse tho b9xcd model is n.>movcd from ph\y 1>erore
.....emoyt.-d. it docs not gnera~ a s<ml Or- corp~ (()ken.
~t londnc-ss fot
Ror$h, seeing in hii:;: ,;ilence a ready

h15- plans a.tld ambitioi,:i;. He mistakes RorshJs silenl
~t for polite attention.
JDC
:.. i.ar Brine t1ppeitrS to be either a freakishly large farrow

""' holesomc djsposition or some >Ori of larger and less-
zi:nt porcine offshoot of the farrow Spt..'C'ics. Never far

R.r-h, tho creature mplifielo the throat represented by
'f'Tr'lidable farrow. The boa.r's. pre..:;ence has made Ror~h
c i ::alarly- compelling hire for lhose wiJling to meet h is
~s. 1he farrow mighl be deadly w ith a gun, handy
e\.-plosivcs, and wickcdJy cf6cicl\l wilh his clc.lvcr, but
... Bnne that allows the duo to stand comforLably against
threats like watjacks and warpwolves, The oversized
"la. also been largely responsible for Rorsh's ability to
d..,. the raw. Even determined guardsmen, mercenaries,
-.cldiers cannot hope to stand against the huge creature,
mer
.,., ha< the temperament of a wild boar, proving almost

to kiU and becoming even deadlier when
_voked by injury. T hose who have fought the beast
.J&R:st he can endure puni'ihmcnt that would kill any lesser
.t:12ature. The more grjevous his injuries, the more fearsome
- rele ntless attacks become, His maddened squeals while
hmg out with his tusks are terrifying. and his weight and
>< n ; hatter a nything in his path.
~"'ISSible
~ t\\o have been an inseparable pait for as long as anyone

an remember, and some insist they are utterly rcliant on
Xl'l? another for survival. Feeding the creature without the
""'1ellt of the bodies left after b attle would certainly be a
more lt is entirely possible that keeping Brine supplied
nh fresh meat is why Rorsh so diHgently seeks work for
'AJ:JY' itnd indulges in the occasional crime spree.
PAINTING MINIONS
Compution (RotShJ-Tbls
model is included in any
!\'.!moved from play. n?mO\.<C

this model from play. Th.is
model is part of RoTSh'~
b;ittl~group.
rain Rtsponse - '..VhiJc

d.''Jllaged lhis model r.an
charge or make powt.T
attacks "ithoul being loroe<I.

Pigheded - II this
model is d estroyed by an
cnt:'mv 3tl<'ck or if Ron.h
I~ desl royed or removed
from play by an enemy
attack, before this 01odel ii
removed from the lable it
GUl adva1\CC u.p to JM and
Painting Miniorcs. is gl'l!at fun and offers a

nice break &om the more reg.imented paint
schem~ of thefaction armies. Many of these models
use very bright and unique color Schemes, which
present painters with a wider range of opportunities
for experimentation and exploration. These article,.
will provide a jumping oeff point for painting your
own M inion mode ls, but what we describe here is
only the begiltning. Of a ll the HORDES models,
Minions offer the most a venues for allowing your
cteativity free reign.
Most Minions are modeled aJter animals, so

looking at animal photographs is a great w,1y to
get inspiration for your color schemes. Another
idea is to play with a particular faction's themes
and colors; for example, you could paint skome
gatormen with manacles and whip wounds or
make a blighted version of your favorite solo.
Have fun "~th it; .tvlinions a re your opportunity to
let your imaginationrun wild and to create models
that will spice up your armies and your painting
experience alike,
make one melee attac;k.

Whet'! ntaklng this ~tt<'l ek
ii igno re:<> Lhe dfect.s t>f
lost aspects. it caru\ot be
targetf"d by fteP !'trikt"s
during ti-US movement.
Wa:rbeast Hond {l{orshl - !Jrine is bondt.>d lo Rorsh. During its

ac..1ivatiOf'lt this model can chargl' or make a slam power attack
against an Cflfl;my mod.el fh.tlt was damaged by a melee or

ranged attack made by Ror->h thi~ tum without bPing forced .
Cl.AW
()open Fist
GORE
Critical Kn&ekdown -On n critkal hit, the model hit i."
knocked do'A'll.
HIGHllGtmN'!l'!'l.Nll thllJ 111e bei~t IS' '-"')'ck'"' -'Ind ("lo'i!f)' color i$ '1'111itn:
ii ~tould be, Y.our shades llfld hi_fll'Sli''r will C'OOrdlnat~ wtl.h th~
~tund mamoolq' chok;es._
DRYn'RUSlllNG
l h"t"qirld: wav tOMW!IJg.ht a lenwta ~<11.rrf41u.. t111e.ii lighter color
b!.K fl'l'll(l\!P l'll~t g/ ;h~oiim from yol,&I' bl\l:i?l IJy')lrilklns: die
bristles Ma pa,tWr IVYfel unuJ the p~lm I~ alm~L i;ont.' -hc-n
A ltghfer rolor .appl!t11re lllto loM; of Jighl. hitting 1he su?(4i('f'!'. Wh!'n
h1Khlt'Sltr'Tj Jn multiple ~1 epi.., k1."'Cp:i linle 1>1,i ol tlw underlying ~
f.#il')v.ms:. ove!lappln.g 1'tleml1kt &
he \lolll'l$IC$on roof
SllA_OL'IG
~ d.:ir-r wlor i!pphed to 1he besecoa1 in d-.e- reocessOO areas oJ a
nr.nitl.!41r<: to Crcil111:' shlldows. Lx~a!U}g 1h.r> 9;td iITTd hllltglu
co:~ v.-llJ..utd to tltc YISl.lal appear of a IMC!o>I,
cnrefu.ly and riu1rkly ino)c 1hc brush back an<f(<K"tli ~l'ruS~ tf'le
WASH
A l\l)!ed
A, nuxwre
of wa1et Md a SMAlJ tirno11m of tnk th111 1s appl;ed In
10l'C~SIYG- lil~S 10.Su-~l!y l!n~ 81~ Me.9
. -: l11)er.!I y opp;Jcd to thE> ~secoa1 to (:l't"1tt dcwi'W

Si!OOJng. ff!f"Wssh wjli n.in1nro lhr.smAl!es; crevasse.sor\ o11:<1\Udt(M1,f
dry as a shadov., ~ u ri~ to be a darker color lh.ln ~ lH$tt'1111
Thtwash mi. Y.,101io3-'lt."tU ~-4 Ollrts n!lxltu: m00,um. I p.it i 1Mdn,/irl,k
andlpa:"!Swater
ROG TROGS
Step 1) Basecoat the skin with a mixture ofone
part Thrall Flesh and two parts Moldy Ochre.
Basecoast the scales with Battledress Green.
Step 2) Apply a wash to the skin using
Battledress Green with mixing medium added for
translucencv. Wash the scales w ith ' Jnomwood
Green mixed with a small dot of Tharnar Black.
Step 3) Return to the skin with the basecoat
mixture and highlight some of the raised areas
that were stained by the wash, leaving the
recesses in shadow. Do the same wilh the scale~,
using Thornwood Green to high light each scale
and leaving a well-defined line of <;eparation in
the recesses.
Step 4) Mix Menoth White Highlight into the
basecoat mixture and use this for additional
ltighlights on the raised areas of the skin. Add
Menoth White Highlight to Thomwood Green
for the second layer of highlight& on tht> scales
dnd crest.
Step 5) for the final highlight$, add more Menoth

White Highlii.,fit to both mixtures and apply
highlights sparingly to the highest points.
Step 6) Thin dow1t a mixture of Skorne Red and
Bloodstone to make a g laze and apply tfiis in
layers to the stomach and antennae. Use Menoth
White Highlight to define the webbing of the
spine crest.
FERALGEISr
Step 1) Basecoat using a 50/50 mix of Wurm

Green and Sulphuric Yellow. Apply four to five
layers to avoid blotchiness.
Step 2) Add Sulphuric Yellow, some mix.ing
medium, and water to th(! base color unW it
teaches wash consistency. Apply this wash to the
whole model so that the details become appare1tt.
Step 3) Begin ~hading with Sulphuric Yellow in
the recessed areas of the model.
0 Thrall Flesh
D Moldy Ochre
Battledress Green
II ThoJnwood Green
Tha1t>ar Black
SkorneRed
Bloodstone
Step 7) Heavily dilute Yellow Ink with water

(1:15). Apply this glaze to the entire body in
multiple layers, being careful to avoid any

excessive pooling in the crevices.
Step 8) To bring ouHhe contrast, apply a final
shade of Menoth White Highlight, making
sure to avoid dominat:IDs the previous layers.
Highlight the most pronounced raised areas
wilh Ordic Olive. Use these highlights
sparingly to dcfin.e and separate areas of the
model, such as the hair, fingers, and ribs.
Step 4) Add further shading w ith Me1toth White

Highlight mixed with Su.lphuric Yellow and
mixing medium.
Step 5) \"iith the depths of the feralgei~t g lowing
brightly, highlight the rais:ed surfaces of the
model with Wurm Green.
Step &) Mix Ordic Olive with some WU\111 Green
and a drop of mixing medLium. Use this to apply
darker highlights to lhe mised areas of the model.
OwunnGreen
l!lordicOli"e
D Sulphuric Yellow
0Yellowlnk
0Menolh White
Highlight
T
ATZYLWURM BODY
Step 1) Basecoat the inner skin o f the wwm with
a mix of equal parts Arcane Blue and Frostbite
GATORMEN
POSSE
Step 1) Basecoat the w1dlerbelly with a mix of
p lus a touch of Wurm Green. flaS('coat the

underbelly plates with a mix o f Frostbite and
:v!credius Blue. Paint the back plates with a mix
of Meredius Blue and Gnarls Green.
Ryn Flesh and Hammcrfall Khaki, plus a dot of

Moldy 0(hrc. Basecoat the rest of the scales with
a mix of two parts Cryx Bane Base, two parts
Wl!rm Green, and one p;ut Cryx Bane H ighlight.
Step 2) Take the color you used for th e basecoat

o{ the inner skin, mix in some Menoth Wh.ite
Highligbt, and use that mixture to highlight the
iruter skin. Shade the underbelly plates with a mi)(
of Merectius Blue, Blue Ink, and Turquoise Ink.
Shade the back plates with Coal Black mixed with
a touch ofThamar Black.
Step 2) Lay down a wash to define all the small

scales in one qwck s tep. For this use C<{Ual parts
Ordic Olive and /\ rmor Wash with a drop of
water and a drop of n1ixilng medium. Apply this
evenly over the entire s11rface of the skin with as
tittle pooling as possible,
Step 3) Add Tu rquois e Ink, Blue ink, an d Green

Ink to the color you used to h ighligh t the inner
skin and 1.1se that mixture to shade the inner
:.kin. Add Mom.) w White t<J the underbelly
plate base color and use that to high light the
u nderbell y p lates. Add Underbelly Blue to the
back plate base color and use that to highl igh t
th~ qack plate$.
D Arca11e Olue
0Frostbite
Coal Black
D \.\'urm Coreen
Thamar Black
[i] Green lnk
Meredius Blue
II Gnarls Green
0 Menoth White
0
0
Step 3) Shade w ith a mix of Thornwood Green,

Armor Was,h, and Battlefiie ld Brown on the
undersides of the model, using a ~cond brush to
blend as you go. You Ciln also use a fine tip brush
to paint tltls mix carefully into the cracks
between stales for extra definition.
Step 4) Use a m ix of Ha mmerfal.I
Khaki and Menoth W hiite Base Lo
highlight the individual sca les on
the belly. Apply a line h ighlight
along the top of the scales in shadow,
and simpfy fill in the rest of the
underbelly scales. Use a mix of Wurm
Green and Thra ll Flesh for similar
highlights on the rest of the sca les.
To give the illusi011 of light glin ting
off of wet scales, apply sma ll dot~ of
Menotl1 White 1-lighligh t to the scales
on the lughest pa rts of tlhe model.
Position the dots in the u ppet corner
of each scale and keep them as small
a~ possible.
Turquoise lnk
Morrow White
Unde.rbelly lllu.e
Highlight
Blue Ink
MIXING fNKS WITH PAINTS
one.~ 10oclliC\>cVil)f'af11 mlofsts;warkla hit of ink,oyourpal!lts. JllMS

the tnck w1lli 1heTSU~JfJtl rbei11krrux.ed imu the ~ aod h~igl11s
!$"'-hat ~~ n sli~hti tidt colot. 11'.jOf'Sd long way. sobcmmdfuJandadd
c1nfy & liult- ta liirle ~tit you ha\'(' whill you wanL Wan! a stronger red'?
Simplv f~ yourctdwtth a.spotolRcd Ink. Wantyourfe:Jow (O pop? M1:w;
1n~me Y~U.,-w rnk. Expl't"1mem with inks. and ~'4lu w,Ube~ 31 lhe
a;ilor-s )'QU t:an produce.
,
~
0RynFlesh
.Armor Wash
0Hammerfall Khaki
llThomwood Green
Moldy Ochre
Cryx Bane Base
Owurm Creen
0 Cryx Bane H..ighlight

J:a Ordic Olive
Battlefield Bwwn
0
0
0
Thrall Flesh
Menolh White Base
Menolh Whit.e
Highlight
FARROW FLESH
Slrp 1) Basecoal Lhe flesh with a solid layer of Gtul
~df"' Brown .
Step 6) Shade the teeth with Ember Orange.

Apply Bloodstone to the deep shadows and
r = of the teeth. Highlight the teeth with
Menoth White Highlight.
'>lep2l Shade the recesses of the flesh and hair with

~ mh of Greatcoat Grey, Cryx Bane Base, and Gtm
t:.:np; Brown.
Step 3) Use a mix of Gun Corps Brown and
"lucks-1ck Tan to highlight tl1e Oesh a nd fur.
Step 4) Yfix 11rnmar Black and Umbra! Umber
nd blt>nd tlus toward the tips of the hair. Blend
''3rdic Resh into the snout and lips.
Step 5) Highlight UH! snou t and lips with

l1dltmd flesh. Basecoat the teeth and nails with
\!,moth White Base.
bj Gun Corps Brown
Greatcoat Grey
Cryx Bane Base
D Mid.lund Flesh
D Menoth While Base
D Ember Orange
D Rucksack Tan
Thamar Black
D Menoth White
Umbral Umber
Bloodstone
Highlight
D Khardic Flesh
SWAMP GOEtBER BUOWS C.R.EW
TOTEM BUNTER
Unit
Solo
length of the Tiltzylwurm comes in three sections, each with its

9)n,colors: inner skin, un derbelly plates, and back plates. On the
fit>.llt and rear armor p lates you will sh ade before highlighting, but
the miqd le skin you wi ll high light fi rst and shade second.
.
q nacls Green
Wurm Green
Coal Black
Q Me redius Blue
Q Menoth White
Highlight
Thamar Black
Q Morrow White
~ Arcane Blue
Q Underbelly Blue
Blue lnk
Turquoise Ink
Q Frostbite
Start by basecoating the inner skin of the wurm wi th a mix of

equal parts Arcane Blue and Frostbite plus a touch of Wurm
Green. Basecoat the un derbelly plates with a mix of Frostbite and
Meredius Blue. To complete the basecoating, paintihe back plates
with a mix of Meredius Blue and Gnarls Green.
creenlnk
FARROW FLESH
Begin by basccoating the skrn

with Battlefeild Brow11.
Add Beaten Purple and a toud1

of Thamar Black to the basecoat
color, and apply the mix to the
shadows and recesses.
Add Beast Hide and Moldy

Ochre to lhe basecoat and
blend il onto the raised areas to
create highlights.
Basecoat the snout and lips

wi th Khardic Flesh. Add
Sanguine Highlight to the
Khardic Flesh and use it to
basecoat the tongue.
Most living creatures have d ifferent colors of flesh. Trolls, for

instance, have a Ughter color on the belly than on the rest of thei r
bodies. To make your organic models more realistic, look for ways to
give their flesh different tones. The Farrow have one color for their
basic flesh and another color for their snouts .
0
0
Ember Orange
Beaten Purple
Sanguine Highlight
Beast Hide
Khard ic Flesh
Mid lund Flesh
Ryn Flesh
0
0
0
Battlefield Brown
Bloodston e
Moldy Ochre
Menoth V\lhite Base
Menoth Whi te Highlight
Thamar Black
Take the color you used for the basccoal of the inner skin, mix in
some Mcnoth White I lighllght, and use that mixture to highlight
the inner skin. Nex t, mix Meredius Blue, Blue Ink, and Turquoi se
Ink to use as a shade for the underbelly plates. Lastly, shade the
back pliltes with Coal Blilck mixed with a touch ofThamar Black.
Add Turquosic Ink, Bl ue In k, and Green Ink to the color you

used to highlight the inner skin and use that mixture to shade
the inner s kin. Next, add Morrow White to the underbelly plate
base color and use that lo highlight Lhe underbell) plate,.. Lasth
add Underbelly Blue to the back plate base color and use that
highli ght the back p lates.
Mixing In ks with Paints

One way to achieve vibrant colors is lo add a bit of ink to your
paints. That's the lrick with the Tatzyh,urm. The ink mi"cd
into the shades and highlights is whatgi\esit such a rich color:
Ink goes a long way, o;o be mindful and add only a little at
a lime until you have what you want. Want a stronger red'
Simply thin your red with a spot of Red lnk. Want your yellow
to pop? Mix in some Yellow Ink. Experiment with inks, and
you will be surprised at the colors you can produce.
We painted the <im1or ploles on Brine below with a mi>. of
Brown Ink ilnd l11amar Black. mcluding U1e ink gi\es the
armor's rust an intense appear.mce.
Highlight the lips, snout, and
tongue with a mix of Mid lu nd
Flesh and Ryn Fll.>sh. Basecoat
the teeth and nails with
Menoth White Base.
Apply Blood~tone to the deep

shadows and recesses of the
teeth.
O range.
Final!), highlight the teeth with

New HORDES minions are lurking in the swamps and fens of your battlefield. Ron Kruzie describes simple methods or
washing and layering to give your new Bog Trogs (previewed in No Quarter #12) the scaly look they deserve.
By Ron Kru.zie, Studio Director
Modeling and Painting

sun11q, su~11,
and Scal11
Painting Bog Trogs

Part 1) Bog Trng Front -Sllin &Rusty Reds
We will divi.de up the Bog Trog into its front and b:~ck to show two
different techniques. The front of the Bog Trog shows how to produce
its yellowish skin tone aod i:usly red sheen. The back of the Bog Trog
focuses Oil how to hanttiC SUtleS.
See HORDES: E110/atio11 for more techniques on painting scaJes.
Step J.) BASE COAT-For the skih's base color,

MiX Moldy Ochre and Thrall flesh ac 2:1.
62
Step 2.) WASH-Make a wa.s h o.f 2 drops

matte medium, 1 drop of water, and 1 drop
of Battledress Green. Test this mix on a
spare part and adjust the mig to create the
ratio that wor~ for you, Liber,a lty apply
this to the model's skin. The wash should
flow into the reces.wss of the model to make
a natural shadow.
Step 3.) lAYERING-Paint the Base Color (Step

1) over the now washed skin to reclaim the
raised surfaces. Leave some of the washed skin
exposed in the ~s as shadow.
Part 21 Bag Iraq
Back -Scales
T he techniques s hown l:icrt can also

apply any type of scaled creatures.
For example, ny t hese s teps o n t he
Gatonna n Posse unit s hown on
page 17.
Step <1J HJGHLl-OHT 1- Mlx the base color with

Menoth White llighligh1 and layer the .raised
area of the Ind ividual scales and spine crest.
Step 4.) HIGHLIGHT 1- Mlx Menotti White

Highlight into tl1e base color 1111d lnyer
onto the raised areas.
Step 5.) HIGHLIGHT :z-Mlx even more Menoth

Whlte Highlight Imo the lirst Highlight mix a.n d
oalnt J ust the dps
the scales and crest.
or
Step 1.) BASE COAT- Cover the scales usin g

Battledress Clrren.
Stcp 5.) HTGHUGIIT 2-Mix more Menoth White

Hii;hlight into lhc base color mix. Apply this
highlight mix on die upper most edges.
of matte medium,
water, Thornwood Green, and a spot of
Thamar Black. usJng the same ratios described
Step 6.) MAKING RUS1Y RED-The underbelly's
rusty red sheen romes from an equal ml.x of
Skome Red and Bloodstone thinned with
water. Pull most of ii out of your brush and
carefully stain the underbelly.
;:~~Step 7.) 'fTNISHfNO-B<lse the eyes using Skome

Red, highlight wid1 Khador Roo, and linish ol'f
with smaU dots of Menotl1 White Hlghllgl11.
In Step
of the Bog Trog's front.
Step 6.) FINISIHNO-Run thin fines of Menoth

White Hlghllgh1 a lons the Inner fan of the
spine crest to separate It from the ove.--all
scaled body. Use the sam e techniques from
Step 6 of the front to give die Bog Trog's
:J
'"'~M """ ......
.~
Step J.) lAYERINO-Reclahll the base roat by

painting Battledress Green 011 the in<lividuaJ
!;Cales and along the spine crest. leaving the
washed base coat exposed for shadowing.
..
Once you finish the

Bog 'frou's uear. 11ou're...
BERDY TD RMBllSH!
63
D
D
D
D
D
D
D
D
II
II
D
Fros tbite
Wurm Green
S ulfuric Yellow
Menoth White H ighJight
'Jack Bone
Ember Orange
Battle dress Green
Ordic Olive
Cygnar Blue Base
Brown lnk
Yellow lnk
Ba&tion Grey
RASK: BOG TROG FLESH

St.irl ing with darh. colors and worl..ing towa rd lighter one.,
i., a tr.1dilio11JI nwthml of p.iinting that worh.s Wt'll on a
w1dt' \ .uilt) of projlc.:ts. ror .,onw projects. lhough, )OU
can ,1chieH' a mon.' .;lril..ing dfoct in less time by starting
with hghl colors and \\'Urh.ing your'' av through the dJrkcr
-.h.1de:-.. \\'c did just that tor thl' bog trog warloch. Rask, .inti
tlw tran-.luc('nt ,;h,1ding l>Vl'r light1.r basccoats adds color
.10d dl'fmition to multiple p.irh of thl miniatu re.
Step l) C..,iw the flesh .md '>CJlc., a n opaque ba:;ecoat
Fm.,tbitc mi'\l'd with Wurm Grt>en. Basecoat the
mcmbr.mous fin., \\ ith a mi\lllfl' of ~ulfuric Yellow ilnd
~1l'nc1th \Nhitl' 1lighlight. Ba-.ccuat the bone armor ''1th
'Jacl.. Bonl'
l lf
Step 2) A pply a mixture of Ember Orange and Wurm Grt>cn

lo c .11.h of tlw thr~ Mt'a'> in a .,lightly different '"'ay. Pain t the
-.c,11ls '' ilh a wash; sh,1d c the bony areas; and npply a gl.vc
to tht fins, co nccnlr,1t ing the paint 1w<1r the base of each fin .
Thrall Flesh
S tep 3) Use a mix tun ol fliittlldress Green and O rd 1cOlin!

to give the bony .uc.1s a -.trnnd c;hading, give thl' <;cilll''- .i
w,hh thJt i!. connntratL<l in thl' crevices. and paint llw fin,
with a ~ril.'s of linl'-. th.ti lnhancc the texture of the o:culpt.
S te p .J) 'l'\l, Jiiforcn11,1tl' the Ml'as. Shade the o;calt><> mth
,, mixture of Ord 1c 011\'l' and Cygnar Blue Base. \ V1 th tl
ml\turc 1..)f Brnwn Ink and Yellow Ink, apply :;ome thin
gla/l':-. on the tins. Sh.1dc thl' bone with Bastio n Gn:\.
Ste p 5) Apply linl' highlight-. to the scale:, using Thrall Fle.,h
mixed with a smilll .1111uunt ol \Vurm Green. Use a ml'\tun.
of C,,ulfurk Ycllm' ,rnd \ ll'lloth Whitl' Highlight to j<\IH
-.pi!N' highlight-. to till' webbing. Finally, apply blenJl,I
highlight<> to the bo1w Mmor u"ing a mixture of '.lack Bonl
and Menoth Whitt H ighlight.
What 11ou'II need

