GW Bad Moons Ork Nob

 Apparently I've never posted this figure directly on my blog. It's one that I'm actually very proud of, despite the fact that it's not necessarily painted to a display standard and I didn't go all-out with him in terms of difficulty of paint job or anything. This was one of the "free figures" that came with an issue of Games Workshop's White Dwarf magazine way back when as a promotion for an upcoming rulebook/figure combo boxed set - Orks versus Space Marines coupled with an intro to the Warhammer 40K 5th Ed. rules. I traded away all the Space Marines in return for a boatload of Orks - my plan is/was to have an Orky mob that was a throwback to Ork-related books and art that GW put out towards the end of the "Rogue Trader" era - several collections of Ork backstory, with awesome art by, well, just about all of the cool GW artists at the time.

 Anyhow, this Ork Nob figure was painted as a test to see if I could do homage to the "bright 'n' blingy" bright yellow armor and clothing of the Bad Moons Ork clan back in the day while: 1) making it grungy and rough looking, and 2) making it easy to paint and replicable across a whole Ork mob for the purposes of cranking a playable tabletop 40K Ork army out.

 I succeeded with my two aims for this figure... it was painted almost completely with washes of thinned paint over white primer. I started with the lightest color, and painted progressively darker wash layers into the shadows and then towards the deepest shaded crevices. I finished off with a layer of "grime" as a wash over the armor and clothing. The metals were painted with a solid basecoat of mixed metallic paint and dark regular paint, and then just bumped up a bit with a minimum of highlights. I tried some new materials (for me) for basing, essentially some innards from a cheap wind-up alarm clock, and cork - the base was painted with basecoats and washes as well, topped off with a few highlights.

 I think the figure turned out excellently for what it was intended to be - a test piece for an easy color scheme to use on cranking out a tabletop army. Unfortunately, when the time came to paint some more friends, I made decent progress on a batch of 5 with the same scheme... and then got sidetracked by some other "new and shiny" release. Ah well.

 You can vote for him here on CoolMiniOrNot!

Call of Cthulhu - The "Mad" Doctor

Edit: Updated with color recipes used!

 It's been a little while since I finished the figure and got approval from the client to keep on trucking, but real life has intervened and thus a lagging blog post. I'd like to think it was worth the wait, though, as I've got hi-res pics and there's a few areas that I think turned out very well that I was to touch on.

 For starters, this figure is part of an investigators of the unknown set (exact product/part # unknown) released by RAFM specifically for Call of Cthulhu. He looks to me like a doctor with a kit bag and a vague air of professionalism - in reality, the figure struck me as extremely creepy and representative of the religious cult leader from Poltergeist II, so that's what I rolled with in the final presentation.

 I was aiming for a paler "realistic" skin tone than I've used in the past, and made specific effort to accentuate the shading in places like the hollows of the cheeks and around the eyes - in reality, some of this was a "trompe l'oeil" effect on my part, as the sculpting was a little misshapen and the left and right sides of his face actually don't match up well. Anyhow, from extreme shadow I went through 6-7 color progressions to almost a near white for the facial highlights on the bridge of his nose, his upper cheekbones, and the pate of his skull as I really wanted to accentuate a somewhat skeletal appearance.

 The blacks I used in the figure are two different shades, having used cool colors for his suit from a cold grey-black worked up to highlights of pure neutral grey and Vallejo Model Color Deck Tan worked in (I love this color!), with pure black shading; and for his hat and shoes, and wanting to make the hat somewhat of a warmer color to draw attention up to his face, I went from pure black straight to highlights with Games Workshop Graveyard Earth worked in and Graveyard Earth/Deck Tan for final highlights.

I really like the way the stone turned out, and despite the appearance in pictures, there's not a single element of grey at all!

Edit: Color recipes!

The "Mad" Doctor's Skin Tones

 As mentioned in my previous post, I approached skin tones on this figure differently than I have in the past, mostly for the sake of trying something new. I've had the Reaper Master Series Bright Skin triad set for some time, but never used them outright, so there's that. I also have had some untried recipes for flesh color progressions thanks to Keith Robertson of Forge World/Games Workshop fame and an old printed article from Mike McVey's painting site (Raven Priest Assembly and Painting - Pt. 2). I took the Reaper paint set, combined the two recipes with some tweaks for an older, paler-looking flesh tone, and went to work!

1.  To start with, I painted all the skin areas using several thinned coats of Games Workshop Tallarn Flesh, although really any dark neutral tanned flesh color would do.


2.  I applied shading with a mixture of Tallarn Flesh and Vallejo Model Air Dark Green, being careful to only apply this to areas where shadow would naturally fall - on the face I painted this color in the eye sockets, from the below the cheekbones down, under the nose and lips, and the entirety of his neck.


3.  I added a deep blue to the shade mixture, in my case Vallejo Model Air Intermediate Blue (or an equivalent royal blue) and painted this onto any deeply recessed shade areas - on his face I worked this into the tops of his eye sockets, directly under the cheekbones, beneath where his hairline met skin, and the neck recessed within his collar.


4.  I began the highlighting and defining process with slightly thinned Reaper Bright Skin color, essentially working over any skin areas untouched by shading and taking care to draw the color upward with my brush to the above-lit areas I was trying to represent.


5.  For the next highlight step used thinned Reaper Bright Skin Highlight color, accentuating everything from roughly a 45° angle upwards, making sure coverage on his bald pate was good, as well as touching up his lower lip and eyelids slightly.


6.  For the next highlight step, I added pure white to the Reaper Bright Skin Highlight paint previous and accentuated everything visible from roughly a 75° angle upwards, again making sure coverage on the upper surfaces of his bald pate were nicely transitioned, as well as focusing on areas like the bridge of his nose, his upper cheekbones, hints of color on his earlobes, and the sinews of his hands.


7.  Finally, I went back with thinned pure white for the final highlights, applying them minimally to areas where I wanted to draw attention as well as play up his somewhat skeletal appearance - the vertical lines at both temples, the bridge of his nose, and the very top of his bare pate.


8.  I did need to go back and smooth out some of the transition of the facial shading so for that I went back in with a 1:1 mixture of Vallejo Model Color Russian Uniform (great color, btw!) and the basic Reaper Master Series Bright Skin color thinned so as to more smoothly transition the lighter color of the jaw evenly on both side of his face into the shadow under his cheekbones (did I mention that the face seems unevenly sculpted on both sides? Oh well, that's why this one's a classic!)

The Stone Base
 This is actually one of my old color recipes that I tweaked slightly for this model, as I wanted the stone to be less"warm-looking" so as not to detract from the cooler palette of the rest of the figure.

1.  To start, I applied a basecoat mixture I've had for ages (Games Workshop Chaos Black and Snakebite Leather mixed - only this is the Snakebite from the early 90's color range that was a dark brown) - you can use any neutral dark brown, but a good equivalent would be the P3 Battlefield Brown color - just make sure you have good coverage over any areas you want to look like stone.


2.  Next, I heavily stippled slightly thinned Battlefield Brown all over the stones - the trick when I'm stippling or drybrushing is that I thin my paints about 1:4, so that when I wipe away most of the liquid out of my loaded brush, I never have to worry about it laying on too thick or dark, because it was already somewhat diluted at