Brown Ink
ldrian Flesh
"jack Bone
Mixing Medium
Ordic Olive
Red Ink
Sulphuric Yellow
Wurm Green
Yellow Ink
a
l<tp ..1 lay down a sohd basecoac of 50/50
""- Green and Sulphuric Yellow It will
~ 4-S layers to achieve a good b.'lSoat,
11111 stick w11h It, as any blotchiness niins 1he
lllft'llll efll!C1
El
Step l .) Add Sulphuric Yellow, some Mii.1ng
Medium, and water to che base color unlll
It reaches wash consistency. Apply th1~
wash to the whole model so that che decalls
become apparent.
El
Srep J.) Begin dt>fining the glow by applying
Sdphuric Yellow to tilt' rcces!>t'd areas or the
aide! in Ille same way you would nonnally add
m&ns. and watch your figure bej;jn 10 glow.
Step 4.) Add Menoth White HJghUght to the

Sulphuric Yellow remaining on your palette
and apply a second shade. Add Mixing Medium
10 the f>illnt 10 lend translucency and ease the
1rans111on between layers.
Slep s.) With the depths or our feralgcist
Seep 6.) Add Ordic Olive to the Wurm Green

palm rl'mnl nlng on your palette. along Wlth
a drop or Mixtng Medium for translucency
With thi s mix apply a second layer or dllf'kcr
hlghlli;hts 10 the raised areas of the model.
~1ng
brightly, you can now move on 10 the

darker highlights. Apply Wurm Green jusc like
anonnal highlight to tht raised surfaces or
die model.
PH
PAINTING TH E S
INTRO
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1 ISc 1ten r>urplc
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lt l
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1
EYES
Step J) l~ast1 Cc 11 1 tJ1e ' '}'tb i11 J,tl)'' ' l'f) <l/
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II 111i1 tit Id I r 4 '" ll
By Mike McVey, Miniatures
Director, Privateer Press

Miniatures painted by
Ali McVey, Ron Kruzie
6Mike McVey
We are going to look at the

colors and techniques that are
applied to each of the four factions
to give them their unique character.
Each force has a distinct palette of
colors that can be used in different
ways to unify the miniatures.
The miniatures shown in this

article are all the ''official'' PP colors,
but of course there is nothing to stop
you making up your own unique
color schemes for each faction - just
FIND MORE MODELING

AND PAINTING TIPS .AT
www.BRUSHTHRALLS.COM
OR READ ABOUT IT IN
HORDES: PRIMAL
With the reletMe ofHORDES imminent thi<J month we are

going to look at the color c1chemed for the four different f actwrM.
&ch of thecJe f actionc1 htM a dutinct and uniLJue look that tied
aLL of the different troopd, creatured and characterd together thede color t1chemed all halJe common thetnd that are etMy to
apply and gi'1e aLL the miniaturu in a force a coherent feel
look at the character of the modes

and txy and come up with a color
palette that suits the miniatures and
goes some way to bringing out the
character, location and background
of the faction.
CIRCLE
The main colors for the Circle
faction are rich and natural tones
deep woodland green coupled with
warm brown tones. The green is
mainly applied as verdigris to metal
armor plates, with warm gold and

bronze tones to contrast, but it can
also be introduced to elements of
the clothing. Most of rhe clothing
and robes are painted in different
natural brown tones - from deep
brown to light tan leather. Some
care has to be taken '~hen you are
painting miniatures in natural tones
- if you're not careful rhe~ can end
up very muddy and dull looking.
The secret is to keep rhe colors clean
and rich - ifyou add bkck to brown
to deepen it, you will gie- a Bat

neutral tone - but adding c.eep rich
shades of brown to the shaoo"'.~-s ''rill
provide a far more attra.crr.-e !e::i-u.l"t.
Green verdigris and gold

The Wolves of Orboros are
some of the core troops !or the
Circle faction; they are hea, ;131
armored, but the fur and l.e ather
cloaks give a natural element to
the painting. The armor is covered
in the distinctive patterning found
throughout the faction, and is a
great example of how the green
verdigris and rich gold color
scheme works. Even though they
are clad head to foot in heavy
armor - the overall color scheme
is still very natural in feel and
doesn"'t look out of place with
the characters who are clad with
leather, and the beasts that are
covered with fur.
F11r direction
The miniatures for the Argus
and Warp Wolf are sculpted with
most of the hide areas smooth,
with areas of long fur on parts
of the body. These smooth areas
represent short hair, much like
a smooth-coated dog. It's fine to
paint thein the same as you would
any other smooth area, but to add
some extra realism and texture
to the miniature you can paint on
some fur detail. This needs to be
done subtly, but can really make
the miniature if handled correctly.
Lighter colors are added around the muzzles

and fur texture can be added as well.
Top - the swatch on the top left shows what
happens to bright gold (metallic) is washed
over with the 'Verdigris color ink. This example
is over white and the effect is applied over
black is far deeper and richer. The swatch on
the top right shows how you c.a n tell if a browr1
color is cold or warm by thinning it out. This
one contains a lot of red so is warm.
Bottom - Two different sorts of brown, warm
on the left and cold on the right. Both of these
show how the highlight tones are built up.
At a basic level, all you need to do

is carefully pa.int on short ''hashes,,
The highlight colors on the Warp Wolf have

been applied in the same way as the Argus.
The fur texture follows the line of the
muscles, even on. some of the darker areas
this can look good if handled subtly.
of the highlight tone - but to make

it work even better, these should
follow the same pattern that they
would on a real animal. Do some
research, either online or if you
have a dog, look at the way the fur
grows and use that as a guide.
The pelt on the Argus is shaded and highlighted

to bring out shape and depth. When this is
dry, fur effect is added with a highlight shade
- this should be quite subtle and just on the
highlighted (;U'eas where the light would
naturally bring out the fur texture.
Baldur is a great example how a miniature

can be painted almost entirely in natural
brown tones and still look striking. The
shoulder armor really helps to add some
contrast but without it really standing out
from the rest of the color scheme.
SKORNE
Reel and gold a.re the dominant
colours for the Skorne faction. It's

not a primary red like the one used
on Khador armies, but a deeper,
richer tone that gives the miniatures
a 11njque feel. The red armour is
contrasted with some plain black
areas and bright yellow-gold
details for contrast. The Skorne
colour scheme is really strong and
distinctive and is applied to all of
the clothing and armour to give the
faction a really powerful, unified
look that is actually just as military
looking as some of the W ar1nachine
factions -and far more so than any of
the other Hordes factions. There are
of course other colors to add to this
- the skin of the Skor11e themselves
is pale and almost albino in coloring,
and the beasts they drive into battle
are various different colors. The
example shown on this page are
the huge, lumbering Titans. Their
skin is mid grey, like an elephant
or rhino, but it can be painted with
slightly pinkish undertones to give it
a more natural feel.
These three swatches show the simple but

striking Skome colour scheme - a deep red
that is coupled with black and bright gold.
A shading wash of brown and yellow in has
been applied to half of the gold to show how
much richer it makes the colour.
When this is dry the highlights

were built up with Elf Flesh an.d
white - and the top highlights are
pure Skull White. The lips are
picked out in a darker colour to
give some contrast and the eyes
have dark shading added to give
a dramatic and sinister effect.
Skin tones on Skorne

Skorne skin is almost
completely different from the
pale skinned Nyss who are pure
white with cold grey shading by contrast, the shaded areas on
the Skorne are pinkish in colour
giving a totally different look.
The best way to achieve this
effect is to base coat with pure
white - then you aren't fighting
with the black undercoat to
bring the colour up to the lighter
tones. The shading and details
are brought out with a wash the mix we used is Elf Flesh with
just a tiny spot of Blood Red
added to make it slightly more
pink and some matt medium to
make it flow better on the figure.
The armor edges and textured plates are

base coated with Shining Gold - the centre
areas are kept black. Try to be as neat as
possible here.
2 - All of the gold areas are washed over
with a mix of yellow and brown ink
1 -
3 - The red areas of armor are base coated

with a mix of Blood Red and Scab Red, then
highlighted by adding red ink and Blood Red
- then yellow and white are added for the
lighter tones.
4 - The gold edes are highlighted with
Shining Gold and Mithril Silver. The
textured areas are glazed with red ink . The
red armor is glazed with red and yellow ink
to add some depth.
Makeda's armour was painted in just the

same way as the Praetorians, but a little
more attention was given to the subtlety
of the highlights and shading as she is a
character figure.
LEGl9N
The color scheme for the
Legion is very striking and
monochromatic - the skin on all
the troops, characters, and. beasts
is very white and most of the armor
and clothing is either very dark or
black. Of course there are some
subtleties that stop the scheme
from being totally black and white
- the skin is mainly shaded with
cold grey tones and the beasts
hav e areas of pinkish colors in the
more flexible areas of their hides.
Similarly, the dark tones are not
just black but are shaded and
highlighted with slightly different

colors gives some variation while
still maintaining the overall feel.
It's perhaps the most striking of
all the colour schemes for Hordes,
but only if handled with some
subtlety. If you carry the black and
white scheme too far, the miniatures
will end up looking a little bland
- which would be a shame as there
are some really characterful pieces
in the range. One thing that is really
good to bring out is the cold and icy
feel of the miniatures - the Blighted
Nyss are from the snow bound
mountains to the north of the l.r on
Kingdoms and the color schemes
are reminiscent of that land. As
mentioned previously, the skin on
both the Nyss and the Blighted
beasts is white, but shaded with
cold grey - that is grey that has
some blue in it. This blue tinge is
subtle though, you don't want to
end up with sky blue miniatures!
Similarly, the black areas are
highlighted with dark blue tones
to keep the color palette consistent.
There is some relief to this scheme
(as there alw-ays nee ds to be limited palette miniatures always
-work far better if they have a small
amount of another color to create
a sharp contrast), some areas of
the hide of the beasts are painted
in a bright, almost pink flesh-tone.
A small amount of brown is also
introduced into the scheme
on both
.
the N y ss themselves and the beasts.
This is done with some subtlety,

but it's just enough the contrast the
cold and icy feel of the rest of the

rrun1atures.
Top - These swatches show the cold grey skin

tone and the pinkish colour that is added to
the flexible parts of the joints.
Bottom - Apart from black on the clothing
and armour of the troops and characters,
the beasts have a more natural color that
is applied to the hard areas of hide and
carapace - this is a mid-brown that is faded
through to bJack on the tops of the spikes
and plates.
Thagrosh has been painted with the same

skin colors as the Camiviean - white shaded
with cold grey. The armour is painted in a
platinum color - this is a mix of Shining
Gold and Chaimail, shaded with a mix of
blue and brown ink.
Nyss Skin
Painting the skin on the
Blighted Nyss is not too difficult
a task, but there are a couple of
things that you need to watch for.
The result you are looking for is
a pure white skin colour but with
cold underlying tones - the trick
here is to get the shading deep
enough to bring out the details

and give some depth, but not
so much as it makes the overall
effect grey. It's easiest to start
with a colour that is almost pure
white, maybe with just a hint of
cold grey - then wash over with
a deeper tone applied quite thinly
to bring out the detail.
The Legion colour scheme is primarily black

and white, but on the beasts, it better to use
a more ntttural tone of dark brown faded
through to black at the tips of the spines.
The gums and tongue are painted with in

the same pink colour that is blended into
the skin, this colour is then highlighted by
adding white.
This photograph show the contrast with the

usual skin colour - which is white shaded
with cold grey and the pinkish colour that
is added round the flexible join areas. The
skin is shaded and highlighted as normal
and then a mix of Elf Flesh and Blood Red is
carefully blended into the recesses.
Carnivean skin
The hide on the beasts in the
Legion is painted in much the
same way as the skin on the Nyss.
The difference with the monsters
is that some pinkish flesh tones
are added into the colour scheme
round the teeth and gums and
on the flexible areas of skin.
This is particularly effective on

the Carnivean, where the large
expanses of hide could end up
looking quite plain and bland if
they weren't given something for
contrast. The best way to apply
this effect is to thin down the
flesh colour and carefully blend
it into the desired areas - so you
will apply the colour with one
brush and use a second brush to
carefully thin-out the edge.
TROLLBLOODS
The whole of the Trollblood
faction is tied together with a
very distinct palette of colors
- the trolls themselves all have
various different tones of greyish
blue skin and this is contrasted
with a warm mid brown on the
clothing and armor. One of the
main features of the trollkin
troops and characters are the
different tartans that are wrapped
around their bodies - these have
different patterns, or
Qutari
as they are correctly called,
depending on what Kriel they
are from but are all painted with
a similar palette of colors within
a certain group. The main Kriel
color for the miniatures shown
is warm mid brown, the actual
paint used is GW Bestial Brown

and this is also the color that has
been thinned down and applied
to the armor as rust. The rust
and brown tones are just a foil
for the skin color though - and
when you look at the miniature
it's the skin that really stands out
and creates a unique look. One of
the potential pit-falls of painting
miniatures with blue skin tones
is that is can easily come out
looking ''false' and like plastic.
The best way to get round this
is to add some natural tones to
soften the color and give it a more
realistic look. The blue/grey skin
tones are highlighted with flesh
colour instead of white, and you
can add some slightly red tones
to the shading.
Trollkin and Troll skin

The skin of the troll races
is a distinctive blue/grey colour
which gets darker and more
intense the larger the specimen.
So Whelps and Pygmy Trolls
have the lightest skin color and
Dire Trolls the deepest. When
painting the studio trolls we
base coated with a mid tone of
Enchanted Blue mixed with
Slate Grey 32C. A good even
coat is required - not patchy.
Next this color was washed
over with a darker tone to pick
out the muscles. Adding Regal
Blue and Scorched Brown to the
base color provides a nice color
for this. We add a little matte
medil1m to washes and plenty of
water so the paint only defines
the muscles and does not change
Blues - These show the Trollking flesh color used, notice how this is a
slightly grey-blue. The swatch on the right show how the highlight colors
are added with flesh tones an the shading has a spot of deep red.
Browns - Two different shades of brow11 are used for clothing , one is
the standard rust-brown colour and the other is a colder contrasting
color.
The usual Trollkin skin colour has been altered slightly for Doomshaper
- he has a more green coloring, but still some of the areas round the
face have been painted with pinkish skin tones to give a natural look
to the miniature.
the overall color of the miniature.

Highlights are added to the tops
of the muscles by adding Flesh to
the base color. We use a Dwarf
Flesh but this sometimes has a
tendency to turn the blue a little
green. If this happens, use a spot
of Blood Red with your Dwarf
Flesh. Finally we added a top
highlight of elf Aesh to the very
tops of the muscles. Flesh tones
are added to the chin and lip of
the trolls and trollkin for a more
natural look.
Tartans
Painting tartans is one of
those things that seems to be
almost impossible for the army
painter, it just looks too complex
and time consuming - but it's
really not all that hard with the
proper approach. It really is
worth planning in the extra time
in your painting schedule to add
some tartan to the trollkin - it's
a dominant feature of the race
and adds some great detail and
character to the miniatures, they
also need something strong to
contrast with the unusual skin
colour.
When painting tartan, as
with any freehand, you should
use your paint reasonably thin
and when painting those nerve
wracking lines, just let your
brush go with the contours of the
material. Sometimes the creases

will be sculpted too deeply to
get a brush in there easily so
don't try - painting the tops of
the creases will usually suffice.
Another thing to think about
when painting straight lines on
a miniature is the direction your
brush is going, it's far easier to
paint a line vertically over creases
than it is paint side to side. It
just comes more naturally to
move the brush in this direction.
Turn your miniature as you are
painting so you are painting
those horizontal lines vertically.
Most people will find their lines
to be q.uite shaky at first but
don't worry, it is easy to go back
in with the base colour and touch
up. Another good tip is to choose
colours for your tartan that have
good coverage, preventing the
need to go back and over paint
your initial line.
The material is highlighted and shaded

as normal, in this case the base color was
Bestial Brown and this is lightened by adding
Foundry Spearshaft
I -
The broad bands are painted in with Scab

Red. Try to be as neat as possible, but the
edges can be tidied up with Bestial Brown
2 -
The broad bands are painted in with Scab

Red. Try to be as neat as possible, but the
edges can be tidied up with Bestial Brown
2 -
4 - The last step is to paint in the pin-stripe.

This one is a mid green that contrasts with
both the brown and red. This is perhaps the
most difficult part, so make sure you use a.
good brush and have the paint thinned so it
flows smoothly from the brush. Again, it can
be neatened with Bestial Brown.
PAINTING TUTORIAL
This guide \\'Ill takC: \ ou -.tep-b) --.tep through great ways
lo quickly and dlccth ely paint the mo ..t common materials
repre ...ented on HORDES miniature::-. There are many
d1fforent technique.; for painting miniatures. Some are fast
a nd efteCtl\ e, "h1ch will ~et you through painting quidl~
..o you can pla} ~ame~ with completed minis sooner. Other
technique.. may \\'in you award<. for artistry but

practice and e:1.p.:rience. \\'hiche\er path you choo:
painted mmi look-. better and play::. harder than
bare metal or pla-.tic-no matter the lewl of pam
The technique.. dl! ..cribcd here are tned and true t ~
ea-,,y to learn, and thl'.' re.;ult" look great on any ba,
BASECOAT
Starting \\ ith a blilck
undl'rC'oat, b,becoilt the
armor R;id1anl Platinum,
the gown I ro"itbile, Lhc
skin Morrow White,
thl' feathl'rs Coal Bl,lCk
FINAL TOUCHES
Dr~ bru .. h a mr' ol
C.oal Black .md Menolh
White Highlight on
the re,llhcrs. Layer ii
m ix of Exile Blue <ind
Underbelly l:iJue to th e
mixed
deepest .uc,1s of the
with
,1
littl.?
\1enolh WhilL' I lighlight.

and the orb (vgnar Blut?
Highlight mt\l:d wtth
~lorrnw \\ hite.
WASHINGS. FIRST
HIGHLIGHTS
\\ a.,h both the annor and
feathl'rs with a nu\ of 3
part.. Armor \\'a.,h and
1 p.ut mhmg 1md1um.
Wa-.h the ... kin '' ith a

mi:\ of undLrbelly Blm
and \hxmg Medium.
(Keep thi" mi:>,; you
will nc!!d it lall.'r.) Add
more ~fon ow Whil('
to Lhc orb bn'tc colo r
and highli ~ ht u-;ing the
layering techn1qut?. Use a ml\ of Frostbite and Morrow
White lo highlight thl' gown in the same way;
SHADING & SECOND
HIGHLIGHTS
Drybrn...h (oal Black
on the foathcr-.; add
Exile Blue to the <.kin
wa-.h ffil\ clnd appl}
Uu.... wa..h for a deeper
;..hadO\\ , La) \.'T highlight
the armor "1th Qutek
S1l\'t~r and th\.' go\\ n with
~1orro..... \ \ hite
KLep
,1dding \forrm' \\ hite
to the m1\ for IJyt?r
highlighting the orb.
.. t...in. Applv Thamar

Black to the fingern.1il.,,
a h1ghltghl layer llf (oill
Black to the Hlbl', and
a final highlight layer
of the orb mt with
more Morrow \ \ hilt.> to the orb. Paint her l' e,
White and allow them to drv. Add a small do
Black to define each of her pupib then add a
:\lurdl'rou" :\t,1genta around the eyes.
FINISHED
for
battle!
The entm til ..t and
.,1mple procl'""' took
ju.,t ,1 couple of hour~.
l\othing fancy iust a

b<i~ecoat,
n wnsh on the
met,1ls and
feath~r'>,
some l,iyering, .ind a

couple of hif1hlighbbut ..,he''- looking great.
'ohct' ho\\ her ba'tl' b
lini ..hed C.el! ''Ba..,mg
Your ~lod\.'I on p. :?3-l for how to do thi,,..
P\INTING YOUR MODELS

tollo\,1ng "t.ctions we will be using the techniques
~~,.;h(.'(i above. Understand that any area on a mini can
tcd u'tng 01ny of these techniques. Don't feel 1imtted
ch technique we u-,e here for each material; ~ ou can
ea,ily layer or wa'>h ..tone as )-OU can dryb rush it. In
me\ cin, there i-; no one -;topping you from using any
r combination of color-. with a particular technique
For example, the technique., for painting Trollblood kin

will work tor the -.kin of a Farrow-just change up the
palette and away you go. Finallr, there is only so much you
can learn by .,tudy. Practice, experimenting, and finding
other.. who pamt j<; \\'hat will make the greatest difference
to your -.kill in painting miniature-;.
-'SECOAT
1 e lnlttnl coat of palm on which everything else will be built.
~ Important that the basecoat ls very clean and every color is
fl should be. Your shades and highlights will coordinare
'Wl "h thl' basecoat and main color choices.
c"
l BRUSHING
the' quick way ro highlight a textured surface. Use a lighcer
color but remo\e most of the painc from your brush by
m-okin~ the bristles on a paper towel until the paint is almosr
e. Thl'n carefull y and quickly move the brush back and
urfacl' of the miniarure.
GHUGHTil\G
" l~hter color applied to the basecoac in the raised areas of a
ainlatutt co create the look of lighc hitting the surface. When
GOLD TRIM
lV1 .1hc Gold
highllghtlng In multiple seeps, keep a little bit of the underlying

color showing, overlapping r.hem like the shingleson a roQf.
SHADING
A darker color applied to the basecoac in the recessed areas
of a mlntacure 10 create shadows. Exaggeratin~ che shade and
highlight colors will ndd 10 the visual appeal of a model.
WASH
A dnted mix llberally applied co the basecoat co create detailed
shading The wa h will nin inro che smallest crevasses on a
model and dry as a shadow. so it needs co be a darker color
than the baseroat. The "'ash mix works "'-ell as 4 pans MixinJ
Medium. I pare paint/Ink. and 3 pans wacer.
(DRYBRUSHING)
Solid Gold
Radiant Platinum
tht>r than p.1int thl' thin trim on the entire mini. just
ru ..h the cntlrl' model the color of the trim and then
n up the ~urrounding areas-this is much faster. Begin
r\bru~h1ng Rhulic Gold all over the black mini.
hlight by lightly drybruc;hing the model \\.-;th Solid Gold.

en lightly drybrush the mini with Radiant Platinum.
Cll'an up the area'> .,urro unding th e gold trim. Herc we
k.d ot.1 l the ilrea'l th<tt >vii! later be painted Skorne Red.
1n,~ about il lhii, way rather than layering the gold on the
un '"' lightning fotl t in con1parison.
-DRYBRUSH FIRST
It's a good Idea to palnr the areas on a mini that will be
the messiest first so thar you do not risk ruining partS you
have already co mpleted. Drybrushing is messy. so do this
flrsr . If you drybru sh later In the process. take care to stay
focused and clean with rhe application.
TROLL SKIN
Trolll.ilood
B.,~
(LAYE RING)
Thomwood Green
1) Apply .in op.1qm' ba-iecnat of Trollblood Base. You might

need to givt> th\> .ire,1 ,1 couple of coal<; to get the solid,
opa-iue fini'>h required.
2) Mix t.'')lJ.11 portion.., ofTmllblood Base, Thomwood Green,

and m1,ing nwdium for the shading color, then add a tiny
bit {lf "' .ikr to thin thl' mixture. Paint this into the crevasses
and shadowt.1d arc.:i.., to create depth.
3) for lhc inittal highlighting, mix equal partc; Trn

Ba!'e .ind Trollblood I lighlight and paint this onto tht. I
areac,. Be ...ure to leavl' a line of the basecoat sho''
create the tramiition of color.
4) For the final highlight, add more Trollblood fl1_

to the mixture and paint this on the uppermost a:t
receive light. Lool.;s good, and it was quick.
FUR (\\TASHING & DRYBRUSHING)

Tro11b1ood Highlight
Armor Wash
~Ienoth White Highlight
'I) Basccoat thl.' Hl'a with Irollblood Base.
2) For the Hhading, mah.e a wash using 2 parts Matte

Medium, l pnrt Arm01 Wash, and a: 1 part water. Start with
,, Clllor a little lighter thi1n what you want in the end, as it
darkln a bil ln lhc proccs..,, Liberally apply this all over
the fur. Lel dry ,,nd you have in!>lant shading.
3) After the w.1~h driec;, drybrush Trollblood Ht!?

n!:' the fir-.t highlight.
4) Drybrush Menoth White Highlight on
areas for the final highlight.
'""ill
Armor \\a-.h
1)
Quick Siker
Basecoat thl nrla ''1th Cold Steel.
2) 1'.fakt> ,1 w.1 ... h u...ing 3 pMtc; Armor Wash, 1 part mixing

mt'di~1m, <1nd 1 part walt:!r and apply this to the basecoated
arca for tlw :-.hildlng.
3) for thl' fin.:il highlight, paint a layer of Qt:.k

the uppermost Mca.., that receive light. Can it .::et
STONE
(DRYB RUSHI NG)
Ba:.t1on Grey
~tenoth \\'hite Hi~hlight
~in
highlighting by drybrushing Bastion

re) ll\'er a black ba.,ecoat. Go oYer the mini
uluple time~ to get the de!>ired effect.
- \10,ing higher in \'aluc, drybrush Trollblood
.:hlight onto the mini. It Le; important to
\e <.ome of the darker color showing to
ate a three-dimen-,ional effect.
~
Dybrush Mcnolh White llighlight for the

.ii high lights. l lcre, we apply the paint
,. to the ra ised edge1>.
\\7000 AND CORDAGE

t..un Corp~ Brown
l!mbral Umber
1'v1enoth \\'hite Base

Hammerfall Khaki
(WASHI NG & LAYERING)

Rucksad. T.1n
1 In this example we will use the same color wash to

hade mulliplc ba-,ccoat color&. Basecoat the '"'ood Gun
1'" BrO\Vl'\1 the wood\ core Ylenoth White Base, and the
dagc Rucksack fan.
: ~l.1kca wac,h by mixing 3 parts Flesh Wash, 1 part Armor
.i-..h, l part Umbra! Umber, and 3 parts n1ixing medium.
BLACK
Armor Wash
Add a tiny bit of water to help the mixture flo\v, and applv
this wash over all the base color~.
3) Aftl'r lhc wa~h dries, layer the highlights by using

HamnwrfalJ Khaki mixed with a little Gun Corps Brown for
the wood, Menolh White Base for the wood tore, cmdMenoth
White Base mixed 1-.tith Rucksack Tan for the cordage.
(LAYERING)
Thamar Black
1)
Fle"h \\-ash
Coal Black
!'vfenoth \\'hite Bac;e
~1enoth
\'\'hite Highlight
Radiant Platinum
If you u<;e grey to highlight black, the
ck can tum out lool..ing grey. The solution

re b to U!>e Coal Black to highlight over
amar Blacl.. and keep the hlghlights tight
d do~ to the edge, leaving at least half of
ach .. urface Thamar Black. Laver a thin line
Coal Black on the lighted edge of the area.
:?)Add a little Menoth White Bac;e to Coal Black
d layer on .i thinner line for the highlight
a little Menoth White Highlight to the n1ix and layer
an even th inner line for the final highlight.
J) Add
Herc we al!>o ,1ddcd Radiant Platinun1 to the rivets to make

tha effects of the highlighted black easier to see.
TUSKS
'Jack Bone
(LAYERI NG)
Battlefield Brown
1) Basecoat the tusks with 'Jack Bone.
3) Layer thin lines of Menoth White Highlight from
2) Laver thln lines tif Battlefield Brown from the base

halfway do\.\>11 the tusks.
TARTAN (LAYERING)
Boostrap Leather
e Umbra! Umber
1) After painting the ::..kirt using Umbral
l>mber and Bootstrap Leather, begin the
pattern by layering on thin, horizontal lines of
Menoth White HighUght. Don't get distressed
if you make a mistake; )'Ou can always touch
it up with the brown base colors.
'
2) Layer on thicker vertical and horizontal

lines between the thin lines you just painted going over and
CO\'eting up the thin lines. Here we used Gnarls Green.
.~
Gnarls Green
losan Green
... . . ..
~
, t ....~
~. .
th-
middle up to the tip of the tusks. This technique works fi

teeth and claws as well.
'
. 1 . ' .. .
'V.t'. ~
. .
,
~ -
,,,
2 : ...,..
3) To finbh the pattern, highlight the green lines by lawr

losan Green on the uppermost areas that receive lighL
BASING YOUR MODEL

Decorating a miniature' <. base takes the model to a whole new level of realism and can ~ignjfican tly increaseits '"wow fact
Jt doe!>n't need to be elaborate, though; the step-by-step process described here is simple and quick. O ther uncompl11:... ~
options include painting the sand a different color, using more (or no) i-tatic gra<;S, and even using baking soda for ..
W.ilh a little practice and imagination, you w ill be able to create works of natural battlefield beauty on any base.
Drybrush the sand with Rucksack Tan. Drybrushin'.:

be messv; be careful not to get Rucksack Tan on the~
the miniature.
1)
Begin b)' applying ~ome white glue thinned with a little

water. You can u~e a good brush for this-just make sure you
ll5e water-soluble glue and wash your brush thoroughly.
4)
Swirl the base in a contajner of hobby sand until you

have the coverage you want. Let 1.Iry.
5) Give the
2)
Create a stain of water, Brown lnk, and Umbral Umber

and paint the mix into the sand. Let this dry.
3)
base a final drybrushing of Menoth White Ba~
l.6ing white glue, glue some static grass or tlocJ.. ont

base and let dry. Clean up any mess on the edge of the
and you have a finished piece.
6)
Trollkin Flesh: Big, Meaty Fists

When you paint a Trollblood army, youre going to paint a lot
of big, meaty fists. Here we illustrate a simple and effective
method for painting battered fists that are full of character.
Step 1) Basecoat the flesh with Trollblood Base.
Step 2) Apply initial shading using a mixture of Trollblood
Base, Sanguine Base, and Thornwood Green.
Trollblood Base
Midlund Flesh
Sanguine Base
Hammerfall Khaki
Thornwood Green
Battledress Green
Cryx Bane Base
Menoth White Base
Underbelly Blue
Sanguine
Highlight
Step 3) Add Cryx Bane Base to the mixture used in Step 2

and apply additional shading.
Step 4) Blend highlights into the palms using Underbelly Blue.
Step 5) Work lines and blends of Midlund Flesh into the
knuckles and cuticles.
Step 6) Blend Sanguine Base into the knuckles and cuticles.
Step 7) Using Hammerfall Khaki, add lines on the fingernails.
Leave just a little of the black undercoat uncovered.
Step 8) Shade the nails by blending Battledress Green over
the lines added in Step 7.
Step 9) Highlight the nails with Menoth White Base.
Finally, use Sanguine Highlight to paint small scratches
onto the knuckles and cuticles to complete the battered
appearance.
105
PAINTING Guide
Menoth White
Highlight
Greatcoat Grey
Khador Red Base

Sanguine
Highlight
Khador Red
Highlight
Ember Orange
Heartfire
Yellow Ink
Red Ink
Horgle Ironstrike: Red-Hot Metal

When Horgle Ironstrike takes to the battlefield, his redhot blade sets enemies aflame. Heres how to achieve a
fiery glow that will stand out on the tabletop and forewarn
opponents of their doom.
Step 1) Starting from the tip, wash the majority of the blade
with watered-down Menoth White Highlight. Basecoat the
base of the blade with Greatcoat Grey and blend the color so
it fades as you move away from the hilt.
Step 2) Make a glaze using Khador Red Base and Sanguine
Highlight. Apply this to the base of the blade and blend the
color into the white area.
Step 3) Apply further glazing using Khador Red Highlight.
The placement of the colors is key in achieving the glowing
effect, so be careful about where you apply your glazing.
106
Step 4) Starting from the tip this time, apply a glaze of

Ember Orange to the blade.
Step 5) Apply additional glazing using Heartfire. Work the
color into the upper edge of each inscribed rune to help
make them distinct.
Step 6) Highlight the blade with Menoth White Highlight,
concentrating the highlights toward the tip of the blade.
Apply lines to the center of the runes to further define
the shapes.
Step 7) To punch up the color, make a glaze of Yellow Ink,
Red Ink, and water and apply this to the whole area. Aim
for a thin, even coat and be careful not to allow the ink to
pool in the recesses of the model.
Ell 6
By Matt DIPietro, Studio Painter
Part 1:
he face is among the most important areas of miniatures painting- and one everyone
SLrUggles with at first. We are all intimately familiar with th e face and its nuances of
expression. Because of that, an observer will ln~tantly be able to tell something is wrong
If an error is made in painting h , even if they don' t know what the problem is.
To cover the ins and outs of this subject we are devoting two Issues of Modeling and Painting to
the subject of painting flesh and faces. In thts column we"ll cover male flesh and faces. complete
with different types of hair. carroos. and stubble In the next column we'll cover fe:maJe Oesh and
faces, along with Ups. makeup. advanced hair techniques. and more.
St~ )l P1ln1 Affh
Wash on Its own Into
tht' reces~ of the
e)H, thtt'ks, and
ouch. Also tract' a
line Ions tht' rldSt' of
che brow stPratlns
the brow from tht rt'n
or lht forehead.
SIMPLE FLESH
To starl things off we 'II Icorn a simple
way 10 pnint fl esh thnt p11in1crs of'
most any skill level will be able to try
wi1hou1 murh dilliculty.
Sttp 1) Bastwat lht
0t'Sh and fact' with
Mldlund nesh.
Step 4) Hlgh11ght the

face uslns Mldlund
Flesh. Hlshllght the
forehead, eyebrows,
chttkbones, no!t.
chin. uppu and lo,.tr
lip, and tr possible
the upJIC'r and lowtr
eyelids.
Step 9 Uns Tlwur

Black. dun up the
outline of the fatt
II
~pan11es from the rest
of the hair and body.
At the same ume point
the t)tb&lls black as
""'" to iei ready for
palntins the eyts
'
Stt'p J) Hix tOe

kbardlc At'$11 w11h
a wuplt' or drops of
fl"h Wash and c1.-e
tht f11 and skin a
ll~ht wuh of color
A~ with any wash, the
paint ..111 sathtr n bit
In tht rettnH of the
model to give a sense
of depth .
ADVANCED FACES
While the ~implc wa.\ of painting Oesh
ii; a good place to start, these more
.uha need t~hniques will help you
bring your models to life.
no OURRTER mR6R2IllE:mDDEllll6 &PRinTinG
~tep 1) The Or~t ~lep ls 10 basecoa1 1ht' (ace In

Mldlund Fluh. Krrp your paint 11lln. and make
sure your bllSC'coa1 I~ !i<>lid and uniform b~(ore
proceeding.
S1ep ;) U.c a 50/50 mix o( Mldlund Flesh and Ryn

Fluh 10 .1pply some hlJhllRhls co the cheekbone"
forehead, nose. upper 1111, and eyelid$.
Step 9) Our (ace looks qulle good at this stage.

but to add some extra expression lake a drop
of Red Ink and add a IOI of waler 10 dilute It
to 11a1e con~tJtency. By applyln~ tbl! slue to
~Oc pub o( the face"'" can Imply all sorts
or 1hlnts. In this case we painted 11 on the nose.
lower eyelid, and central brow nnd forehead.
A red no<e Implies the subject ts 11 drunkard;
the reddish lower eyelid Imp lie< he Is weary or
ban le hardened; 1he red centl'al brow lmplles ht
a belligerent and bruiser. 01her places to apply
the red are th ears (to show anger or shame) and
die outer pan of the cheekbones Ito sh-e the fatt
a nush or htalth or embarrassment).
EYES
Step i) The next siep is to shade the (are using a
mh<1ure of Skorne Red ond Mldlund Flesh.
El
Step 3) Mix some Butledress Green with more
Mldlund Aesh and apply a Sttond shade. The
green and red should cancel each other out.
leaving a realistic skin tone.
Step 61 Us111! Ryn Aesh Ind I fine detaD brush. de(1~

the lines of the (ace. Pay partlrularly dose anenlfon
co the forehead. eyebrows. cheeks. and nose.
Step 7) Every aduh male hos a "nve o'clocl<

shadow" that needs to be painted to make the
fare look real. Mix Mldlund flesh With Bastion
Grey' and thin the mlnure with wat.e r. Apply 11lc
paint In multiple super-thin coalS 10 the cltln, jaw
line. and upper lip.
While 1he simple way of painting Resh

is a good place to stan, these more
advanced techniques will help you
bring your models to life.
IUhat You'll Heed:

-
~1moth 1\11111 H1~hh~h1
CJ Thamar Bl.irk
S1ep 1) Start by
palnllng the eyeball
Thantar Black using a
Ont cle1all brush. To
gel 11111 perfect almond
shape 11 can be helpful
10 paint the eye In two
strokes so that the
shat'P lfp of your brush
Is used 10 paint both
romers of th.e eye.
the face with One deta11 brush. Take care to

precisely denne 1he Cf" soc:kelS. brow line. nose.
lines or the cheek. furrows in the brow, and
crow's feel around the eyes.
Step 8) Because 1hls model Is a pirate and

probably has stubble lnsu~ad o( jus1 a five o 'clock
shadow. mix some Thomwood Green with Mldlund
flesh and lots Of Wltr nd reJ>"at the process
from step 7.
Step 2) The next s1ep ls

to c.ircfully paint the
eyeball using Menorh
White Hlghllgh1. The
im11or1nnt part of this
scep Is to leave a rim of
black showing all the
way 1round the eye.
Ill
na UURRTER mRGRZlllE:manrunG &PRIUTIUG

EYES CONTINUED
Step Jl Apply a round
dor of Thamar Black ro
rhe eyeball as a PUJlll.
The position or this
dot iS very important
for the exp~ssion of
the model: if it does
not match the acrion
and upression of the
resr or the model. it
makes tbe whole ngure
look off.
Step 4) To make the
eye look even better.
apply a dot ofMenoth
White Highlight 10 the
unter of the pupll to
represent light glinting
off the eyeball.
Step J) Ollure some

Bloodrracker Brown 10
wash consistency and
apply it 10 the tips of
the hair and the pa" of
the hair.
Step 4) Load your brush

with Menoth White
Base and wipe most
of the paint off. Using
the side of the brush.
run the brush ah;mg
the top of each strand
of hair to establish the
highlights.
r:--==-==--==-, Step 3) Orybrusb some

Cryx Bane Highlight
around the temples
and sideburns. Using
the side of a normal
small brush instead or
a drybrush will help
keep the pa in! on
the halr and off the
finished face.
~========1 Step 4) Apply a lighter

drybrush of Trollblood
Highlight mixed with
Menoth Wl1ite Highlighr
in rhe same as
described in step)
SHORT HAIR
STRAIGHT HAIR
,
TATIOOSAND
BODY HAIR
N ow tbat we're 6nished with the face
and hair we can move on to painting
the rest of the flesh. At the same time,
we'll learn how to paint tattoos as we ll
as hairy chests and arms.
Step 1) Basec.o at your

mode l's hair In Moldy
Ochre. Make sure you
leave a line of black
separating the face and
the hair.
Step 2) Use wa ter

to dilute some
Rucksack Tan to wash
consistency and apply
Ir ro the hair in an
even coat.
sure to leave a rim of

black to separate the
hair from the face.
Step 2) Mix some

Umbra! Umber with
Thamar Black and
dilute with water to
was h consiste ncy.
Apply this wash evenly
to the entire head of
hair.
na OURRTER mRGRZffiE:mDDELin6 &PRinTln6
Step t) Uke tht' face, basecoat tile 1'61 or die Ocsh

In Mldlund Flesh. After the baSttOat is >0Ud and
dry. u~ moxture of Umbra! Umber and Thamar
BfQck and paint hair on the exposed chest or
arms or your model using a One detail brush. For
the 1111<>0 mix C<>al Black with Thamar Black ond
paint your uotcoo In the desired d~lgn. In this
case we've painted an anchor wltlt a banner thnt
says ..Mom. Awwww. A big advantage with thl<
method or tnrtooing Is that you can easily Ox any
mistakes by rcopplylng the basecoat.
Step J) The second shade Is l(hardlc Flesh mixed

with Battledress Gtten and lots or Mixing Medium.
Seeps) Las11y. mix Mldlund Flesh with lots of

Mixing Medium and apply some highlights. If
any areas or the 1auoo or chest hair have been

obscured by paint ap11Ucatlons that were a bl< too
heavy, a liule bit or careful clean up ar the end
can bring the dctalb back to the surface.
Step al front thJs polnt on, the nesh Is 1haded

and hlghllghted In a very similar way to the face
with a couple or notable exceptions. The Orst Is
thar we' ll be mixing lots of Mixing Medium In with
our paint 10 Increase the translucency so that
our hair and tauoo are visible through muhlple
layers paint. The second difference is that we'll
be mixing our green and red with J(hanHc Flesh
Instead of Mldlund Flesh. This wiU make the race
appear brighter and cause it to draw the eye and
keep It there due to value ronrrasL Keeping these
rwo thlnss In mind, mix Skome Red with Khardlc
Flesh and lots of Mixing Medium. Apply a shade
using the resultlns color.
or
Step ) Mix BauJedr- Green with Skome Red and

paint some lines to separate and deOne individual
muscle groups.
mDEl 86 &
___.TI 6
By Matt DIPietro, Studio Painter
elcome back to Modeling 6 Painting, all you minis fans. In Lhe last column we covered
how to paint male flesh and faces. In this column we' ll build on wha t we learned last
time and apply It to painting women. We'll cover two ways to paint female flesh as
well as how to paint red and brunette hair. For those painte rs our there who want to take their
technique to the nexT level, we're including some extras for painting makeup an d colored eyes.
Although rve used equal amounts of two or three colors for some of these mixtures, the fun is
In playing with the rario to achieve variations from one model to the nen. Don"t be afraid to
experiment until you getjusr the tone you're looking for.
S1ep1l
U~
some Fluh
Wash to add more

d"Jlth to the fatt
Apply the paint In

multiple thin coou 10
achieve the de~lred
BRUNETTE HAIR
\Vi1h 1he face painted. 11~ time ro move
on to the hair.
effect.
Dahlia Hall11r
SIMPLE FLESH
\Ve11 start by painting D<1hlia Hallyr
in a style similar to the basic style from
last issue's column.
Step 4) Apply multiple

super-thin coats or
Ryn Flesh to hlshllsh1
che face. Ket p cht
cransltlons s mooch ond
soft with no hard lines.
Sttp 1) Start by
basttoatlnl iM face In
a so/so 1111 of Mldtund
Fltth and llyn Flub.
Sctp J) NUI. fl~e the

face a thin wash of
Khardlr flesh mixed
with a senerous
amount or wacer. Make
sure boch thlJ wash
and the one for seep
l are 'try chin so che
iranshlon fl soft.
Steps) Apply On1I

hlshllshu ..11h a 1
111l1ture of Ryn Flesh
and Menoth Wlllte
HlshlJshc. Apply tht'~
hlshllshu 1n sort lines
10 the extreme dsu
or the face.
Seep ll Stan w!rh a

baseroac or Bootstrap
Leacher.
no QURRTER mRGR2InE:mDDEUD6 &PRinTinG
Reeues of
Drboros Leader
ADVANCED FACES
l~or
our second face we will be

pamiing the leader of the l{ec\c~ ol
Orl>or<h unit.
El
Step zl Add w-hchlltfln. tth 1 " ' " ' " " ' o(Gu11
and lh1dr.~<k Ta11. Apply the' htdllltfln.
In I~ that folio" the rontOlll" th~ hatr.
co,..,. a,,,..11
\trp I) lt>r ''"' nf'lt round or "'adns. mu: MJdJund

Ht"\h. \korn. RC'<!, nnfl !'ltlni MC'du and a119Jy the
m1.iut"(' to thl' fart" lo rn'u,... your model doesn't
look ma...-ullnr. ftv(lld lt<tntuaung the paranll$lll
tltft hhr tl'l'A-.. In the up~r lip) nd make sure
1hrrr ""' no lmrd llnew nher you ore done shading.
or
le~.i step J usn1Ju" luckt11<k Tan,

Umll th~ hlshllJlll> to tht toP of t~ hHd.
Step J)
Sttp ..> liw unp~ so/so i.t of~,. flHh and

Ml.ti"' MC'dnna for the ftNll hliklltfl1$. The '11x1"'
Medium .. 111 htlp keep the transitions miooth and
the oerall look slllcy soft.
COLORED EYES
Step~)
A11ply a thinned wash or Brown Ink mixed

with Sa115ulne Bose to the hBlr. Ir necessary, '
iue mulllple thin co115 10 roncenirnte the wash
around the tips or rhe hair.
Steps> Milt some Thamar Black with Brown Ink

and llne the srooeS l>etwern hair M'Ctlons and
the part of the hair with this ml#ture.
For a litdc exlrn interest, choose a

color f'or your model's eyes instead
of leaving 1hcm black. This example
iK for green eyes, bu1 you can paint
other colored eyes easily jusl by
varying the ink color.
Step t) Start with a basecoat of Mldlund Fle5h ml~e<I

so/so with Ryn Flesh.
El
Step z) Next. add some shading. ror this, milt
Midlund Flesh with Battledress Grttn and som~
Mixing Medium. Apply as soft shadows to 1hc face.
The Mixing Medium should give the paint so1nc
rranslucency so the shading Is soft and smooth.
CONTINUED NEXT PAGE...
COLORED EYES
CotmNUID
Stc11 4) Ur a mlKlul'\' of Skome Red and Umbra I

Umbn lO place line> 11ratqlcaily In the crevices or
cl>c hair. separatlns sections from one another. Pay
'JlttlI a11cntlon to the braid dun~ this srage of
Plntlns to kc~ It .. ,u dcl\r>ed.
Step 1) Basecoat die hair whh a 50/50 mix of Khador

Red Highlight and Ember Orange. Make sure you
apply multiple coalS until the basecoat Is uniform
and solid.
Step 5) Ucgln hlghllghrlng with a mix of Khador Red

Hlghll5h1, EmlJ>r Orange. and Rucksack Tan. Use the
Side of your hruh lnSlend ofthe Up to run a crisp
line of 11nln1 nlons the length of each strand.
Step 4) Water down some Menoth White Hlshllyu

to sine conslstemy and dab h onto the pupil. The
pupil should ap~ar cloudy In the C'C'ntcr and darker
around the~
S1~ 6) Continue
h!Jhllshtlns with Kbador Red

lllJhllJh1 mind wnh Embtt ~and Menoth
White Base. About half of each strand should be
poln1td with this mix.
Steps> Diiute a drop of Green Ink with water and

remove most of the Ink from your bru!h wllh a
towel. Ca1'<'fully npply this glare to the 1iupil with a
fine detail brush. Use muhlple layers to achieve the
desired effect.
Step J) Mix Skome Red with Bloodstone ond wattr

down the mix co wash consistency. Apply this wash
to the hair to give Ir some extra depth. Alro u9C chis
mixrure to paint che eyebroW$.
Step 7) Flnlly. mix Khador Red Highllgln, Ember

Orange. and Menoth White Hlghlljln for the l\nal
hlghllghclns tep. Apply small dois and dashes of this
mixture to slmulatc llsh1 glinting off the hair.
na URRTER MR6R2InE: manrunG &PRinTin6
makeup
i\t this &tai;l 1hc lac:cs lo<>k pretty sIO<I.

hu1 h.' :uldmg wrnc suhtlc m.1keup wt
l:.m 1.1kc 1hcm lU dw next lcvd.
For 1Jh.1lta, nm: l<Jg<'ther \rcanc Blue
:in.I \\idlund Plcsh aml clilmc them
Ill .1 gla1t con5i<ten~. Appt\ 1h1, mix
to 1hc upper eyelid. Use chc ~me
1cclini11uc for the Rcc\ c< leader. using
a 1111:\ of lk>.1~1 I lidc .incl ll..uilelidd
Brem n in~tc.1J.
Sttp 1) For Dhalla's lips, mu Murdl'rout Mn~~ma

with Sa~lne Hi!;h lfsht and dilu1t to a ~lut
con~lsttncy. Paine the lips In a rtw thin sluts. UM.'
the ~ ftthnlque for the Reeves IHdtt. Uins a
mllf o(Rld lnlc. lllllbral Uabu. and l(hanhc AtW ,
Sttp !) Mix Sa~lne Base with Umbra! Umber and

paint llw upptt lip only. Allow tht hne or tht lip 10
r,.._ the lo,.ff on each siM. You ttn abo tntt a
try '1ne line below the lower Up to mal<t II pop
Wt did this on both flsuns.
Step l) lien, hl!lhll!)l1 the lower lips. for Dhalla. use

a mlxru~ of Murderous Maienta. SanJUlnt Hlshll"'c.
and Mtnoth White Base. For the Rtttt lcadtt,
apply a mu of Sanguine Base and Mldlund Rtth
El
Step 4' Lastly. apply a tiny dot or Mc.noth Whitt

Hfshlfsht to the cornet of the lo~ lip to slmulalt
llsflt sllndt11 off the Ups.
~\h.
3'
lt"M
2.
What You'll need:

-
Metn l Wn sh
Ba stion Grry
0 'Jack Boni'
LJ Menoth While Hl ghllght
0 Mixing Medium
-
Thomwood
Gr~n
~ ArmorWash
OptJonal:
CJ Ember Or;inge
CJ Moldy Ochre
c:J Ruck sacl.. Tan
._,th
Step J.) Shade the skulls

a mmure or
Basuon Grey and Mixi~ Medium
Traitor Green
Step .i.) Skulls all have sll"ht dlllercnwi In

~"Olor. so you"ll nc.-ed to 011ply 11 qla1r 10 your
~ull. The skulls In thr pluurc h.ive been
?amted with a variety of slows: Ember Ornnge,
..cksack Tan, Trnltor Grern, nnd Moldy
hre.
Step 4.) Continue to shade using a mix of

Thornwood Green. Armor Wash, and Mixing
Medium.
Step &.) To finish the piece. use a fme detail

brush ancl apply dcm of Menoth White Highlight
to till' ll'<'lh
35
What You'll Ileed:

-
Battledress Green
Beaten Purple
0
0
RynFlesh
Thamar Black
0 Thrall Fl esh
CJ Red Ink
Stey i;.I Apply a hli:hlight of Thrall Flesh riihed

Y.1th Monoth Whue H1~hhgltt lO the model .
The su1~ are then base coated Y.o!h Rvn fl~.
Step 4.) Reiwn with a rnlxt111 l' ot lkatt'n Pu111h

and Cool Black 10 compl111e tht shudln~ pr()('~\S
Step I>.) To romple1e the effect. mtX Brown

In~. RC'd Ink and a dot or Thamar Black then
Y.ah th\' \lilt\ and apply some drips of "bloody
blt" to thl' surr<>und1~ area.
[ljgnar Stormclad Sword Hrm

To paint the Stormclads sword arm, we11 use the techniques shown in the Formula P3 Core Techniques DVD We'll start with a
basecoat stage, then wash and layer in the shadows and finally h1ghhght the enure part using add111onal layering.
~\k.
f2.
3I
Lt'~
What You'll Reed:
Arcane lllue
~ ArmorWash
-
Bloodstone
Brass 8.1lls
[::=I Cold Stl'f'I

-
Cygnar Base Blue
Cygnar Blue lllghllght
Exile Blue
lmng Medium
Morrow Whitt'
[JI Pig Iron
Quick SllHr
c = J RhulicGold
-
Thamar Black
Umbral Umber
a
Step 1) Basecoat wllh Cygnar Base Blue on the painted
armor, Pig Iron on the darker mttals. Cold Steel on the
blade, and OuiC'k Silver on the hydraulic pistons. Apply
Arcane Blue to the power coils. Rhullc Gold to the gold
areas. and Brass Balls co the hilt
El
Stl'p z) To create the sh~dows, first wash che coils with
n mix or Blue Ink. Tur11uolse Ink. and Mixing Medium.

Wash the Pig Iron with a mix or Armor Wash and Mixing
Medium Wash the Rhulic Gold and Brass Balls with a
mix or UmbraI Umber and Mixing Medium with a drop of
Blood~1one Finally. la) er a ~hadow of Exile Blue 1n the
rttesSt>S or the blue armor
El
Step J) ~'" h111hllgh11ng by layt-rinlJ the blue armor w11h Cviinar
Blue Highlight Then layer the Pig Iron areas Y>ith Cold Steel. the
Cold Steel areas v.llh Ou1cksilver. and the Rhuhc Gold artas with
Solid Gold t..1yer the power colls with Arcane Blue and then use
the same color to paint a tight line around the glowing portion or
rhe Rhullc Gold Jrea to simulate the i;low from the elec1rlc llgh1.
Use Thamar Black to darken the hole\ In the forearm
Step 4) layer on the final armor ln~hlltiht w11h a mix of Morrow

White and C~nar Blul' lilghHght Com1nue highligh1lm; the coils
wnh a mlx of Morrow White and Arcane Blue
El
S1ep;) finally. h1ghhghr 1he coils \\ilh Morrow Whue mixed with a
tOul'h of Arcane Blue
[IlJK Reauer
Harpoon
We'll palnl the Cryx harpoon (yanked
forcibly from the arm of a Renper)
in our traditional studio style, which
emphasizes two -brush blending.
a
Step 1) First, basecoa1 1he main housing wilh Pig Iron, Blighted Gold, nnd a mix of Cryx Bane Base
and Cryx Bane Highligh1 for 1he paimed bane armor scc1lons. Basecoal the harpoon i1self with Cold
Steel and the hydraulic pistons wllh Quick Sliver.
~\Ol
What You'll Reed:
mJ Blighted Gold
-
Bloods1one
Blue Ink
l:J Cold S1eel

-
Cryx Bane Base
Cryx Banc Hlghligh1
ExlleBlue
LJ Mixing Medi um
Step z) Blend in the shadows of 1he bane armor areas usi ng Cryx Bane Base. Blend In the
Blighted Gold shadows with a mix of Thamar Black and UmbraI Umber. Add Exlle Blue 10 th is mix
and shade the metals.
Pig Iron
CJ Quick Sliver
-
Thamar Block
Thrall Flesh
Turqolse Ink
Umbra! Umber
E : J vellowlnk
El
S1ep 3) Blend the highlights of 1he bane armor wl1h Cryx Bane Hlghligh1. Wllh a mix of Blighted
Gold and Cold Steel. hlghligh1 1he Blighted Gold areas. tllghllg)ll with Cold S1eel on 1he Pig Iron
areas and Quick Silver on the Cold S1eel areas.
46
Ste1> <1) Highlight the upper edges of the Cryx Sane armor a final time using a mix of Thrall Flesh
and Cryx Bane Highlight. lllghllght the Blighted Armor portion with Quick Sliver.
El
Steps> Create a rust mixture using Red Ink. Yellow Ink. and
Bloodstone. Add this 10 the nreas you would like to show rust.
Exaetly where you apply ii nnd how much you use Is up to you,
depending on how rusty you wnnt the pan 10 be. It could be
a 101 or just a touch 10 give ft some cha, acter.
merc:enar11
mule Boiler
Stac:lt
For lh1s Mule warjack boiler. we'll
layer several glazes or ink and
painl to achieve the effect we want.
Glazing Ink over meta llics as the
shading siagc Is a great way to allow
the metallic shine 10 come through
the shadows. By adding a hllle paint
to this mixture you will achieve a
happy medium or opacity.
Step 1) Baseroat 1he boiler w11h Pig Iron and

Brass Balls.
Step 1) Shadow the Pig Iron wuh muluple

la}ercd sfaTt>S of Blue Ink. Brown Ink. Umbral
Umber. and Thamar Black. all thinned with
water. Shadow the Brass Balls with a 1amish
mixture of Armor Wash. Umbrnl Umber. and
Blood1rack1r Brown, thinned wllh water.
As wl1h 1he shading. apply this a~ mul tiple
layer<-d i:lnzrs.
~\k.
3'
f2 .
U"~
What You'll Deed:

-
Armor Wash
Bloodstone
Bloodtracker Brown
Blue Ink
LJ
Brass Balls
Brown Ink
El
Step }l Reclaim the Brass Balls and Pig Iron
Reclaiming is Simply so1ns back over '"'h the
ba5('(03t colors 10 re-1'$labll$h paint that \\a~
roered by messy or tealous glazing.
Step~)
H11:hligl11 the brass whh a mix of Brass
Ball~ ;ind Quick Siher. Then hlghllght the
other metal \\llh Cold S1eel. Basecoat the

prt"lsure dml wuh Trollblood H1ghhgh1 and
h1ghli~ht 11 with Morrow While
c:::J co1c1s1eel
-
Cryx Bane Base
LJ
Cygnus Yello w
Khador Red Base
LJ Morrow While
C:. Pig Iron
LJ Ould. Siler
-
Red Ink
Thamar Black
LJ
Trollblood Hlghll\lllt
\, mbral Umber
o ~l'llo11lnl..
Su.p s> Using the same rust mixture as for the Cryx harpoon, ru>t the boiler In a few chosen areas.
Add some Umbra! Umber to the rust mix for ii d~per rust color .111d ru. a rust shadow.
Complete the pressure meter by pamllng l<hador Red Base nnd Cnnus Yellow on the meter. Next
paint In the lines and horder with Thamar Block mixed w11h A touch or Cryx Bane Base to cu1 the
hnrshness of the black down.
48
Metal Weapons
Metal reflects light strongly, which makes for nice contrast
on metal weapons between bright sections where light
falls directly and dark areas where it doesnt. To paint a
convincing metal weapon, concentrate on the way each
individual face interacts with the light source. Broad,
flat faces, such as the cheek of an axe blade, often have a
gradient from light to dark. Curved surfaces, such as on the
trollkin hammer shown below, have a gradient that starts
dark on one side, becomes brightest where the light would
reflect directly toward the viewer, and darkens again as the
surface curves back out of sight.
Not every face should have a full gradient from light to
shadow. Sections of a blade that face upward toward the
light source may require only highlights, with no shading at
all. Likewise, faces of a weapon that are overhung or facing
the ground may need only shade colors. The placement of
highlights and shading is what will make a painted weapon
appear three-dimensional. The weapons shown here are all
painted with the same colors.
Step 1) Basecoat the weapon with Pig Iron, using several thin
coats for smooth coverage.
Step 2) Apply the first level of shading using Greatcoat Grey.
This shading will begin to define the shape of the weapon.
Pig Iron
Battlefield Brown
Greatcoat Grey
Cold Steel
Exile Blue
Quick Silver
Step 3) For the second shade, mix Exile Blue with Battlefield
Brown to create a rich, dark grey. Apply this shading more
sparingly, concentrating on the areas of deepest shadow and
on any chips, notches, and cracks in the surface.
Step 4) Begin highlighting with Cold Steel. Concentrate on
raised areas, edges between faces, and surfaces that face the
light source.
Step 5) Before applying the final highlights, apply matte
varnish to your miniature and allow it dry thoroughly. This
will enhance the final highlights by smoothing the blends
and reducing the shine of the metallic paints. Use Quick
Silver to apply highlights sparingly to the hard edges and the
lower lips of chips and notches in the weapon. (Sometimes
reflected light from the ground or other nearby surfaces will
cause a downward-facing edge to catch the light. If youre
feeling adventurous, apply bounce light highlights to the
underside of weapons as well.)
107
PAINTING Guide
Feathers
Falcons
Step 1) The most important thing to do when painting

feathers is to make sure the shaft of each feather is distinct.
Start by painting each shaft with a fine, straight line of
Trollblood Highlight.
Step 2) Using Jack Bone, fill in the feathers with thin,
distinct lines. Make sure each line is separate, with the black
undercoat separating the lines from the central shaft and
from one another.
Step 3) Make a glaze of Bootstrap Leather and apply this to
the feather tips. The glaze should be translucent enough to
allow the lines beneath to show through.
Step 4) Add a pattern to the feathers using several light
glazes of Umbral Umber, taking care that the layers beneath
remain visible.
Step 5) Apply final texturing with a mixture of Umbral
Umber and Exile Blue.
Step 6) Use the mixture from step 5 to clean up any mistakes
from previous steps.
Trollblood
Highlight
Jack Bone
108
Bootstrap Leather
Umbral Umber
Step 1) Basecoat the falcon with Jack Bone mixed with a

small amount of Frostbite.
Step 2) The plumage of falcons tends to be darker on top
with a pale underside. Start by shading the top side with
Bootstrap Leather, with the goal of making each feather
appear distinct.
Step 3) Mix Brown Ink with Bloodstone and apply additional
shading. Where possible, paint a line along the spine of each
feather and add some fine patterning at the wingtips.
Step 4) Add Exile Blue and Thamar Black to the mixture
from step 3 and sparingly apply some dark shading to areas
that need a bit more contrast.
Step 5) Using Menoth White Highlight, add a few highlights
to the feathers.
Step 6) With the top side finished, you can move on to the
underside. Start by shading with Bastion Grey, making each
feather distinct from its neighbors.
Step 7) Apply additional shading using Ironhull Grey. Also
use this color to add a pattern at the wingtips that mirrors
the pattern on the top side.
Step 8) Finish the pattern by applying fine lines of Battlefield
Brown mixed with Exile Blue.
Exile Blue
Jack Bone
Brown Ink
Thamar Black
Bastion Grey
Frostbite
Bloodstone
Ironhull Grey
Bootstrap Leather
Exile Blue
Menoth White
Highlight
Battlefield Brown
Legion Feathers
Step 1) Basecoat the feathers with Thamar Black, being

sure to fill in any areas your primer did not reach.
Thamar Black
Blue Ink
Frostbite
Red Ink
Step 2) Paint the shafts of each feather with a thin line

of Frostbite. Start each line at the base of the feather
and stop near the tip where the shaft becomes thin and
indistinct.
Step 3) Paint the veins of the feathers with Frostbite, using
repeated short strokes to apply a thin line on each raised
vein. This can be challenging if your paint is the wrong
consistency. You will need to add a generous amount of
water to your paint so it flows easily from the brush; take
care not to overload the brush, or the paint will flow too
freely and fill in the spaces between the veins. To save time
and effort, first paint only one side of every feather, then
turn the model to paint the opposite sides. This way you
will have to switch the position of the model only once,
rather than rotating it for each feather.
Step 4) Use a mix of Blue Ink and Red Ink to add a purple
color to the feathers. Apply this color at the base of the
feather and blend it toward the tip. While the ink is still
wet, you may want to use your blending brush to wipe the
ink off the center shaft so it remains distinct.
109
BY CHRIS OELHAFEN - - ---:
:------~
Sculpting flames or billowing smoke on a model really adds a unique element of

personality and can make your army look more dangerous. In this article I will
cover how to sculpt and paint flames and show you how little changes in color
can make a big difference in contrast and model presentation.
TOOLS NEEDED
Formula PJ Sculpting Set
formula PJ Modeling Pully

formula PJ Modeling
Dnn &
Pinning Set
COLORS USED
.
Fro,1bi1e
!m Hoorrfire
II] 1ronhull Grey
Khodor Red Bose
Meradiu' Blue
Morrow White
Thomor Block
1) To s tart '>Clllphng, you need the assembled model(s), a sculpting tool, sculpting putty, cl pin vise, and pinning wire.
2) Drill a .,mall holt> in tht- spot where the Hames will project The hole should be the same diameter as the
pinning wire and deep enough to give support to the pinning wire. After drilling yo u ~hould wash the
model and ,.., ire with warm soap and water to remove e>.ce'>s oil., from the c., urface; otherwise the putty
may not s11d. to 1t.
3)
Mi>. a very small amount of putty by using a 50/ 50 ratio of black Jnd white, twisting and rolling it with your
fingen. until it looJ..s evenly grey. It is important to keep your finger<. and putty Wl.'t while you work with it to
keep it lrom s ticking to your skin. Push the putty into the hole you drilled and wipe off any excess water.
4) Try to imagine how you want t11e flame to look and bend your wire into thl.' desired sh,lp<.'. Next, add a s mall drop
of sup<.r glu<.' 10 the end of the pinning wire and push it into the putty-mlcd hole. Let it sit overnight to cure.
90
1) 1\ I1\
another batch of putty and roll it into a long thin .,au-..1gc. You will n(>td enough to cover the wire
<lrm.:>lur1. vou created.
2) Wr.lp the putty m .1 spiral around the wire until the t>ntire win. i.., cOvlrt'Cl.
3) Keeping your sculpting tool lubricated is very important. You c.111 use a liltll water or petroleum jelly to keep
it from slicl-.ing to the putty. Lightly press lhc narrow end of vour tool into the putty to create lines that match
thl' "Pir.11-..
4)
Continue to spiral outwilrds using the tool to pull the pully ilround the wire and into the dt>sired shape.
5) Oncl' complete, use the lip of the tool to crenlc s mall holes to break up the Oi.ltter areas. These small recesses
wi ll ,1dd ll'Xlurc and help ndd ro the effect once the name1- nrc painl<td .
In this ... tep I'll !>how you how to paint traditional Aamcs. Thc'-t ... tandnrd wllow and red flames would be right
<11 homl' on mo..,I modPls that use fire as a weapon, like thl' Fl.1mcguard Ckan...er shown here. There's a lot of
drvbru..,hing m thl"'<' "'"'P" .md it IS important to u-.e a light hand .:>nJ .wmd getting paint into the recesses.
1) Using a 50/50 mix or Morrow
White and watt>r, paint the flilmc~ <ind make sure to get ;ill the recesses.
2)
f'aint ,, 60/ 40 mix of Heartfire and water onto the bottom half o( tlw flrtml!, lc.!lving some of the white exposed
in llw <kcplst 1ecci;ses.
3)
Lightly drybrui-h Khador Red Base over the most pronounced n.imc ridges.
4)
Lightly drybru'ih ThamM Black over the arear-. previou-.ly drybru.,lwd wi th I lcartfire. Avoid drybrushing the
the flamethrower tip and be careful not lo cover up your prcviou-. work.
Ml'a 111.~ar
MODELING &. PAINTING QUICK TIPS
91
S)
Paint the top of the sculpted name with a 50/ 50 mix of lronhull (,rey and waler.
6)
Lightly dryhrush lronhull Grey in down-ward strokl.'S from the solid grey area inlo the rising names. This will
lie tht> two .m~ns togPlher
7 ) Drybrus h
a 70/30 mix of Morrow White and lronhull Grey over lhc uppermos t JrNl of the grey smoke.
8 ) To
crcnl!! further contrast and brightness in the flame, paint a equa l mix of Morrow White, Heart fire, and wate r
into th e rccessell. This will really make the flames glow.
Here I'll demonstrall' how to paint magical flames u~ing a Cam1vean'o.; flaming breath ,1s .1n example. To represent
magical fire you will paint the brightl .,1 area., to" ard the outside ol the A<1mc, lt.?aving the n.~55eS darker. This is an
opposite approach to traditional narn . Lhat ;ire brightest and hotter at their COTl'.
1)
U'>ing a 50/50 mix of Mcredius Blue and water, paint the inner portion of the nam~ trailing out of the
Camivean's mouth.
2) Lighll} drybru"h Frostbite on the Aame ridges. Be careful not to get .my into the n.'Ct''>-.t."S.
3) Paint a
50/ 50 mi>. of lronhull Grey and water toward the end of the flame
4) Lightly drybrus h lronhull Grey toward the flame to tie the colors in. Try a nd k~p lh~ grey from getting into
lh1.o rccci.ses.
S)
92
Next, lightly drybrush a 50/ 50 mix of Morrow White and lronhull Crty OVl't the grey area. Oean up any
colors 1h,1t looJ.. ou l of place and clean up any paint spillover.
This IS where vou can really push a piece to the ne\t

level. Using the Carnivean, we will add some object
source lighting and look at techniques to incre.1se
contrast and make the model really pop.
1)
U:.c a 70/ 20/ 10 mix of mixing medium,

Mcrcdius Blue, and water and paint this over
the flame am! in the recesses of the smoky area.
This will lie the previous colors together for a
smoother, brighter transition.
,m tqual mix of Frostbite, Morrow While,

.ind w.1tcr o nto tlw edges of the flame. The paint
is thin, and lo incrca~ brightness you will need lo
use two to three layers. Be careful to keep this out
of tlw d.irkl'r r('cec;ses.
2) Pnint
3) To dr.1w atltmhon to the bright flame, darken the
<1n>a'> around 11. Lightly drybrush Thamar Black

over the grey '>moJ..y t1rea and onto the top ridges
of the flame Add mixing medium to the mixture
from slt.>p two <1nd then add light translucent layers
to thl teeth, gums, and nQ!.e of the Cami\ean.
4)
Conttnuc to .1pplv the mix from step hvo in

multiple thm layer... Be careful you don't completel)
ob-.cun: the pre,wus work done on the head. Finally.
dean up any rolor.; that may have spilled over.
CONCLUSION
0 1w ot tlw bl'lt p<trIB ol the hobby is taking somt>thing

and making it trul y your own. Use the techniques
h<'rc lo rren l< flames, billowing smokestac)<s, simple
exhau~l, or cvt n rockets in Aight! All you need ir-; a
vision and lhc driw to make it happen.
MODELING & PAll\fflNG QUICK TIPS
93

Lt'M
~\k.
~.
3I
What YouuDeed:
Once you get the hang of It, painting rust can be

quite fun and really adds a lot of character to
the warJacks. weapons, and equipment used in
all of the factt on s or tht Iron Kingdoms.
Bauledress Green
Bloods1one
Bro,.nlnk
co1dS1eel
LJ Quick Sll\er
-
II
Stl'J> 4.l M" a couple dab\ vr Thamar Black
""h a lew drops of Brown Ink Use this mu to

<1dd .in add111onal ' hade 10 vour me ral.
Tha mar Black
Step 6.) Your metal ~hould look fine at chis

po1n1 but 1r you "ant to add some scratches.
~tan by adding somt' ltnc<s of Thamar Black.
II
Step 3.) Continue "ith anoth<'r shade usi ng
Bnul edress Green.
Stt'P 7.) Add an additional line or Quick Silver

below each line. Once 1h1~ is done, you'll
hnv~ a scratched a ncl rusty surface 10 be
ju~
j) l'Olld Of.
33
HO QUHRTER MHGHZIHE: MODELIHG HHD PHIHTIHG
Modeling and Painting

Solid. Brass.
Painting- Brass the Iron Hing-doms Wa11

Metallics can be some of rhc most difficult paints to get right
Even with the speciI form utnuon
or the
P3 paint line. these can
still be tricky colors to LJSl' to best efrect. The look of metals can
greatly enhance the 1mpct of a great paint job, so Ron Kruz1e m
the Privateer Press studio put together this simple guide ro several
ways of getting brass JUSt right .
By Ron Kruzie
othing informs your

work
like
knowing
your :.ubject, :.o a little
re>.can:h now can greatly enhance
your p<1in1ing l.1tcr. Brass i:. an
allo,\. of (pnm.1rily) copper and
zinc (u>.ually about 511 - 450.o)
and n f'c~ oth('r tr<lCC clements.
The amount of' 1hesc metals gives
bras:. ih color. Zinc h.1i; a silver
color, :.o hrass alloys with more
zinc hnve a hue diat is more sliver
28
and less copper. This results in a

metal called naval bra:;s, which has
400.o or more zinc. and at leru.t I1111
tin, in it co better resist corro>.1on
in salrwarer environment:.. It ali.o
resulted in a color rather dillcrl'nt
than what we L_ypically think of' ai.
'brass'. Brass actuall.v come:. in a
wide variety of alloys, so painter:.
have some rather generous leeway
in their choice
hig hlights
when painting it. Ron shows you
or
methods of painting both commor

and na"al brass. along with a quid
and dirtJ technique for tarnishe1
rn('tals that, while it's not displd
c;i;,e quality. looks pretty clan
good on the table.
"0 QllflRTER MHGHZIHE: MODEUHG HHD PHIHTIHG

Paintinq Brass
Sfep 1) Underroa1 the nlOdel with bl.lCk primer.

Thls provides a solid, maue b.lse co bulld on.
Step
.> for naval brass. after
cht' uimlsh
layer, use scnlght Cbu1 thinned) Bra s Ba lls
10 sin the mini 1he pro~r baSt' color

Don't slap this on. Blend II onto balls a nd,
if you need co, rerake some of chac tam I h
so that you reca ln 1he rlchne~s and dt>pth
while still geulns the brass hue.
Seep z) Base coat with Brass Balls.
Seep s) This ttighligJn consists of half Brass

Balls and half Quick Silver mixed together.
Re member to keep it simple. Ir' s easy to
slip and end up with sloppy color splashes
at this stage, i.o kee.p your palm th inned
wilh water.
Seep J) Mix Armor Wash. Umbral Umber.

and 11 couch of Bloodtracker Brown to
cre ate o rich, dcrp Hlrnlsh. This nses the
nit>tol by making II look used and gives you
a bMe 10 hu lld up hlghllghts from. As such,
make surr you hlend ch is lnco the shadows
on Ill e mlnlnwre.
St"p 6 ) The lase hl(hllght Is straight Quick

Sll ~er. This I what brass with a high
~rcentage o f dnc In It wou ld look like,
which make II Ideal for use with the
Prlvtuet rs.
[HUTIOil: lIJet Paint I

For the love of all things shiny, let the paint dry before applying the next layer!
Keeping a hair dryer in your holster can really speed up this process.
Watered [olors
When using mc1al paints, <ts wi 1h all pai n ls. make sure you thin it down wit h a
bit of water. Iryou use the met.ii sl raigh1 out oft he pot, you will not have any
detail leli after you to,cr 1hc mini \vi1h all the required coats of paint.
The Tarnish
T he third step's tarnish mixtur e shown above creates thl <:olor brass acquires
when it starts to corrode. In this s tep. you can t;.1rnish as much or as liule
as you like, depending on how old and corroded you want lo rnake the final
miniature.
Many lcchniq ues exist to blend pa int, bu t a good mc1hod involves Lh inning
d own the mix ture with water a nd p ulling down mnny 11\ycrs 0 11 top o f one
anothe r. Thi s may require as ma ny as a d o:t.cn k1.vc rs.
29
"0 QUHRTER MHGHZIHE: MODEUflG ftHD PHIMTIHG

Painting Brass IIJarjacks
Thcrl~ something reallj striking
about an un.1sh.11m'<ll.\ nwtal warjack.
Thro\\ing down .1 It\\ 'jacks with
poli!-hetl hr<1~ .inno1 can ma.kc for
a !ltunning and unusual force. The
iechniqul'S for p.iin1ing large areas
with bra~., aren't too Jiffcrcnt than
for painting the sm.1Jlcr sections.
Step 1) Prime the model black Whhe
undercoats can make 1he mt'ml coo brlghc
when painted over large areas of a model .
Step l) flll In th!' C'l't'YUSM and areas

around de tail with hard hne of the
tarnish mlll'.ture (de.srlbed previously). Try
and keep these llntt tight, but don't sweat
It If t hey txt tnd bh Into t he unshaded
sections Ju t kt'ep 1he raised areas and
de mlls clNrn.
Seep..> Blend the ramtSh Into tht brass and

silver. 01tls is why ii didn't mimer If )OU soi
a bit sloppy in the last step). Don'1 go nutS
het"e. but feel free to make the sh.1do~ a\
broad and as deep as you like, depending on
the amount of corrosion you w11111 co ha"e
o n your mlniamre.
St ep z) Base coat the brass areas in Brass

Balls and the others In Pig Iron. Th is pan
Is e11sy- jus1 keep the edges becween the
colo r:. clean.
Steps> first hlshlight. This mix uses 1/z Brn

B;ills and 1/z Quick Silver.
S1e p 6) Sttond hlghllghc. This Is a 11-t Brass

Balls to
Oukk sn... er mlJ<tu.re.
J'
Sttp 7) fln.11 highlight . Ulgllgh1

whh pure Oulck Sliver along
Lhe ~harp edges.
The brass o n this Commodore ca nno n was painted
with tht !>lime tl'<'hnlc111es o.s the warjack above.
30
Step 1 I Stan by laytnJ down a sohd ba\t'tOOt

or Pt1 Iron
S1ep z.) lk->;m 1he corro<1on ....nh a \hJdl.' or
Thornwood Gre-en
El
Step 1.l Continue lo corrode Lhe bl~de with n
shnde of Cryx Bane Base
34
Step 7.) Just below each hne, add an

additional line or Oulck Sliver. I herl'I YOYr
metal is now nicely corroded .
What 11ou'll need

Bastion Grey
Cryx Bane Base

Greatcoat Grey
Formula P3 Mixing Medium
(also known as Matte Medium)
Step 1.) Base com the Kricl Stone with Bastion

Grey. Make sure that the basecoat remains a
solid color with no variation and that it fills
all the crevices.
Step 3.) Carefully drybrush again with straight

Step 5.) Next, apply additional shading usi

Cryx Bane Base. Use a generous amount
Mixing Medium at this stage so you do
obscure the texture. Notice how the paint 11n
Instead of covers. the stone.
Step 6.) Highlight with a blend of Trollbl

Highlight and Menoth White Highlight mi~
with plenty of Mixing Medium to augment ~
translucency of the paint.
Step 2.) Mix equal pans Trollhlood Highlighr

and Menoth While Highlight. Then apply a
heavy drybrush of this mix to all the surfaces
using a flat brush . This gives the stone some
texture, so the chalkier the effect the better.
Painting Tip
f o 111.11..c ' IOIH' l'lftt h , 1ppt,11 lllOlt' 'c. h.1lf..:y'
\\.lult- d1~ lu11 ... h111~ 11,, . J>.11111 '''m.~ht out of
t ilt' ho11le \\ 11ho11t llSlll~ .my \\clh'I
48
Step 4.) To define the shadows. mix Greatcoat

Grey with Formula Pl Mixing Medium
(sometimes called Maue Medium) and water,
then apply this over the stone. The Mixing
Medium makes the paint translucent so the
texture painted underneath will show through.
Step 7.) Apply some edge highlights uSi

straight Menoth White Highlight. This defiRe
the edges of the monolith and makes the run1
glyphs stand out much more.
no QURRTER mRGR2InE: mODELinG RTID PRinTinG
Painting- Glassy Stone

Next, we'll look at painting glossy black stone (to mimic obsidian or
black marble). common to such creatures as Skorne Immortals and
Ancescral Guardians or even Circle Orboros Shifting Stones.
seep 1.) Start with a black

undercoat and npply a mix
o( Coal Black and Thamar
llack to 1h<' rop hair or
tac'h raised ~urface.
S1rp i.) Apply Menoth White

1.1_~ 10 the mix from Step 1
~ lhis mix,
rtst'd
hlghligl11 the
area~ or the model
Blend carefully to make

this effect subtle.
S1ep J.) Highlight again with

.. mixmre or equal parrs
Coal Blad.. and Menoth
Y.lme Base For 1h1s s1ep,
apply the h1ghllgh1S In lines
co 1he cracks and cdgt>~
or che stone for bener
de6niuon.
Step 4.) You will need a

1Kond line highlight 10 fully
rtallze your edges. Mix Coal
11.x
Menoth Whne
";m
ff~hytt
and c;irefully use
tJit side or your brush 10

apply the palm to the edges
and cracks of 1he model
Sltp s.l The final Slep of

llif process really brings
~ glossy effl'CI 10 life
~ qra;g111 Menoth White
l!~hgh1 10 paint tiny dots
on 1he mosr extreme points
ol the cracks and edges. Use
lhese dots sparingly so they
do n0t dominate the model
What 11ou'll need

Coal Black
Menoth White Base
Thamar Black
I.
no QURRTER IDHGR2InE: IDODELinG RnD PRinTinG
Paintinij Gemstones
Painting gemstones is a crucial skill for any
miniature painter since some models seem
practically covered with the tiny things.
Conveniently, the lmmortal's sword used to
demonstrate how to paint glossy stone has
a large gemstone on rhe hilt. Here's how to
paint it and others like it.
In order to fully understand the technique of
painting gems it can be heIpful to consider
the way light interacts with real gemstones.
Consider a gem as just a semi-transparent piece
of colored stone. This means that when light hits
the stone, instead of reflecting back. it passes
through and renects off of whatever material
the stone is set in. This is the reason that the top
of the gem is dark and the bottom of the gem
where the light has passed through is bright.
Gems are also semi-reOective. meaning that the
light source renects in the spot where it strikes
most directly, which the single white dot of the
sun in the upper portion of the gem simulates.
Ufhat 11ou'U need ,

Menoth Highlight
Midlund Flesh
Red Ink
Sanguine Base
Skorne Red
Thamar Black
I.. :.
Step1 ) Basecoat lhe

or Skome Red.
~m
\\-ith a solid 111
Step z.) Mix Sangume Base with a tiny

of Thamar Black. Paint a circle shapt
1he upper comer of your stone, lea1
a crescent shape of Skome Red heh
Carefully blend 1he colors t~ther roe
smooth transition.
Step J.) Re6ne lhe bottom hair or ~

crescent shape wilh a mixture of Sk
Red and Mldlund Flesh. Do not CO\'l'f
shape completely. as lhis causes the io
trans111on 10 appear 100 abrupt.
S1cp 4.) Use straight Midlund Flesh to appl

n r.nnl edge highlight to the bouom or 1b
gem. Apply a liny dot of the color In tli
ccnw r or 1he rinal crescent 10 der.ne 1
brlgl11es1 portion or the gem.
Step 5.) Red ~ms often need a cou~

thin !lla~es to magnify lhelr 1ntenslly
mix up your glaze. mix a single drop or I
Ink with 10-15 drops or dean water.
the glate In 3-s light layers, allo\\-ins
glnie to dry completely between coatS.
Using lhe same ideas smed abo\e you can apply this technique
wllh other color options like lliese blade and green gems.
50
S1ep 6.) Anally. paint the renecuon

the light source glinting off I.he surract
the sem Use a tmy dot of Menoth W
Highlight, making sure to position It d1red
opposite rrom I.he dot or Midlund fl
painted in Step 4.
In this article, I'll show you how to Qdd o little character to your models by weathering them with chipping end mud
effects. This is a good way to make your warjocks look like they've been slogging it out on the battlefield. The beauty of
these techniques is that anyone con do them; they also allow you to skip highlights and details on the model by covering
areas with mud splatter! Although I chose to apply these techniques on o Protectorate of Menoth Crusader, the chipping
ond mud effects would work just as well on nearly ony worjoc k.
1 ) Start by adding
the primary colors
to the model. Use
' Jock Bone for the
off-white oreos
and a 50/50 mix
of Sanguine Base
and Skorne Red
for the red areas.
Paint the steel
parts of the model
with Cold Steel.
COLORS USED
'91 Armor Wash

0 Batllelield Brown
IJ Blighted Gold
Bloodtracker Brown
.Cold Steel
~ Gun Corps Brown
Ember Orange
Gnarls Green
losan Green
.Jeck Bone
Morrow White
0
0
0
Sanguine Bose
Skornc Red
TI1omor Block
2 ) Use a stippling effecl (generally seen in oil

painting) with a 75/25 mix of Menoth White
Highlight and 'Jock Bone to achieve a pitted
and aged look on the large white areas of
the model. Apply the point by dabbing it on
in layers, leaving some of the 'Jack Bone
showing through. Use Blighted Gold to paint
the muted gold areas.
3 ) Wash the entire model with Armor Wash.

Apply the Armor Wash heavily ond let it flow
into the folds and grooves of the model. It
is important to let the model dry completely
before moving onto the next step.
88
MODELING & PAINTING: QUICK TIPS
4 ) for highlighting, bring

the red up lo the next
level with Skome Red,
poying speciol oltention
to the roised edges ond
corners thot would catch
more light. Retouch the
steel oreos ogoin with
Cold Steel.
S) Drybrush the entire
lower half of t~e model

lightly with o 50/50
mix of Em ber Orange
and Gun Corps Brown.
This will give the model
o lighter-colored dirty
look that will contrast
nicely with the dork mud
splatters opplied next.
6 ) Using o toothbrush,
splatter Bottle6eld
Brown across the lower
third of the model. You
don ' t wont it lo go on
heavy or pool on
the model.
7 ) An easy way lo odd a chipping effed is lo use the foam

that comes pocked with your models. Tear off o corner
of the foam o nd dab it in Thomer Black. W ipe off most of
the paint with o paper towel and dab the foam on areas
where you wont a chipped effect. Lorge open areas of
the worjock' s hull ore great for this.
te
d
ll
8 ) Inside of tho larger block splotches point a small amount

of Cold Stool to complete the effect.
MODELING & PAJNTINGQUICK TIPS
89
9) Next, to odd o sooty look to the weopon and smoke slacks, drybrush Bloodtrocker Brown oround the edges of
onything you wont to oppear burnt. Then drybrush Thomer Black over the Bloodtracker Brown, being coreful to leove
some brown showing around the edges.
10) To fin ish the model, basecoot the gems and eyes with Gnarls Green, then highlight the bottom edges first with loson
Green and then again by adding a drop of Menoth White Highlight to the green to lighten up the colo r. In th e very top
corner of the gems odd Thomor Black to darken the oreo, and use o simple dot of Morrow White within the block to
create the illusion of reflection.
CONCLUSION
When it's all said and done, your model should look li ke ii hos emerged from combat battered but victorious. When
planning damage to your models, imagine the heroic actions that must be undertaken to receive these valiant scors.
Whether it was your worjack shielding your caster from a crushing blow or your Trenchers out in the forefront, splattered
with mud and ready to make the ultimate sacrifice for your army. These techniques con be used across all the models in
your army to tell your story. Fram your mighty warcos ter and his towering warjacks to units of grizzled troopers, they all
have a story to tell. What do your models soy?
90
MODELING & PAINTING: QUICK TIPS
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CJ Arcnne Blue
CJ Meno1h White HlghUght
Turquoise Ink
Step z.) Mix up some Arcane Blue with Turquoise Ink and Mixing
Medium. Apply this mix 10 all surfaces that are In direct line or sight
to rhe lightning coll. Keep your paint Ihm and carefully blend rhe
paint for a smooth transition. Onre this Is complete. water down
chis mix to wash consistency and give the c:oil itself a wash.
Step 3.) Water down some Monvw While with Mixing Medium and
highlight the coll. This Is 10 ensure thm the coll is brighter than anyth1ng
else on 1he model.
Step 4.) Next. mix Arcane Blue wilh Menoth White Highlight and
some Mixing Medium. Apply this color rn line highlights on all
edges that face the light source. This stage is much easier If you
use che side or your brush and simply run the brush along the
edge of the surface you wish 10 highliglu. Use this color 10 tim
the coll slightly.
Seep 5.) Add Morrow White to the paint mixture from Step 4 and
apply it 10 the edges or the model that are closest 10 1he light
source. Be sure 10 leave some or the previous layer showing so that
the highlights build up gradually.
54
Step 1.) fll'lt. apply ,1n add111onal hlghhV!t or

Quid Silver to the edges bordering the glowing
area, in this case the knuckles and the vents
Step i.) Carefully paint Menoth WhHP Hl!;hhght

lnro the bottom or the ventS and knuckle
holes. Make sure to leave a black border
around the white to separate It from the rest
of the model.
Step J.l Mix three paru Yellow Ink and one pan
Green Ink along w1lh some Mixing Medium
and water. fill your brush with this wash and
wipe most or It orr unul lhe brush Is simply
damp Apply the Y.ash to the vents and the
Immediate surrounding areas. A second bmsh
often pro,es useful on this step to suck up any
excess "ash
Step 4.) Paint the lower pan or each \Cnt with

a second layer or Menoth White Hlghllghi.
Again. ensure that you lea'e the black border
surrounding the glow inract
Mlxins Mtd1um
CJ Ou1d. S1l,er
CJ Yellow Ink
Step 5.) Use Yellow Ink wllh a 11ny amount of

Green Ink mixed In with i.ome Mmng Medium
and water Apply th1~ mlxtun. In the exact
same way as the one used In Step }.
Some Examples:
The Pyre Troll and Souls show just the
light source. without ca~tlng light. Since
the light source Is coming from the
ccnrer, the recesses ar<' brl~htcr than the
raised dnrker areas.

Notice how the buslncs~ end of th<' pyre
troll's rireball is the brlqhtc~t portion.
The Press Gang Leader's lantern 1s the
light source and the light surrounding
lhe lantem Is the caSt hqht Notice how
the top or the lanrern has ii layer or soot
Inside lhe glass. The~ subtlt> effec1s
really bnng hfe to a miniature.
55
'
'
f\ltl1()ttgl1 it t11ny sc(~111 like l1,1Lllc l'11gj11l\S rt\<.Jt1i1e
tl1ci1 0\-\' ll pl1 i11 li11g tccl111it] LICS clLlC LO Ll1ei r s izc
a11d tisc t1f rcsi11 p,1rls, tl1e pai11li11g guicfes i11
the f(Jl'l'es cif \N/\l~MACT1TNE L1ool<s work as well
for tl1cm as tl1cy c.io for warjncks. If yc>LI 11cglccl
to asse111blc a11d pClj11t t)1esc 1118ssivc 111<)dcls
piece by piece1 tl1ot1gl1, yo Lr' ic g()i11g to rLt 11 i 11 t<)
tiot1ble. Si11ce pai 11ti11g a bn ttlc e11gi JlC tn l<cs
n1any l1ours, y<)tt'll be l1a11dli11g tl1c 111 odcl 8 lot.
Tl1a t ca11 ca ttse da111age to tl1c p8i11 t job if tl1e
model is 11ot properly 1not1 n tcd to so r11c so rt of
tern p orary 11a11dle, so pay close a ttc11 lio11 Lo o ur
tips 011 asse111bly.
011e of tl1e nice tl1ings about painting battle

e11gines is their size. At such a large scale you
can experiment with elaborate painting methods
fo1 areas that might be more straightforward on
smalle1 model s. This guide focuses on tec1migues
that will allow yot1 to supplement your standard
pa i 11 l scJ1c111 e a 11 d tu r11 your battle e11gi11-e projects
iJ1 to fu11 a 11d rew a rd ing challenges.
....
'
---------~-~--
ASSEMBLY TIPS
-...~
_,,,_
--. ~
Nothing \Viii n1nke your bnttle engine l)roject easier thnn the 1>roper n1ou11tlr1g and assernlJly of your model. Painting a fully asse bl d
unn1ounted battle
engl n e prese11ts sevcra 1challenscs, inclt1dlr1g 1>air1t chipping and. br:eakage; it can also make it difficult to re h d m e ,
'
on the rnodel Jn oeneral 't
d practice to n1ount each sul)asscn1l)ly to a handle (a wooden dowel is ideal) b f
ac eep areas
!>
' , 1 ts goo
d
Formula P3 Prime C
d I
e ore un ercoatJng it \Vlth
b
. .
r. re\v mo e s should al\vnys be n1ou11ted to a dowel and painted separ ately from the battle engine Don't \.VO
:ainu~-~ areas that would be in complete shadow, such as the bottom of the Gun Carriage or the mn~r walls of the Vessel o~ Judgm
reas ' e th ese \VOuld not be exposed to the light ;ind should be painted Thamar Black.
t':":
o~t
en s ' " ee s.
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"
It is best to paint the Wraith Engir1e in a

number of stages. Wait until you finJsh
painti11g its glowing innards to assemble tl1e
ribcage, then n1ove on to painting tl1e main
body. Assernble and attach the arms only
after fully painting the rnain body.
'
The carringe portion of this Gun Carriage

l1as been niounted to a handle so it can be
painted separately fron1 the crew and horses.
We have started painting this Arca11trik

Force Generator without the crew and
pylons. We \Viii paint those pieces
separately and attach then1 at tl1e end of
the process.
I
'
Step 4) Add a drop of Brown Ink and a drop

of Turquoise Ink to the previous mixture and
apply additional sl1ading.
When painting battle engines with large, open

areas of uniform color, such as the Arcantrik
Force Generator or Gun Car1iage, mai11taining
visual appeal can be trieky. Color modt1lation is
a way of making these monochro111atic expanses
visually appeali-L1g, ana it W.' l~ks b;y usi111g sligh~~
ditfer en t te1n.es o'. tble s(J.iFt1e @] 0 t 0 m Mami\tts
paraels. 'TL1e Gfiffe1en0es tm\G1! seem St1 of le but 1emd
enough variety f0 keep> t11e look inte1esting.
Step 5) Use a mix of Khador Red Base and

Khador Red Highlight to highlight the areas that
featt111e K11ad0r' s standcu-d red. Fer the pinkisl1
sun-Tuleached air eas, hi~lhligm1t witn a 2:1 mixtui;e
O~ m id 1
]tft1n d it]esh a,md [<;1Jra~O;!; ~eti if3ase i!J.ilsteaq
For your second highlight, mix Memotla White
Highlight into the mixture you use~ on the .
Basic red areas, and mix Ryn Flesh mto the pink
mixture you used on the color modulated areas.
T11e Gun Carriage features two-tone color

modulation that starts with the standard Khador
red formula on some parts and adds a pinkish
red tl1at simulates sun-Bleached pai11t on otl1ers.
Step 6) Apply multiple light glazes of ~~d Ink

mixed with lots of water. This layer unifies the
two colors and completes the effect.
Step 1) Stant by bas~a~ing the maj01ity of th.e

aa.~tlll01 pl!ates w iiti111: ~q;~C91 ~ecl Base. R..0 i; tllie
armo:u 1:lnat wil~l i1ave the ti>leaol1edl pai1at effect,
instead basecoat with a mix 0 Kl1ado1 Red Base
and Midlund Flesl1.
Step 2) Add Sanguine Base to both basecoat
colors and use this to sliade the armor plates of
both surfaces.
Coal Black
Red Ink
Umbra} Umber
'Furquoise Ink
Sanguine Base
Brown Ink
Khador Red Base
Step 3) Add a small amount of Umbral Umber

and Coal Black to t li:e f21evio"tls mixtur.es f.oI' a
see0nd layer ef slta:..c:d iRg t l;;.etln: su'r ,f aees .
Khador Red
Ni'g hlight
..,...-.iiiiiiiiiiiiiiiiiiii!iii
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Midlund Flesh
RynFlesh
Menoth White
Highlight
~RA.NTrRIK Fi'.0R1E
GENER~TrR
The color. modulation t1n Ll1e Arcar1trik Force

Generator ttses three tones of white. To keep the
process simple and t11aintain similar colors, start
"''ith three different baseeoats. For eacl1 shading
ancrl highligl1ting step, a.dEl ehe same colors
to each basecoat ~11i~. Tln0ngl1t sl:thtle, 00l0r
mocl.l!tlatiom eam add. a 10t 0 aJ!>peal t bl1e w1ttii1te
1
panels of fhis battle engdne.

Step 1) Tl1e bluisl1 baseGoat is the sta11dard
Retribution n1ix of Underbelly Blue and Morrow
White. For the pinkish-white basecoat, mix
Carnal Pink and Frostbite. For the beige-wl1ite
basecoat, mix Mertoth White Base, Carnal Pink,
and Underbell)' Blue in tougluy equal amounts.
Step 2) For the initial shading, mix CrX Bane
Higl1tlight imto eao11 0f ~ ~asec0a ,t rmixtu1e.s.
Step 3) Add Jronhull Grey tc> the mixtures friom

the prevjous step for addjti0nal shading.
Step 4) Mix smaJl amounts of the original thnee
basec0at colors into Morrow White. Apply
these three new mixes as highlights to their
1espective aireas.
S'fe~p 51) ~1!'P 1y a fin a 1hi gnii gflt of tvtt~ow

Wl"tife mixed with water and mi~ing meclium to
a 11 t11e panels.
D
D
D
D
D
D
D
Carnal Pink
Frostbite
Underbelly Blue
Menoth White
Ba:se
Morrow White
Ironhttll Grey
Cryx Bane
Highligpt
t
)
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SOURCE Ll&iH TIMG
tl1e pancJs wjth the same mixture to create tfue
For some models you n1ay \l\'ant to pai11t an

effect tl1at sitnulates ligl1t beir1g cast frorn a
light source. Tihe barely contai 11ed cr1ergy of
the Aicantrik Force Generator and the charnel
fires contained in the belly of tl1e Wraith Engine
create excellent opportunities to feat11re this
techniqt1e. Depending on the aesthetics of yourmodel, tl1e stre11gtl1 ot tll.e l~gl:ilt s0u11c::e ma:y var~,
s0 it ~is l:>es t t0 keep> bke en~0t s~11futre.
suggestion of softly gJowing light.
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ARG_ANTRIK ~f1R~E CiENERATOR

The omnipresent glowing elements in the
Retribution paint scheme can pose a cl1allenge
due to the small size of tlte grooves and cl1annels
that house the arcane glow. Because the channels
of the Aicantrik Force Generator are so mucl1
larger, you can paint them more easily ru1d add
some extra detail at the same
time.
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Step 1~
Mi~
Step 2) Apply some energetic patterning to

the bottom of the grooves using Menoth White
Highlight.
Step 3) Add Menoth White Base and mixing
medium to the Arcane Blue and Carnal Pink
m1ioott:Jire used in step 1 aad pqm t the Jilew mixture
iJJa.t bhe gire0Aves. Apply Jit fhiml~ ef.l::ug.lil tl1 at tlne
Meneth W'mite Base patteI-ning shows through.
1
Step 4) Accentuate the patterns fr0m step 2 with

more Menoth White Highligl1t.
Step 5) Use Meridius Blue to outline the grooves
and separate them visually from the paneling.
a w.as~ ,;p A~~ttam.e IBI/me, Cai11~all :Pimk,

mixing medium, am1. sme wate1. ~p}Dfy tlus to
1
t11e grooves between panels. Paint the edges of
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WR:AITH~ENGINE
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Tl1e Wraitl1 E11gine sl1ould look like i l is

glo\iVing fron1 w itl1in, with tl1e eye slits, stca1n
vents, and cl1est cavity being the sot11ce of tl1c
ligl1t. It is l1est to paint the glowi11g pa1ts a11d
tl1ei1 st1rrot111ding a1eas first.
a rt1Lt11c.i. sc>111e <)f lilt' fJi J)<~s; l1c.,cCl L1 ~e il j s a nc>n:

rcfJccl i vc S LI rfncc, i l w i IJ lJc less i JI t1111 ina ted by
Ll1 c ligJ1t sc,t1rce.

t
Step 5) Wasl1 ll1c a rcn i11 Yellow Ink with a s n1 all

a111 o t1nl of C rcc11 1111< 111i xcd in, again, avoiding
tJ1 c lal'te rcd ra gs. After Ll1e prcviot1s was l1as
~tep 1) P1i1ne the 1nodel usi11g Fo1111 Lt Ia P3 Bia cl< dried, 1nix a drop c>f C 1cer1 lr1k w ith SOJne
PriJ11e1 a11d allow it to d1y. Tl1en s pray tl1e cl1cst, Ar11101 Wasl1. A jJJJJy tl1 is le> tl1e iecesses to help
visL1ally sc1Ja rC1te Ll1 c JJipcs fro1n eacl1 other.
t11e inside of the iibcage,, a11d tl1e a1eas wl1c rc
ligl1t would fall witl1 Formula P3 W11ite Prin1er.
Step 6) GIL1 c tl1c ribcage onto the main body
a11d t1sc Tl1a111 nr Black lo cover any mis takes
Step 2) Carefully paint the eye slits, s1nokc
arid areas of ovc rspray. With the g lowing areas
stacks, and a11y other vents tl1at w ill glow w itl1
fin isl1cd, yo tr ca 11 pa i 11 l tl1c rest of the model
Menoth Wl1ite Highlight.
t1sir1 g tl1e guide i11 Fo1ces of WARMACHTNE: C1yx.
Step 3) Wasl1 the general area of illun1i11atio11
a11d tl1e inside of tl1e iibcage w itl1 a n1ixtL1 re o(
T ha111ar Blacl<
Armor Wash
Green I11k, Yellow I11k, and Necrotite Grce11.
S~ep ~)Use Me11otl1 Wl1ite HigJ1ligJ1t to app ly
h1ghl1ghts cast by the Jight sot11ce. Avoid

higlllighting tl1e tatte1ed clotl1 that \t\'raps
D
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Nec1otite Gree11
Menoth Wh.ite
Higl1Iight
Green Ink
Yellow Ink
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STORM STRIDER
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Tl1e Stor111 St~ider sho\\r1i_ 11ere I1as been nearly

completed V\71tl1 tl1e techr1iqL1es described in
Fo1l~es of WARMACHINE: C~;g11ar. Now it is time
to pai11t tl1e n1odel's g1owi11g stor111 rlodes.
Step 1) Basecoat the inside of eacl1 stor111 11ode
'"'it11 Me11otl1 Wl1i te Higl1J igl1t.
Step 2) Appl)' a wasl1 of A1ca11e Blt1e 111ixed witl1
\\ra te1 ai1d 1nixi11g n1ediLtn1 . Apply tl1e wasl1
evenly to tl1e nodes a11d a\1oid excessive poolii1 g.
,/
Step 3) Highlight with a mixture of Arcane Blue

and Menoth WJ1ite Highlight. Start in the center
and move out in a swirling pattern to give the
storm nodes an extra tot1ch of voltaic activity.
Step 4) Add more Menoth White Highligl1t to
the mix and apply anotl1er layer of highlighting.
Step 5) _AppJy tJ1e fina] highlights with
undiluted MenotJ1 White Highlight. Tl1e storm
11odes should have a bright bJue glow.
Menoth White
Highlight
Arcane Blue
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WEATrMERING
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Whe11 pai11ting small-scale models Stich as

troops or solos, keep your weatl1c1ing subl'le
or omit it all togetl1eli. On large 1node1s 1i ke
tl~e battle ei1gil1..es, liowevel!, yot1 ca11 featt1 re
wea hhe.Pi11g mere F'rIill1imte~tlo/ to si gJilii fi c::a111 ~1 y
ado f0 fila.e i~ealJrism f fil~e ~1ee. ~ea ~Jh.e)i1ng

tecl4l11jques ave as varied
a~
el1e climates a11d
terrai11 of the Iron Kingdoms, so take time to

experiment. Here are a few example weatl1ering
teclmiques to get you started.
Tl1e Storm Strider features a two-stage

weatl1..ering technique that involves sin1t1lati11g
!Usty chips in tl1e fresh paint and d i1t and rnud
mn t11e stomipi~g leg~ 0. t&e m,ig}:i,t y 11:)acl1i11e.
1
S.t ep ]) Ovet a f-11mislned h>liu e surface <dJuaw pai,n t

chips 6reel1at-id V\rith Thamar Black. Tt')' va1ious
sl1apes and patte111s to give a varied appeara11ce
to the c]1ipping.
Step 2) Apply Bloodstone to the interior region

of eacl1 paint cl1ip \i\1hile earefully leaving a tllin
outline of black around the perimeter. Thjs will
create the illt1sion tl1at the clup is recessed into
the surface.
Step 3) Conlir.iue to refine the illusion by

pai11ting a tl:-iin line of Frostbite mixed with
Cygnar BlLte Highlight to the bottom edge of
eacl1 chip.
'
Step 4) A]:>ply a dot of Khador Red Highlight

tt@~Ja_e t1s l\y JPO t~iom of eacm ffii JD t0 sj_m$il,~le an
it1~e.glllilar stl11 face. N0.w ye.wr cll~WF>img !s @01il'Lplete!
'
Step 5) For t11e dirt and mud, start by applying

diluted Battlefield B1ow11 via a wash, tl1e spatter
teclu'liqtle, or a combination of the two i:o
achieve a mud-splattered effect.
Step 6) Apply 111ultiple layers of highly ruluted

Gun Corps Brown to the mud in a stippled pattern.
Step 7) A~ply so111.e final stippling wit]\ a layer

oE di~ l!Jited Beast H~id,e on t11e ~eas immediatel;"
lh:e 1iJN'e~s to sir14\U11]a.te dl!lst sftekJ.ml,g t
tl1.e mo-istul\e U11.a1t ga tJ11e1,s there.
a iUG>Jlltiilcill
Thamar Black
Battlefield Brown
Frostbite
Gun Corps Brown
Bloodstone
Khador Red
Highlight
Beast Hide
f
Cygnar Blue
Hignlight
I
Gt!JOO CARRIAGE
Tl1e G ttn Carri age l1as a di ffe re11l ty pe o f
cl1i ppi11g tl1a r1 the Sto1m Stride r. Jt is mean t to
sim ul ate an o lti, ba ltle-weatl1e1ed paint job that
ha tn kcn some pu11i sl1ment.
Step 3) Simtrlate scra tcl1es by a pplying Cold

Steel in rando m slashes.
Step 4) Ease the trans ition be tween .wea~he ring
a nd scratcl1es by glazing the area w ith d1Juted
Brow11 In k.
Step 1) A p}')l y a 111i xtu re @f Exil e Blt;1c a11d

B,1ttl e fi eld B10\N11 i11 a h aphaza rd w ay to tl1c
::,}1arp eti ges a i1d a reas arourl c.i t11c ri vets.
Step 2) For additional \.vea tl1eri11g, apply a
mi xture of Umbra I U111ber a11d Coa l Black in tl1e
sam e \.vay as fo r step 1.
Exil e Blue
Umbral Umber
Coal Black
Battlefield Brown
Cold Steel
Brown Ink
~Q
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Large models like colossal::; pose very di fferent challenges

for a painter than sma ller fi gures. For example, their large
and well-defined shapes nullify the d ifficu lty inherent in
painting fine details. Painters will, however, find the sheer
vol ume of su rface area a signifi cant test. Tn particular,
realizing solid, even basecoats over these la rge surfaces is
tough even when using larger brushes.
By far the most useful tool t<!. tackle these large areas is
an airbrush, and many of the techniques in this section
are designed with that in mind. Formula P3 paint works
wonderfully with an airbrush. To attain the best possible
resul ts use a 50/50 mixture of water and blue window
cleaner as an airbrush medium to dilute your paint to the
desired consistency and then strain the mixture through a
piece of fine wire mesh or ny lon stocking. Ii you do not own
an airbrush you can use spray paints instead; just be sure to
choose spray paints with a matte finish.
With a little bit of dari ng, these techniques are accessible
to all airbrush skill levels, allowing painters to realize
eye-popping detail in a relatively short period of time.
TWO TONE PRIMER

Using a two-tone primer coat is a sure and simple way
to kick-start your colossal painting. First, apply an
opaque layer of Formula P3 Black Primer over the entire
model in two light coats, ensur.ing that the deep recesses
receive a solid coating while retaitling detajl. Then
apply a second tone of primer from above to provide
a genera l idea of where the highlights and shadows
will fall on the finished modeL Use a blow dryer to
harden the primer between layers. The main advan tage
of two-tone priming is that it dramatically speeds up
the basecoat stage. It can also be used in a variety of
dever ways, as you'll see in the following articles.
SPONGE PAINTING
"Sponge painting'' is a term for applying paint us ing
a dabbing or stabbing motion. You don't need to use an
actual sponge for this technique; a small scrap of blister
foam or a large ro und pa intbrush works just as well. The
important part of the technique is the motion you use to
apply the pa int. Remember to rotate the sponge or brush
on the upswing of each stroke to prevent repeating the
same stamp pattern.
SALT WEATHERING
The salt weather ing technique simulates chipped
pai nt quite effectively. First pa int an underlayerusually in rusty brown toJ1es-that w ill show through
wherever the paint is later chipped. Then apply clean
water to the areas of the model you'd like weathered
and sprinkle kosher sea salt over them. Next, apply a
layer of pa int using either spray primer or an airbrush.
Finally, use a nylon brush with sti.ff bristles to scrub
the area vigorously, which removes the salt to reveal
flecks of the underlayer. The resulting surface can be
worked further to create convincing rust effects or left
as is for a quick route to a beautiful gaming model.
HAIRSPRAY
WEATHERING
TECHNIQUE
The hairspray techn_ique recreates the rusting process on a
micro scale. First paint an underlayer over the model that
will be revea led as the paint chips away. Next apply a heavy
layer of hairspray to the model. Then, using an airbrush1
apply basecoat and highlight in light layers. Brush clean
water onto the model where weathering is desired. Next use
a nylon brush with stiff bristles to scrub the area vigorous ly.
The water penetrates the top paint layer and dissolves the
hairspray, so the scrubbi ng wil l separate the top layer from
the u nderlayer in a realistic manner. FinaJly, apply a matte
sealant to allow the surface to be worked further and to
prevent further chipping.
By Mike McVey, Miniatures Director, Privateer Press

Miniatures painted by Alison McVey, Mike McVey and Ron Kruzie
PAINTING CAVALRY IN THE IRON KINGDOM
September deed the 1"efetUJe ofcaiJa!ty fo1"each of the ITT

CHINE factwJU, which 6ringd a
frecJh def ofpainti11g chaLfe1zgecJ to player a1id colfecto1. alike. Cavalry not only dtrilced f eat" into the
heat"t ofyou!" ene1nied on the battLefie~ but auo in yotl when they fay untUJde1nbfed on the painting
table. In thu a1,.ticfe, we foolc at do1ne gene1.al tldde1nbly and painting tipd, and each of the f actwJU in
turn to dee how you can nuzke the becJt of thu potent additwn to your ITT
CHINE a1"mied.
Palomino
Palominos are tan or golden colored horses, with pale or white manes and tails. It's a particularly
attractive color for painting miniatures as it gives a nice contrast. The paint names given in this
article are from the PJ range.
GENERAL ASSEMBLY
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. . ..
As with any miniature,

the first step is to clean and
assemble the pieces. While this
is no different in principle to
any miniatu re, there are a few
tips that make the whole process
easier for cavalry pieces . All the
separate components should be
cleaned to remove mould lines,
flash, and vent marks . Some of
the horse bodies have an extra
tab attached to the legs . This
is just to help with the casting
process and can be clipped
away neatly from the hoof. Any
marks left on the surface should
be carefully filed clean. As
always, when y ou are cleaning
the components, make sure that
y ou pay particular attention
the pieces that are to be joined
together. E v en if there are no
mould lines present, you should
file the surface smooth-this not
only gives a better contact, but
also removes th e oxid atio n and
gives are far stronger bond.
The whole of the horse body was given a base coat of Bloodston e over a black undercoat. The
mane, tail, hooves, mouth and eyes have been left black.
While it's not essential to pin

any of the pieces, it's a good idea
to strengthen some of the joins to
ensure the figures can stand u p to
FIND MORE MODELING

AND PAINTING TIPS AT
WWW.BRUSHTHRALLS.COM
the rigors of war, not to mention

taking them in and out of carrying
cases! This is most important
with the lance arms joins the
lances are so long that they act
like levers on the small shoulder
join. The addition of a small
strengthening pin makes them far
more durable. It's al.s,o smart t o
add a p in between the h orse and
rider this not only strengthens the join, but it gives

something to hold on to while painting the rider. This
neatly brings us to the next tip. Keep the rider and
horse separate for painting and assemble them when
finished. Believe me on this, it's far easier! You can
glue the rider to a base at the feet, with a long pin
for strength, or you can use a pin-vice to hold them
in place. Before you glue a long pin into the rider,
make sure you have a matching hole on the back of
the horse, that way you will just have to clip the pin
down and the rider will fit neatly in place.
The first highlight tones have been added to the body. Note how these
have been added along the back and to the tops of the muscles, leaving
the underside dark. This gives a more natural look. The highlight tone is a
mix of Bloodstone and Rucksack Tan. The mane and tail have been ~en
a base coat of Rucksack Tan
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Regardless of which faction you're working on,

you'll find that you'll have to do some filling. Due to
the way the miniatures are split up for molding and
casting, there will be a join line that runs along the
spine, between the legs and the length of the belly.
The head is a separate piece joined at the base of
the neck, although this join is typically hidden with
armor on some miniatures. There are brief step-bystep photos shown in the article to show you the best
way to tackle any filling that needs done.
._
CRYX CAVALRY
Of course there is always an exception to the rule.

The Cryx Cavalry is different from the other factions,
in that the mount and rider are a single piece. The
body is one piece with the legs removed on one side for
molding and casting reasons. You should .nd that the
legs 6.t right on and need only minimal, or no, filling at
all. Because they are a single piece, it's also easier to
assemble fully before painting. The Cryx Cavalry don't
carry long lances, so it's not required to pin the arms in
place. It does make for a far stronger join however, so
if you have the time you should probably do it.
PAINTING
Once the figures are cleaned and assembled, you

can get going on the painting! For the purpose of clarity
in this article we are using one of our ''naked'' horse
masters (the sculpt before the armor and equipment is
added), to demonstrate the techniques and colors used.
This allows us to concentrate on painting the horse itself,
without worrying about painting the rest of the figure.
PAINTING THE
DIFFERENT FACTIONS
Details are added to the head The blaze is painted in with Menoth White
Base and the muule is painted_with Khardic Flesh.
.<-"I. - .....
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All of the techniques used here can be applied to

the different factions -just vary the colors you are
using. You can use any color you like for the horses
of each faction, but it's a good idea to have some
sort of overall look in mind that 6.ts with the general
color scheme. For example, you might decide to
paint the Ulan cavalry as bright Palomino horses.
This wouldn't fit in well with the overall Khador
color scheme and would probably be suited better to
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The mane and tail are highlighted, leaving the wash color showing in the
r~cesses to deftne the shape. The highlight color is a mix of Rucksack Tan
and Menoth White Base, applied mainly to the tips of the hairs. The same
color is added to the area above the hooves.
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The next layer of highlights have been applied-these follow the pattern
set with the ftrst highlights, but are applied to smaller areas. They color
used on the last highlights has been further lightened by adding more
Rucksack Tan. The mane and tail have been washed down to bring out the
details. The wash was a mix of yellow and brown ink, with just a spot of
Rucksack Tan and Matte Medium added.
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Once the horse itself is

painted, you can move on to the
rest of the equipment and armor.
Neatness is the key here! You
really don't want to ruin all of
the beautiful work you did on the
horse when painting the rest of the
figure. Alternatively, you can base
coat the entire figure first, finish
the horse, then followed by the
rest of the figure. This forces you
to be neat all the way through, but
it's less likely
I have already said that it is
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can't see the white of the eye on a

horse. If you do subtly have some
white showing, the animal looks
like it's in the thick of battle and
slightly stressed.
Protectorate cavalry. Of course,

you may have an alternate faction
scheme in mind. All I'm saying
is, choose a color for the horses
that fits the scheme and feel of the
faction you are painting.
easiest to keep the riders separate

from the horse for the purposes of
painting. On the surface, it seems
as though you have twice as many
miniatures to paint. Trust meit's much easier this way .
Start with the horse first. This
is the hardest to paint, as armor
and equipment often cover the
bulk. It's really just like painting
'
that you could

slip while base
coating
the
armor
and
ruin the work
you did on the
horse.
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the
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horse
finished,
lS
based,
and
varnished,
The finished miniature. Note how a white 'sock' has been added to one
of the rear legs.
you can add

the rider. If you followed the
steps above, you will simply need
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anything else. Put down a smooth

base coat first, then add shading
and highlighting. The last step is
to add in detail, such as the eyes,
hooves, any markings like socks
(the lighter colored lower leg you
see on some horses), and blazes
(the white markings on the front
of the head). It's really good to
have some reference to look at
while you are doing this. There
are hundreds of great books
about horses out there, which
you can get a discount bookstores
or just use the internet. It's the
little details that make figures
look great, such as flesh-colored
muzzles that give an extra edge of
realism. One good tip they way
you paint the eyes changes the
look of the harse. Generally, you
>
The final stages of the face are to pick out

the teeth and eyes. The white of the eye is
only added at the back of the eyeball. Both
teeth and eyes are picked out with Menoth
White highlight.
to clip the pin down between the

rider's Iegs and glue it into tb.e bole
on top of the horse. The miniature
should then be totally secure .
That's it, reallyl Look at the
step-by-step examples in this
article and you should be prepared
for anything. Painting cavalry is
really no different than painting
foot soldiers. With a little planning
and thought, you will end up with
stunning looking figures.
Dapple Grey
The Dapple Grey horse is pain.t ed slightly differently than the Palomino. After the base coat
and first highlight is applied, a darker color is added to the underside, legs and muzzle are
painted with a dark grey. The rest of the highlights are added after this. It may look like a
complex scheme to paint, but you can actually be quite loose with the dappled highlights as
long as you keep the color shift subtle.
The wltofe horse is given a base coat of lronhull Grey, leaving batk undercoat on the hooves,
eyes and nostrils.
. . - ',
--
-~
._- . __ ..,.
..
.
~
,.,
..,,.,
--. .
--
The first highlights are added. Lightening

lronhuJI Grey with Morrow White creates
this highlight color. The highlights are added
to the tops of the muscles, just like on the
Palomino.
--
. --
The highlights are built up along the back, any hard edges such as the jaw, and the tops of
the muscles. The edges are subtly dappled over the darker color below on the neck, back,
and haunches.
.. .
~ I
. .
l
-- --
.. ..
...
,
"
'
.. '
I
'I
.-
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- -1
II
:
II
r
. ~.
l
.
I
The underside of the horse's body, lower

legs, and muzzle are painted with dark grey.
This is a mix of Ironhull Grey and Thamar
Black. The edges of the dark areas are subtly
dappled over the lighter color~
More dappled highlights are added down the sides, lightening the highlight color by adding more
Morrow White. The mane and tail are highlighted with a mix of Ironhull Grey and Thamar Black.
The Vengers cavalry shows the most in tenns of exposed horse body. They are lightly armoured and the whole mane and tail are exposed. You can, of
course, use any color for the horses, but the main faction scheme really suits lighter colored mounts. The long mane and tail on these horses deserved
particular attention. The one shown here has been tipped with a deeper color.
-'.
. --.
-.
-:
-.
.:
Cryx cavalry differ from the other factions in several ways, including color schemes. It's not really appropriate to use living horse colors, so we
picked undead flesh tones for the Soulhunters. There are also other textures and surfaces to pick out exposed bone, flesh, metal pistons, and tubes
for starters. It's important to pick a color scheme that balances all these elements.
Glowing green effect

has been added to the
eyes and other parts
of the miniature with
Necrotite Green.
When there are a lot of different elements to pick out like this,
it's important to be as neat as possible and choose colors that
work well together.
The flesh color around the eye and muzzle

helps to give a softer, more natural feel to
the dark color.
Ulan cavalry ride much heavier mounts then the other factions. They are suited to darker, holder colors, such as black and steel grey to give
them weight and presence. It's also a good contrast with the red armour. Note how a little flesh color has been added behind the eye this
really helps to pick it out.
.
.
-- .
..
0.
.
.
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.
.
'
- ..'
'... '.
.
I
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-.
.
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- -.
.-

- ..
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.. .. . ,' - 1
~
Stor1ttlance mounts are heavily armoured, to the extent that you can't see a great deal of the actual horse. For that reason, it's good to pick a color
that contrasts well with the rest of the minia~in this example it's light grey. Something else to note is that even though you can't see the actual
eye, that area has been picked out in a different color to give a visual key to the anatomy underneath.
1--
-- -.'
-- ,
"
'
..
_-:
-~
... - . ,
.' --
.J
'
'
The rider can either be held in a pin vice or glued to a spare base
for ease of painting.
- ~'
--
nnf!
I . """J
,t
.'
.
.:-:::-
- ..
,-
..
. .: - ...
----
.
.
,...
,.----
.--
Use a needle file to carefully smooth away any mold lines.
A short strengthening pm really helps to keep lance arms fiom
breaking off when you are playing with, or transporting, figures.
Roll out a small sausage of putty and lay it along the area to
be filled.
Use a modelling tool to smooth the putty into the surface.
- .. .
-- -=""
~
-~
PAIN'FIN.G HORSES
A number of releases in WARMACHIN E: Vengeance are
cavalry models mounted on horses. Painting these mounts
can present a unique challenge for hobbyists who have not
painted these an imals befo re.
For painting miniatures the most common approach is to
paint each area one solid color and then follo w with shading
and highlighting in that area. Horses, though- and animals in
general-often have drastic shi fts in color as well as patterns
and markings, which should be the focu s. Reference material
is important when attempting to achieve a convincin g look,
and there are some specialized techniques you can use to
obtain the best results.
HORSE EYES
Painting human eyes on horses will make them look
a bit strange, as the constru cti on of the eyes is not the
same in both species. In a horse eye, the cornea takes
up a much larger area of the eyeball than in a human
eye. For this reason the eyes of a horse need to be
p ainted differently than those of a human.
BREEDS OF HORSES
KHADORAN HORSES
Horse breeding in Khador is a noble and ancient traditi on

going back thousands of yea rs among those of the southern
and eastern plains. To represent these breeds we chose dark
brow ns and greys w ith less patterning to suggest pure
breed s. The breeds referenced for the Khadoran Greylord
Outriders were the Th oroughbred, Oldenburg, and Friesian.
Step 1) Paint the entire eyeball with Tharnar Black.

Step 2) Apply a white dot with Morrow White to
each corner of the eye with a fin e d etail brush.
Morrow White
II
CYGNARAN HORSES
Thamar Black
As a strong center of trade and culture, the horse breed ers of

Cygnar draw on local breed s from the Midlunds bred w ith
stock from across the Iron Kingdoms. To represent the horse
breed s of Cygnar we chose a variety of colors and patterns
that complement the Cygnaran blue color scheme. The
breed s referenced for the Cygnaran Tempest Blazers were the
Newfoundland pony, And alu sian, and palomino.
HORSES OF THE PROTECTORATE
Great herds of wild horses once roamed the Bloodstone

Marches on the eastern frin ges of the Iron Kingdoms,
includin g the area that is no w the southern interior of the
Protectorate of Menoth. To acquire mounts the Protectorate
of Menoth trade with the ldrians for horses culled and
broken from what remains of these herds of wild mustangs.
The breeds referenced for the Protectorate horses were
Appaloosa and American Paint Horse.
D
II
'Jack Bone
Battlefield Brown
II
II
Bloodstone
Bloodtracker
Brown
II
D
Exile Blue
Morrow White
D
D
Rucksack Tan
Trollblood
Highlight
WET B LEN D ING H ORSE S

Wet blending is simply blending two colors together on
a model while both are still wet. This technique is perfect
for creating the drastic color transitions needed to bring the
mounts to life.
Step 1) To prepare the surface for wet blending lay down one
layer of a mid tone color-in this case, Blood tracker Brownon the whole area. The purpose of this step is to help with
paint coverage in later steps.
Step 2) Apply a block of color to the back of the horse and
allow it to dry. Here we used Bloodstone.
Step 3) Reapply Bloodstone to the transition area of the coat,
and then quickly apply Bloodtracker Brown like a basecoat
onto the model starting with the legs and working upward
until it blends with the wet Bloodstone. Note that the picture
shows only the back quarter blended. This is because it is
wise to split the model into quarters for this step unless you
are comfortable painting quickly.
Step 4) Now create the transition on the legs. Reapply ,

Bloodtracker Brown to the top of the legs, and then apply
a mixture of Rucksack Tan and 'Jack Bone to the bottom
of the legs like a basecoat. As your basecoat application
reaches the wet Bloodtracker Brown the paints will blend
together.
Step 5) Feather 'Jack Bone onto the fetlock of each leg to
complete the transition. There is no need to wet blend '
this step.
Step 6) For a spotted horse, apply spots freehand at this stage
using Trollblood Highlight.
Step 7) Apply shading to the horse using Battlefield Brown
with a dot of Exile Blue and a dot of mixing medium addea
to it. Avoid any freehanded spots while shading.
~
Step 8) To highlight freehanded spots, use a mi'xture of

Morrow White and Trollblood Highlight.
OlllllG
IIllIIG
By Mike McVey, Miniatures Director. Privateer Press
THE FORMULA P3 RANGE

111 I he /a,1/ lll'f1 /;1,111,,1
4 No Quarter we lao~t'f) al a.1pec/,1 o/ the PI rnn_qe. Th1:1 111,111th Wt' lf1olc al I ht
mlir1' m1t,1/t allf} boll' lhr dij_i;renl elemen/,1 t'<llllt' ft~<Jdher /11 f/'1'11/t' a tomprehe1t.1i11 pmi1tin_q ,1y.1ft:m.
'/'/J1:1,1y,1/t111 can
he wd in many <J~fferml way,1 fo ,1uit your pai111i11,9 ,1ty/e. In thl;, 11rlt~/e,
ue !t>
ok 11!
a 111i11i'aturt pai11fl'<Jfio111,1/arl to_/i11t:1h e11t1're/y with Formula PS.

THE FULL RANGE
FINO MORE MODELING
Tiu: l'ntire P;) range.: is mriJe lrom

p<iint:., inks, and washc~. .ind
while tho~l' d~m e ms arc <tll quire
different, thl'.V have been ncsigncd
to be ui.ed in conjunct ion w it h cac.:h
01her 10 prn\'i<lc a huge range of
poss1bil1t1cs. Thl'rc an lrf painrs,
six in k tolors a nd two specific
wash ts. Lei!' talce 1.t moment 10
expla in what I he difference i.s
between 1h1.::.c .
AND PAINTING T I PS AT
WWW. BRU S HTHRALLS. COM
PAINTS
Any om '"ho has put Lrush to

m1niaru re will be familiar wi t h
paint. i\t lcasL I hope t h.-y w ill ! P3
of the P3 line. indu d ing their

superior co\ cr,tgt:' and srnoochnt!~.
so I won't repeal myself here. fhe
whole range of paints comprises ('14
colors, and these should r c,tll,v be
nll you will ever need. We d ecided
very ea rly on that we wanted lo
keep t ht rangt> compnct w hile
srill providing a fu ll spectrum
of colors. The theory wa~
1hn 1 if' we provided
1l
good
fo11nd1Ltion people could ll ~l'

it to l'l'l'al t:' a ny shade or cokH
I.
Armor Wash a nd Moh e n Bronte w ll h n mix

of Armor Wouh a nd Tu.rquo isl' Ink.
a n: <tcrylil based lik1. 1110~1 o l he r

Ba~e
cuat mNa l\ wich Pi!! Iro n and

Moltl'n 8rout l' Achie ving a i;ood flar mat
1.
IS lmp<>rHUll.
specific miniature paint lines. The

1ust two NQ articles examint'd in
Ht .Jl'111il the unique <1uali1i~11
1hcy wanted. lf tbe line <loc~ not

inc.:hulc a favorite color yo u l'an
l'as ily mi x up a ba tch in an e mpty
pot, H' w 111 Lt'iecl ~~; ; er every
eventuality we woulJ cnJ up wilh

a range of several hundrl'd C'Olllrs.
INKS AND WA S H ES
One thing you \~ill im.t.1 ntl.v notic e

is that the ink>. and wn<.hes cuml'
in a diflerenl contnmcr ii dropper
boule I W hen we fir st a nnuum:ed
thl P3 line, " great de.11 of
....
.
.
seemed s-i~pf~ that the different
elements of the line should go in
the c o ntainer most appropriate to
their use. lt just makes more sense
LO p ut the thinner, more liyuid inks
and washes in a container that
makes chem easier ro dispense. It
also makes them a liule more
s pill-proof: 1r you knock
over an opeo pot of paint,
,vou can avoid spilling any ir
you move quickl,v (believe me. l
have d one this more t imes the n
will 'vet need. The pigmenhf.;re -- .~.'

w1y pure, whic h makes it e~sy'
to mi:-. new colors without them
goi ng dull and muddy.
So what'i:. che difference

between a wash and a n ink't \Veil.
ciuite a lot 111 I his t;asc . \ Vhile you
t " " use inks 10 crcare w as hes,
W l' spctifitally
formu lated t\VO
!>hading wai;hes that you w iU use
on <l really regular basis: Flesh
Wnsh and 1\rmor Wash .
Brit h of IhcSl' arc a mix of
~lwru l dif1crent clements
I ha L Iogcthcr give you t he
t'olor Hnd 0onsis1ency for
quid1 nnd c l'fc-c Li ve s hading. There

is a s lig ht lcal'ning curve to using
them, and n cx l rnomh we will

look a r how to uSl' both washes
and inks in de tail. T here are brief
examples in chc stage-by-s tage
figure in 1his anicle to we l y our
4 Firsc sta11e hl11hllsh1> on ammr. Apply chi~

miit ofTbomwuud and Rulk'>dck Ton 10 me
edged and upper ~urfo<"e~ of cht' t>lacr s
appetite thoug h.
disc u!>sion .ind 1rguments
ccntcrcJ around the container
the
(you might have thought th:u

whac came 1n th l'0111aincr
would lw th l 1111portan1 thing .. . ).
Two oppoi;ing c amp:. those
for anJ those against dropper
bottles - immcdi:itcly sprang up.
After dd't-nding dw dcci1;io n LO
put the paint s in llip-rop pnrs,
it feels n eces!-~1 1 ,v
1<.1
tx plttiH t ht
dec is ion lo u ~c d ropptrs for I h t~
6. Final hl~lig:br on armor. Ml"nOlh White

Base ;, added to c.he highlight mu and
applil"d ro the very edges. The red crtm
is highlighted wilh Xhador Red Base and
Highli~t. The tTOusers are base >.1ted
with Greaccoat Grey and the leather lll'C'as
with Rattlef\eld Brown.
can remember). If an open topped

pol of ink goes over you mig ht as
well reach for t he pape;:r towels.
i\nyway. thal is enoug h aboltl d1 t:

containers; let's look at w hat
is in them.
Inks have so many
5.
US('S
that they are one of the most

vcrsarilc tools in the miniat u re
painter's arsenal. Dull o r lldt

colors can be magicall,\. imbul'J
with life afcer a quick g laze.
o;. Second scage htshllt1hh on a rmor. Add

more Rucksack lO thl" prl'vlous hh;hll~hc
mill:. Base coat the- armor trim wh h n mlic
ofKhador Red Buse and Sanguine Bn~c>. 1'hc
bQUom $eC\ioo of 1he coal ts pah1\l)d with
San11u1ne llast'.
S hading washes can be c reated

quickl.\ and easily. Painlli can be
brightened by mixing in a spot or
the a ppropriarc colored ink. Once
y ou have mastered the ba!>ic..s of'
inks y ou w ill wonder h ow ,YOU ever
managed wit hout them. The PJ
8.
-~~.t~~
":7.,;~~
.....
'5
this article on the s1agt:by-$tage Epic Butcher. The

combination of fhomwood
Green, Ruck>l.wk Tan, and Menorh
\\'hire Base creak!> tht" perfe<"t

Khador 5th Ao rdcr Ltgion scheme.
1 have indu<le<l an uixJatcd mixing
charr for che paints. whjl'h s howi;
"'-bat colors can he combim.J
. to
crcaic shade and highlight tones.
P A IN T ING
9. The skin l~ shaded wlrh flesh Wash. This

has just a drop of brown Ink addctl to give
11 deeper tone.
So w hat are they like lo use? Well

the shor1 aoswc1 il:- gl'eal ! You
might find a liule bit of a
learning curve ii' you :11c
10.
i." a lot hetrer
than: tbey
have
l>een ue;ed to previou~ly. T talked

about tht <lr)ing time before, and
the s ligbtl_v longer time that 1'3
sra_vs w orkal>lc can really be an
adva ntage. Blem.ling with P3 i~
j ui;I so much easier when you h<1ve
a li 11le mOrl" lime to do it. T h is line
has some g reat advantages. and
the longw you paint ,vith P3 t he
more you will get our of' it.
or course rhere are no

absolute 1-ight \vays lo paint. One
of the grc~1r things a bout the hobby
is thnl evetyone has their own take
. on it. vVl1al we ar.e tryi ng to
present in 1hese aetid es is the
Priv1lk'cl' Pl'ess studio way of
painting :ind how we have learned
to take advantage of rhe qualities of
P;). ' Ve do not insist you slavishi.}
follow these ins tructions. Take chc
infornHHitln you want and go your
own way .
I N PRACTICE
skin is highlight ed In stages with the

following colors. Flrs1 - Khadl<- rtesh. then
Khardic Midhrnd, then - pure Mldlund.
1hen Midland losan. then - pun' IO!>all on
the very edges.
The rci.t of chis ar~icle lool<s
10. The
The rt!d areas a_re 1h1ted with R~

Yellow Ink. Al this stai,.~ the figure Is given
a ~ood roar of matte varn ish for proteetion
before the metA I~ are higtilighted.
12.
used to painting miniatures

wi t h other r:ingcs, but it is
we U wonli gett ing used to thc.m.
I have talked to ~1uit e a lew

profession<d painter:. t1Gout P3 and
one of the di lfort n('Ct- I hey had
to adjmit to is that the
11. A llu le thinned down Bloodrracker

Brown Is applied round 1he rivets 10 give a
ruJ>t effe<,
The P3 range posstss 72

<liflcrt>nt parts designed to intcnni."
to cre<1tc an infinite number of
combin~ctions. Tht more you
use the paints, ink:.. .-ind 'vashe!'!
the more comhin<1tiuns .vou will
dt~c-over that you n<.vcr realized
i:xisu:d, 1'1;i~re lli a gtcat C.'{:unpl~ .
.. ... ~~
~
. ;;
at .1 s tage-by-stage ~u-ure painted

exc-lusively with P3. I rricd to
tapt ure all the key stages w ith

pho1ographs, to give you a true
idea a bou 1 1he progression of t he
miniaturt. hu1 spac-e constraints
mean I hal we combined some of the
slagcs. You sho uld still gel a good
idea how t he different d cm<.:nl::;
of' the range come together in
one miniature. Of course you
can adapt the stages shown
here to fie any miniature. The
important thing is the way the
paints, inks, an<l washes combine
in cerrain orders and combinations
10 c-omplete a miniarurc. This
example is a w a rcastcr. so he's
painll'd to a high standard. Fut ure
articles will show _vou how 10 paint
unics and troops in a qujcker, h ut
equally effective, way.
Thcst :lrC quite delicate an d
mig-lit
well c: o m l' off wirh nil the handling

<luring pain ling. I d rilled two large
holt., in the <r'<E' haf't to accept the
rou nd lini ngs o n the skull p iece to
1m 1ke this parl more sec ur e. I also
clel' idcd l'<trb on ro p u c him on a
<' 11..,tum L,t,,l', !>O 1 moun red him -00
.t l><t"C fo1 painnng w ith a section
ra isld IC> matc h the pos ition of the
righ t leg. Onc-e 1he pieces were
ass<:mbled .1nd d1:v they received
ii black undcrtoa t s pray <md a ny
bi 1 ~ mi:;~td wi th this got to uched in
with Thamnr nlncl< to give a good
ijt1lid black bn~e to work ovcl".
What the hell

is blending?
The word ' l)Jendlnf ~ts thrown around

rreely In miniature pain~ artides
but wltat is It? Well blendin1; has lots
of definitions, but the ltthnique I use
Involves applyln1 a color o~-e-r a dry base
and usin1 a second (dean bot damp)
bni h to fade the ed1e out. So you are
not bl ending two wer colors to1ether but
fading one out over the top of another
to gtvr thr effect that they are blended.
It's no1 as oomplrx as ir !;OUnds, and
once masrrrt'd Ir's the sing!~ most useful
advanced cechntque you will ever learn.
Sec the Smoot h graduation c;>f color on th~.
Epl'' Butcher'~ armor? The1t's ble,ndlnSi- ' ~
.
I:
'
~ ~~ i ...;:~ : ~~1
..
Wl'"'l!l'.'""'li' .~~
. ;;'l,
' ... .~.:-;>.
~~,.~~ '"'
. . ) ..~
,. J~~
..
My laM ankle tnc-luded a Msic nt1dnj chaf't for !'l "Showing the h1tthll!lf!C and hade ton~ fOC' ~ flr.;c )!> c.-oloJ"5. 1115 month Wr_expalld th~ for
the whole" wlM paint ~se. Tu.- dllft'rt'nt<.'Otwnns show Ole ~hade, l>lghftsht,
top '1iithllght cones for ea<.h rotor. Tfteseai'e-inte~I tc> be
mhced whh the base color yoo are u~lng to CTeat~asubtle progre;sion of tone. for ex.imple, ,_ ht'n highliglutn11 Thomwood Green yuu do not uM'
scralsht Rurksack Tan; you just add a little Tan to the Green nod hlghllsht with mat TI en you add o littl<: mOrt' and lllsltliglltwith tbat, and won
until you hnve creoted a subtle progression of color. Yuu can carefully blend each <'Olor. or you can just lay.-r th em up on top of each other.
11rm
Base Coar
Shade
Hl5bllgbt
f'lll'tltu Hi!b11$1tt
~ellase
Gnarls Grttn
Sanguine Hlghh'(ht
Menocb Whltt' ~
Sansu;ne~
Crvius Yello~
J(hador Red Rt~llght
HorrowWhhe
Morrow Wl\lce
Morrow Whlre
Cy'Snus Yellow
Cygnus Yellow
Morrow White
Murrow White
Morrow Whlll'
Meno1h White Hlshllithl
Morrow White
Sl<ome Red
Khallor Red ~
Khador Red Bighli!lhl
Ember Oranse
Hean fire
Cl'1'ftUSYellow
Sulphuric Yellow
Wuml~
G11arls Green
Tralcor Gl'('en
Battledress Grm
IC)S.lJI Green
Wurm Green
Moldy Ochre
OrdtcOllve
Necroti1e Gl'l'en
Necrotice Green
Iman Green
MUITOW WhJte
Exile Blllt'
Cygnar Blue Base
Cygnar Blue Highlfgbt
GN>.atcnat Grey
lron:hull Grey
Frostbite
Thamar Black
EJ<Jle Blue
Cygnar Blue Base
Thamar Bwcl<
Th:unar Bla<"k
Greatcoat Grey
Menoth wrute 8Qs('

Menoth White Base
Menoth Whjte Base
Morrow White
Morrow Wllite
Cy!!nar Blue Hlghll~hl

Morrow White
Morrow Whtct'
MOrTOW Whlce
Morrow White
Morrow Whitt'
(Dal Black
Thru:nar Black
Menoth Whlce Base
Trollblood Base
Meredius Blue
Aru.neBlue
Underbelly Blue
Sru:tguine Ba)('
Cygnar Blue Bae
TrolJblood Hisllllght
Arcane 81"4:
Morrow Whtte
Midlund Resh
Morrow White
Beaten Purple
Exlle Blul'
Sanguine Ba!>f'
Sanguine BaS('
Murderous Magenrn
Arc-.ane Blue
Morrow Whtie
Bloodstone
Umbral Uml>l'r
Khartlic Flesh
H11n1merfoll Khnkl
ldrtan Fll'Sh
ldrl11n rlesh
Midlund flesh
Ryn Flesh
Khardic Flesh
Morrow White
Battlefield Brown
'jJ<'k Bone
Hammerfall Kh.1kl
Bartledress Green
Gun Corps Brown
Rucback Tan
Moldy Ochre
Jack Bone
Menotb White Base
Mertoth White HighUght
Meredius Blue
Bautefteld Brown
8loodu-.icker Brown
Bo<Jstrap
Bro~ n
Be~t Hide
Rucksack Ton
Menoth White Bnse
Bastion Grey
Crys Bane Ri_gbl~t
Trollblood Bi'(hllsht
Thrall Flesh
Tbamar Black
Battlefield Brown
Cryx Bani' 8."l~
Trollblood BilSf'
8a$llon GrPy
Tltamar lllack
Mo1T0w Whlte
lronhuU Grey
Cryx Bane Base
fle)h 10 your highlight mix.

blcndt"d C"olor swatch shown here
illustrates how these fou.r color..
work tol!ethet (o cre11te a perfect
Pig lrol'.I
Cold Steel
Quick Silver
RadiantPlatlnurn
Molten ltrome
flhullc Gold
SoUdGOld
Blightea Go,4
trolll<IJI sk in woe.
Brass.;s31ts
nie
MenotlrWhltc Bnse
Wurm Green
Sulphuric Yellow
Su[phul'lC Yellow
Meooth White 8'15('
SnJphuri<' Yellow
Thornwood Green
Gnar!S Green
Beasr-Bi()e
Khard1c Flesh
Midlund flesh
Ryn flesh
colors are 11 great example of this.

At first glance, there appears to he
no rela!lon~hlp becween the two
colOl"I one Is turquoise and the
other is a light, wann ~y. If you
mix a lhtle of the highlight tone
into the ba~ ii creates che perfect
highlight shade. Keep addlng
more 10 creace lighter highligh ts.
You cnn achlevr deeper shading
by adding Sanguine Base with
Trollblood Base and create 1011
hlghUgh1 colors by adding Midlund
Rucksack Jan
losan Green
C)'ylar Blu(' Bil~

Umbra l Umber
Banlclield Brown
Gun Cori>s Brown
I drlan Flesh
des igned to mix l~echer, tn'atlng

hugr varlacions in tone. The
Trollblood Bai.e and Highlight
Bllttleliele
Bloodstone
Bloudcracker Brown
Bootstrap Leatht'r
tlammerfall Khaki
Murderous MaSCfllll
Sansume Bighll\Cht
Carnal Pink
range are
Rucksadt Tan
Rucksack Tan
Exile Blue
Thamar Bl ark
losanGreen
PJ
Gun Corp.s l\rown

BootStn\P IA>atlwr
Rucksad< Tan
Moldy Oehl'\'
Rucksack To.n
Menoth White llighllshr
Baulefteld Brown
Umbra! Umber
OrdicOJive
Tr.Ucor Green
The colors of 1he
Sa ngui.ne Basi>
Khador Rt'd B~
Bloodtrarker Brown
Khador Red 8a!>e
Khador Red Bas('
Ember Orang('
Thamar Black
Pig Iron
Cold Steel
Brass Ball~
S..ttJefield Brown
Molten Bro111e
Molten 81'91ne
Thamar 81aok
BatlJefiNd lll'Own
Carnal Pink
Meno1h Whit(' BMe
MorrowWhJre
Menodt Whire Ba~
Sule>burlc Yellow
Menoth WhJte tllghlixfll
Menorh White Hlshllght
Morrow While
Cryx Bane HlshllJ:hl

Menodt While Base
Thra11 flesh
Mldlund flesh
Midhmd Fle$h
'jack l!one
Ryn flesh
~otrow
White
Menoth Whlce Base

Menoth White HJghll!lht
Menoth Wblre lllshJtght

Morrow White
Monow White
Morrow White
ease
Meoom White
Menoth Whlte Hli:hllJht
Morruw White
Ryn~
Morrow White
Coal Black
MenotfJ Wh fte Bai.e
ColdSreel
Quick Silver
Quick Silver
Quick Sllwr
Cold Scee!
SQlld <iold
Oulci< Sliver
Cold Ste,el
Quick ~liver
Oltick Silver
OuickSilver
OlllIIG
I IllIIG
By Mike McVey, Miniatures Director, Privareer Press
FORMULA P3
A CLOSER LOOK
In the /a,11 1:1,111e 4No Quarter JJ,faga.zine we took a hrie/look al !he Formula P.5 range, and
1 f(ll,) yfJ11 what 1 1ht'll!/ht wa,1 _9reat a6(111/ ii. Th1:1 1111111th I put my nwfley where my mouth
1:1 and dema11,1fm/e ,10111e of I he,1e qua/it ie,1. I will ,1/al'I with the ah,10/11/e 6a,1ic,1 and e~-rpla in
,1ome o_/ the deC1:1i1111,1 Ihat we nuu)e in Iht Je,11:q11 1l th1:1 produd, fl/I() holl' we in tbe Pri11ateer
Prt!J,1,1t1uJio approach pai11tin_q our mi111i1/111,,1 lo .<Jd the he.it from Formula PJ.
F O R M ULA P 3
1 01
FI N D MOR E MODELING
Let us s tart from the ou l~ide a nd

\vork in . The elcmcnl th.ti has
AND PAINTING TIPS AT
c:mscd more conrro\'\:rsy t han

anytbing ch>e l>ince \\ e announced
the Formula P3 line is the dcsif,"ll
of the pot. Wh.v a 11ip-top rather
than a clroppcr bollk'l For me it's
'imple: because I li nd them ea~ier
10 use. \Ve'\I sta rt wi t b a ::iimple
guide on how we use.
WWW.BRUSHTHRALLS . COM
s ession. Secondly. shaking loads

a liu.Je paint into the lid and this
makes getling paint out
the pot
an easy proce:>11 . . J usl fli p the lid
or
open aboul
I lere's how we use the m when we
One important tip with this

pot design is lo make sun ,vou
k eep tbe in'lide of 1he pot lid clean
a nd relatively free from paint.
This ensu1<.s tha t tlw seal remains
intact and the pa in1 doesn't d~'
out. Keep t he lids dean and t he
p.Unt will last for a long time;
years in fact.
hiike a pot is a couple times a nd

I h'" e never fou nd rhc need for
"agit<1tors". T he exception here
is metallic paint. There is just no
way of keeping t ht. mdallic flake
in i;uspension wi tho u t making
W hat you use for a p<Jcttc is

really a maller or preference. ln
~c ~tudjo, we ~e n ern l ~y like to u se
:'~ :~ ., s. f plasti~~ ard (<1vailablc
pa int really u npb tban dy

thick, so y ou wi.ll hllvc to shah
I he
it cvcr,Y ,time ,yo~1 $tlWt :l Jmint.ing

'
d ip
attached to the lid. Any excess

paint o n the lid can now flow ba<.k
down into the pot.
paint our miniatures. Giw the pot

a yuick shake before you open it.
T hi:; docs two th1ngl>. Firstly, ir
gets rid of an,v minor ...eparation,
though this is not n.ally a problem
even when you have not used
t hem for a while. The mosl I ever
4r, d1.grees a nd
you r brush into llw li1d1. "tongue"
from a ny modelling stor<.' especially 1rnin s rores). T hese

arc cheap. last a long time (you
can just continue mi...xing O\l'r
the dried paint), and arc larg"
r nough to allow you to move 1h~
paint around and mix colors. The
advantage plastic card has over
old plalc:s or <:era mic tiles (which
i;orn c people like Lo use.) is t hat
the ti ricd paint can' t. flake oil the
su rface if w orked over. The n you
d on'I get little fl-tkcs in your wc1
paint.
Y n u s hould add a little water
thi n o ut the pa int once you have
it o n the palette. Not too much or
you will lo:sc P3':s great cov erage.
Justenougb to lei il flow out freel.v
without lc;wing br ush marks.
Once rhc bristles arc loaded up
with paint ( nor a lot or it will start
lo damage t he brush) . you should
c;m:rull,v drag rhe point acr~
the p..1lett( while tv.<lsting it ai
the sam"' time. T his both. remO\ es.
10
Dip thf brush lrito your wattt

po1 and cl~an Jhe pa.tot Crom me
bl'kll~
Thf'tl add warer
to ~
palm on lhe palette so thlst it

flo""' ool smoothly, but Is nouoo
dllu1e.
Now YOU AR E R EA DY TO APPLY THE
MIXING IT UP
Formnla P3 is dcsignld w be
mi..-.:ed. Even the t.olors provided
in base and highlighr versions arc
not supposed ro be used slraight
fi-om the pot, the dil1erenc-ei; in
color are jusl loogre:ll. Providing
Cygnar Bl ue in tones close
enough lo use wgtI hlr witho ut
mi..xing would h<1vc removed a ll
the options. 13y prod ucing more
distinct colors. i1
changes in shade between them.

People can get ncrvons abo ut
mixing their highlight and shade
colors. but ic is really easy. Just
add either a lighter o r deeper tone
ro the hase color on you r palette.
!'his is another good tbing about
u~lng a paleue that allows you 10
sprla<l 1hc paint out and sec w hat

yc> u 're d oing. It makes it easier
to get the shade y ou want. If y ou
1:1dd coo inuch .o.f fhe highlighI or

11hade color., { -ir:;>.. :r\.~ lit lle l'>f
,~:, ~ '
the b:m color to bring it back to

w here you w.in t. This is a grea t
waJ to "learn'' color mixing. I(
.) ou ll "'t' exact formulas (n'lm
11rop:. o l d11s, lhreo: Jrops of that),
you \'\'I) ' rard_v havt lo look arthe
mix on your palette to figure out
w ha t you need to add ro get the
shade you \Van t. O o no t get me
wrong. T here i& no ll1Lng w rong
,\fi lh hnvi ng a pMlicular formula.
!'or colt.>rs. 1t is a gr~~t 'V<'Y
l'cpli1,;alt'
cx.1:1ct
rfll:,,
tnPc.<.s
>
' fSii
1 1.ji;(j'
tQr
!\>:
:1 . ' ~
'
Alshllsht
Base Coal
Shde
Rhulk: Gold
Thantar Black
Balll~ld Brown
Bloodstone
11.ittlelidd Bro~
PIJ Iron
M1dlund Flesh
Bootstrap Leadttt
Thamar Black
MorrowWhi~
Base Blue
tu~ghtBlue
lronhu ll Grey
Ruck.sack Tan
Arcane Blue
Cygnus Yellow
Sansulne Base
Sansulne HlghliJ!lt
Menoth White ~
Meno111 WhJte Highlight
Bloodstone
Heanfire
Red Base
Red Hli(hllght
Greatcoat Grey
Thomwood Green
Battleflcid Brown
Kha.rdlc Fiest
Bane Base
Bane Hl!hlliht
'jac k Bone
Necrotlte Green
Bllshted Gold
Tiirall Flesh
Traitor Ci~n
&ttlcdress Green
Hammerfall l<harkl
Gu.n Corps Brown
W le 8 1ue
Bastion Orey
lronhi.11 Gtty
Eltlle Blue
Cygnar Blue Base
Tha1nar Bla<ck
Boot:Str;ap Brown
Rucksack Tan
SllJuine 8a5e
Ruck.sack Tan
Menoth White Base
Cr!MJ' Blue Base
Khador Red BaJe
Sagu Lne Base
KMdor Red Base:.
Tha".'ai 8Ja~~' '.~f
811.ttlel)eld Brown.
Elclle Blue
Bloodstone
Thamar Blad<
Bru1e Base
Gun Corps Brown
Mc-nolh Whlte Highlight

ltucksack Tan
An'lliie Blue
Mo rro" White
Menolb ~}lase
Mc-noth White Base
CylJ'llr Blut> Hl~hllJht

Morrow White
Morrow White
Morrow Wl\lte
Me noth White Base
Mom>w White
MOITOW White
Sartj11lne Hlj)IUghl
Meooth Whl~ Base
Me norh Whitt> Htstillgh1
Morro w White
Ruck!lack Tan
Cyg.nus Ye llow
Khndor Red Hlghll)lht
Cygnu~ Yellow and Morrow White
Morrow Whl~e
Menoth White ftighUght
Menod1 Whih! Base

Morrow White
Menoth White 8 Morrow\llllte
Cygnus Yellow n<l .Morrow Wllite
"..;. t'
"'
Ruck.sad<Ta.n
Oun Corps Brown
Mldlund Flesh
Bone Hlghllsht
Thrall Flesh
Meno lh Wb lte HlghlJght
Morrow WhJte
'V'
'
;~\:t'.
;,,.,;..
~!t
Meno thWhite Base

:-:_~f
Ruc ksack Tan
'
Morrow White
Menoth Wbi~ Base
Menoth White High.light
Morrow White
',,.
Tham<lr Blade
Bastion Grey
Battledress Green
Battlefteld Brown
Gun Corps Brown.
Banlerield BroWn
Titumar Black
Battlefield Brown
Morrow While
Bantmerfall Khal<J
Men oth Wbl.le Base.
Jad<. Bone
Mcnoth White ~
Menoth White Hlghltjht

flammcrfoU Khal<J
Morrow White
Mcnoth White B;ise
Menotb Whlte Ki~li,gbt

Menoth White ltigltlight
Th i> char t slves yo u high ligh t a nd sha de con~ for all the p alm s In the first }6 colo urs of the P) line. As m o re colors att released we wi1J
p rovide a dd itio n al char ts with m ore o nd someti ~ better option,.
1ime afte r time. Ou t if you learn
mix C'olors f'rom scratch, it

will really serve ,you well.
how
10
We have provided
colo rmixing chart 1n this a rticle
t hat shows y ou wha1 colors to
combi11e to c reat<.' shade and
highlighc tones. This 1s by
no means exhaustive though,
and i,ome really great e ffects
can be disC'O\. t:red t hrough
exp erimen tation. We will keep on
p ublishing mixing informatio n,
nnd this chart will be revised and
expanded when rhc. rest of the
Formula P3 range is relcascc.l and
there are more op1ions.
TAKING IT FURTHER
Formub P3 has i'l n umb\'r

features which tnnke
it, Idi1.'l'i.'r~M
'
'
from
0 1 her painr lines. All of' these

are good th ings and can be used
to youi' advan tage. 'l'he s lig htly
extend ed drying lirn l' is o ne that
people may havl' ~ li ttle trouble
getting used l o, but to my mind
it's a huge ad,ant.agc for !>everal
reasons. The llrst is that the paint
will s lay wet on 1he palene longer.
This means you u::;e lei.s paint and.
more im por ta ntly, y ou gain more
time ro mix highlight a nd shade
tones. If you start with the right
q uantity of paint on rhe palenc
(and you do not O\ er-thin it) you
cao just keep drawing from that
reservoir as you JJd the highlight
and shade tones. Thut means _vou
do not h ave to keep starting from
scratch with the colt.>r mixes. Put
,,-"' Eghbu.se colt1 r op. your piJettc
I
, , '
, ~ ',f~ ,'
r I J, ~o
. ~ tfu,( ~
I
~'
rt
' ,
!f
and you can add the ligh ler tone

into that for yo u r Grst high light:
rhc n more fo r the scl'ond , and the
l hi rd, o.nd so on right up to t he
final highligh t.
Thi? d ry ing rime 1s not "o
long as 10 keep you banging
around, waiting for it to d ry . PJ i~
still acrylic paint and it still d rie
quickly. Just give it a qu ick blast
under a hair drier if you want 10
speed it up. l always h ave one
around my paint ing desk b ut, to
be honest, the only time I ever
use it ii. to dry washes. T he rest of
the time it as really not a concern
The slightly looger drying

riml also means that tbese paints
b lend far more easily ~ha-n other
the
paints. l wjll .no . '
The 'first highlJKltt wos l'rent1>d by oddlnJ,:

a little Cygnar ~Jue lil!lllltsh< to the base
rolour ,011 the palette.
'
mechanics of blending hen. 'vVc

jusr do not have room lhis m o nrh.
That is for another nrtide when
we look at somt- of' 1ht> more
advanced techniques lor which
you can use Formula P3.
I mentioned l>cfo rl' l hal

Formula P.3 has a 'l1:\ ~t ighth
satin finish (caused l>y the
higher rhan normal pig ment
loading ). Personally r like the
finis h it givt>s. A dead ma tle has
a tendency to kill the coloni but
I know that some pl'ople prefer
a flatter effect. You c~tn easily
ac.hiev~ this by a1.h.lin1;1 :1 dn>r uf
,,a.ci}'.F~atte me<liunl (:lt vl1rnt!lh
;~~~\' ..
~ :
into the mix, making it come out

dcac:I Oat. T he other thing ro do is
use a flat varnish (such as Teslors
Dull Coat) w hen y ou finish and
it \\ill get r id of any slight sheen.
Formula P3 is slightly more hardwearing than a dead matte paint
rhough. and less likely to come off
with handling.
Formula P3 is b uilt around
a liq uid pigmem. T his means
Lha1 the paints can be thinned-
wi th inks, w hiC'h the P3 line will

indudc. It also means that it goes
on really smoothly withou t any
c ha lky finish.
I ho pe I ma naged to explain
tbl qualiucs ol Formula P3 a
little hettl' r. In rhc nexr issue we
will take an even more in-deprh
look. including hO\\. ro use P5
for ad\ a nced tec hnique~ s uch as
blending and gla'ling.
011111'
111111'
llD
By Mike McVey, Miniatures Director,

Pnva1eer Press
FORMULA P3
INKS AND WASHES
11k.1 and 11 a.il.w.1, 1/ 11.ier) correctly, can he 1me of the 111<1.1L
P17f11nhle w1apm1.1 i11 a plllitler :, m~1enal and lll'ltt./it ht:1;i1111e1t1
r11u) t'.tperl.1 alike. 'l'h1y mal..e quick mu) e/lec/ iie ,1hmJi11.1; m.iy,
imh111i1,tJ colm~1 with tJepl h and rii:hne.1.1 with a few ,1impl1 .1Jla.:r,1.
Th1:1 m1mlh Pri1wlet'r Pre,1,1 1Jli11i11t11re,1 /)1it!cf111 A!i/..e 11/cl'ey

introd11ce,111.1 lo !he mMitim14i11k.1 and wa.1he,1 /t1!he1'~m11ula P) ml1.<JI'
and how lo apply 1/.w111 lo make your mi111~1/11rt painti11.11 li/e l.'<1.11~'1' <1111)
I he rt,11111,1 ht/la.
INK
nk appears in many varieties,
but in miniatur<.> painting terms
it's a brightly color<.>d liquid with
a consistency closer 10 water than
paint. There arc a !'cw important
things that any inks you use on
miniatures must huvc. The first
is thal they must he waterproof,
meaning once it 's <hy. the ink won't
re-wet with the application of paint
or more ink. Second, it needs lo
be fade-proof. Som<.> traditional
artist inks can fade and yellow
FI ND MOR E M ODEL I NG
A ND PA IN TI N G TIPS AT
WWW. BR U S HTH RA LLS.COM
over rime when cxposlJ lo light.

This doesn 't happen instantly, but
I have seen hcaulif"ully painted
miniatures turn lo sepia tones after
a couple years. I nlc colors should
have bright, pure pigments so you
can thin them down. It 's easy lo
make a pigment weaker by adding
water. It 's impossible to make it
stronger, however. so the brighter
nie ................ Wlft Tile next ..., to ...... Tiie ................... appHed
llwn 1 bele COit of Pis Iron.
with Annor Wash.
with Pt1 Iron.
the better as far as I'm concerned.

You don't need a lot of dilTerent
colors. Because the pigments arc
fairly pure, it's easy to intermix to
make dilforen1 colors with just a
basil sclettion.
WASH
n miniature painting, a wash is
a liquid applied to the miniature
10 create shading. The wash is
generally thinner tha n paint so that
it flows over the surface better and
colle<ts in the recesses and creases
to bring out the details. You can
crcace washes by thinning down
paint, using ink. or a combination
ol' the I wo. There are also additives
tlrnt you can use to g ive a little more
flow to 1he wash or make it adhere
to th <.> surface better.
J\\ost o f the time you will jusc

mix a wash yourself, but 1here arc
a coupl<.> of washes that we use in
the Privateer Press studio over
and over again . So we decided to
ind ucle these - for flesh a nd armo r
:riie race Is the focal potnt or the miniature the place to where your eye Is aaro-dcally drawn. 1'ldl stage by state ls a pat eDll!Ple Of
llow you. can ase Flesh Wash to define the features and bring some depth to the shading. In this eumple It has been painted ID a dfsplay
ltandanl, bat you could easily just add the eyes In at stage .f and the results would
stlll be ll"fft.
6.
...
Flesh Wash
IS applied.
Ind losan Flesh.
- m the P3 range. I realG1 think

that these two colors a re so usef'u I
that they will be amongst the most
popular in the line! lt's also really
easy to tweak them a little to create
different effects.
USING INKS
o inks are great for glazing,

but wha.t else? WelJ, one of
the most useftJ things you can use
ink for is shading your miniature$
by applying washes. You can
either wash with straight ink or
you can add it to paint to d eepen
and intensify the color. [ t works
particularlywellon heavilytextured
surfaces like hair, Fur, or a rmor. Il's
not so great for large smooth ar eas
like warjack armor p lates. You are
likely to get a patchy finish if you
apply a wash to those areas.
One very usefoJ tool wben
mixing washes is matte medium .
This is basically an ac1y lic paint that
contains no pigment. It's available
from art stores and can be a great for
adjusting the consistency of a wash.
There are times when you want to
make a wash just a little thicker than
usual, making it adhere better to the
surface of a miniature, and a drop of
matte medium can be great For this.
Both of the pre-mixed Formula P3
washes have been thickened a little
with matte medium to give them
just the right consistency. It's worth
saying here thal you need to give the
washes a good shake before using,
as the different com poilepts do tend
First fllshllght Is
thelllUlleasdle
base color.
The lase state It

to paint the ........
The hljhltpts are

built up by adding
Ryn Flesh to the
base rolor.
to separate. Make sure the lid lS

tightly screwed on before shaking
them though!
Ink is also great instead of water
for thinning paint without losing
any of the coverage. In fact, ink can
boost the strength. This becomes
really usefu l if you are painting
detail or freehand designs, when
you want the color to flow off the
brush tip freely but stJI cover well.
I like to have separate palette
for inks; I change my ink palette
quite frequently (as opposed to
my painting pulette which 1 use
for years and just let the laye1s of
paint- build up) . The reason for this
is that working over a clean white
surface it makes it easier to see
exactly what color and consistency
you have. If you are mixing ink on
a palette covered in dry pai.nt, the
rransparency makes it d ifficult to
see exactly what you are doing. I use
sheets of really thin white plasticard
for palettes, because it's cheap and
easy to cut to just the size you want
to flt your painiJ1g area. You wJI
a lso find that the iJ1k doesn't flake
off plasticard when it's dry as it does
if you are using a ceramic surface,
which can lead to little d ry flakes in
your washes.
The Formula P3 range onJy
includes six inks, but you should
find that's all you need. The colors
are: Red .. Yellow, Bl ue, Green,
Brown, a nd Turquoise. T he last
may seem like an odd choice, but
=
-
and Mid hJshUsht

to diem.
l have to say that 1 use it all the

rime. It's great for shading the
electrical components of Cygnar
figures, but it's also really useful
for other things. Gold and bronze
metals can be given a great aged
look with turquoise ink glazes. It's
also perfect for a shading wash on
Circle armor, giving that distinctive
verdigris weathering effect. As
mentioned before. because the
pigments in ink are qui.te pure, they
can easily be in termixed without
the colors turning muddy. Need a
bright orange? Just add a spot of
red to yellow. Warm green? A little
yellow mixed with standard green.
It's really easy to get the colors y ou
need from a small range. Don't be
afraid to experiment. Inks can also
b e added to the washes to a lter
them slightly. In fact, we d esigned
every component in the FormtJa
P3 line to intermix. Lf you want the
Flesh Wash to be a little deeper, try
adding a spot of Brown Ink. Want
a rusty wash for old beaten armor?
Just add a spot of Bloodbacker
Brown to the Armor \Vas h. We
purposely kept the whole Line
compact, as I firmly believe that
it's better t:o mix t he exact color
yo u want then try and make every
decision for y ou.
G L AZING
lazing is a technique that

lays down thin, transparent,
layers of pigment to build up the
depth and intensity of the color. It
.:.;
!!!
......
....--.
Wllllt 111e-- .......... . .

............. ., ......... Nlew
........ -...eGeM-..-.
.... ._. . . . ,._.,.............. wldl

lllllllc Gelll ... Wiii Gelll. ... illlllly
GtlldlllMrll ......
is a technique thal the Old Masll'rs

(like Rembrandt) used on thei1
work. They would apply multiple
thin coats of oil paint to give a
sense of depth to a painting. On
miniatures. glazing employs ink
instead of oils but the tec.hnique
is basically the same. You can use
thinned paint for g lazing. hut the
effect is quite different .ind you
don't get the depth .ind inwnsity
t'1at inks give you . .is 1he pigments
just aren't as strong or liquid. It's
simplicity it self to mix ~1 g luze:
you simply add wa1 er to ink, so
there was little point in selling
pre-mixed glazes. We a lso made
sure that Pormuhi P3 inks had
really good now, and this makes
them ideal for g la7.ing. To judge
how good the 11ow is on nn ink,
just add some water and brui.h i1
out on a clean sheet of pbstic<1rd .
If ir collects together and forms
into linle droplets, it's not going
Tiie llflhHllltl oa Tiie Int ...... 11le slues re bullc

.... lldekl . . . Yellow Ink wldl Just up gnidalllly to
die ........ .,.,.... 1 IPOt or led Ink deepen die color,
little,...,
ldded.
One important nolc: let eat'h g laze

d1:v bcf'ore applying thl' next. A
hair drier t:an be usel'ul to help
this along.
t\nothl'I' use for glazing is to
-:mooth Olli the finish and help 10
hide an.\ differcntcs that might
be <tpparcnt from the layers
of highlighting. Once you are
proficient with gl.ving. you 'II find
it a great way of cre,11ing a very
smooth g raduation of color.
USING WASHES
he
tW(l
wa~ hes
in the Formula
P.~ line arl' really useful, and
as I just mentioned you cun add
different things to them to make

them even more versatile. You
will find that the consistency is
somewhere between an ink and
a paint , but definitely on rhe thin
side. If _you do want a little more
'body' to them. just add a little
spot of matte medium. This will
not affect the color. just the way
1hey fl ow on the surface of the
miniature. The medium will make
them a little more viscous and cling
to the surface more easily. If you
want the opposite effect, so that
1hey llow off the surface and in10
the recesses more, just add a little
wutcr to the wash. One of the tricks
in using the washes is knowing how
mut'h lo apply to the rruniature.
This is a difficult one ro a nswer
in a magazine a rticle. You need
10 apply enoug h to Aow over the
led Ink II wortted

tnco IM lhMlows
co 1tve the rich
finish.
Ille Cot - The mecal reas were bale

coeced wtcll Molten Bronze.
to be ve1y good /'or glazing. II' i1

creates a smooth even lnyer over
the surfat'e, it will be ideal. When
glazing you are aiming to lay down
a completely smooth and even
layer of color, with no pau:hinci.s,
SO if rhe ink nows Olli easily that
will be a huge advan1,1gc.
One of rhe most common
mistakes people make wh<.'n
glazing is to rush. It 's mmh heller
to lay down 11vc or si~ rc;1lly thin
layers rather 1han one strong one.
The dille rence between ench glaze
should be barely noticeabll'. Alhr
a few layers, however, t ht' depth
and intensity wi ll st<1rt w build.
-.Ill
- - Tiie ...........
of
A..- Wallt. T..........- Ink. aadjml Spoc
ofMered6mllae
Hlaftllshtln1 The det11lls were picked out

with Molten Bronze
---
....... llM plenty '11 llW M CM lleM6t r... ............. 11lece . . ...
_ . . . ...... " ... ...... wlllcll . . . . . . . . . . . . . ........... ....
. . , _ . pla am be dl6Md ...S
wllll a arelidlJ appUH WllllL Oil die
aMa.,..
...,............................
_,..., ...................
.,_........
--.
~-
'llRl'wbools_.,_....
.-ofulil:of]acklloneand
n.urlllldt.
The fur ..... Is washed

wtdl a Ix of Armor
Walh. Brown Ink and -tte
The fur lllPJlshted

wtdl die base color l'lnt
and then wtdl 11dc lone.
medium.
I.
.......
.....,..........-- ..........................
....., ............... .....
...........
.... ... wldl ..... Ihde
.,,.,_
......... .....
'Die ,...._. .... II a lllb:
........................
........................
. . . . . . . . . . . . . . . . , 9Mte
---ol-'Die ..... ,_ .... diala ....

Walll . . ~llladt.
surface oft he area you are shading,

but not so much that it nows onto
adjoining areas of' the miniature.
Use the stage by-stngc photos
shown in this article as a guide.

After that.it's a case of a little trial
t111d error. You "viii find that as the
wash dries most of it will evaporate
from the surface and the coverage

will shrink back. Quite often when
you think you have applied too
much you'll find it will be just right
once it's dr:y. \Vhen y ou flrst start
it 's a good idea to practice on some
old miniatures. Base coat some
areas with one of the Oesh tones
(Midlund or Khardic) and have a
go with the Flesh Wash. May be try
adding a li11le Brown Ink if you are
shading over l<hardic Flesh as it's a
little deeper.
S hading armored areas is just
the same as Ocsh. Oase coat an
old minit\lure with either Pig Iron
of' Cold Steel und g ive it a coat
o f' Armor Wash. If it's ;1rmor on
a d1aracter or troop miniature
there ii- usually plenty of' texture
on the surfoce lo hold the wash.
The smooth mechanical areas on a
warjnck might need a spot of either
paint or matte medium to hold
the shading better on the larger
nreru.. You can even use Armor
Wa!lh to shade gold or bronze
metallili-. perhaps with a little
brown ink to make the color closer,
or as I mentioned before. a spot of
turquoise to give it a weathered
look. Once the wash color dries,
you can jus1 hig hlig ht up as you
wou ld do normally and leave
the shading (olor showing in the
recesses. You obviously need to let
the wash dr:y thoroug hly before re~1pplying paint thoug h. Experiment
until you find an ef'fect that you are
happy wi1h. There is a wash that is
appropriate to nny sort of armor or
Ocsh color.
Inks wa~hes and glazes may
be totally new to you, but with a
little practice .}'OU will soon flnd
tha t they hccomc indi.pcnsablc to
your painting.

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1.

PR_E PARING THE MODEL

Step 2) l3nsccoat the brass .:irt>as such as leg segments,

Cold Steel basecoat. T his layer should no t comp letely cover

Step 3) Blend Brass Bnlls as the first highlight to bring the

Cryx Bane Base

MODEL ASSEMBLY & PRIMING

PAINTING THE OUTER HULL

Step 2) Next, wash the entire model with Armor Wash.

l;appeni..ng, pltll some of the excess wash off the model

Step 3) After the wash has completely dried, drybrush

MODELING & PAINTING

PAINTING THE CARBON STEEL

PAINTING THE BRASS GEARS AND COGS

MODELING & PAJNTING

Step 2) Mix a wash with 50/ 50

As with the Armor Wasli earlier,

Step3) When thl:' wash dries, use

PAINTING THE VOLTAIC GLOW

Step 1) Thin Morrow White with a

Step 3) If a single coat of the wash doesn't properly

If the glow obscures too much oi tht surround ing metal,

PAINTING THE BASES AND WEATHERING

Ste p 1) To paint the sand, first

Step 2) Use the brown wa.,h you

S te p 3) \\hen lht> wa..,h ha-; dried, drybrush the sand

While washing the c;and, apply some

S tep 4) Drybrush the ~ml with Menoth White Base,

FINISHING THE MODELS

MODELING & PAINTING

DARK CONVERGENCE OF CYRISS

similar to a carbon fiber

ALWAYS USE AIRBRUSH SAFETY

STEP 2: CARBON FIBER

STEP 3: CYRISSIST GUNMETAL

some of the trim around the carbon fiber plates.

Shade with a mixture of Coal Black, Sanguine Base,

C) Highlight with Pig Iron.

D) Highlight the glinting edges with Cold Steel.

STEP 4: COLD STEEL

B) Blend Bastion Grey over the Cold Steel for the

C) Use Ironhull Grey for the darkest shadow.

Highlight with Quick Silver; apply multiple layers to

STEP S: BLIGHTED GOLD

A) Basecoat some of the accent details

B) Apply the first shade of Cryx

D) Highlight with a mix of Blighted

C) Add a few drops of Brown Ink

Mix in some Radiant Platinum for

STEP 6: REGALIA PURPLE

Highlight with Beaten Purple.

D) Apply Sanguine Highlight for the final highlight.

B) Shade with Coal Black, applying a couple of layers to

MODELING & PAINTING

A) Basecoat areas that will be glowing with Morrow White.

B) Mix Murderous Magenta with a few drops of Mixing

A model completely devoid of color is quite

boring visually, so when painting a model with a

The Initial coat of paint on \.\hich everything else will be built. It ls

A darker color applied to the ~a.secoat rn the recessed nreas of a

basecoat and mam color choices.

Cryx Bane Base

Step 1) Give the area a solid basecoat of Cryx

Umber for the second Jayer of shading.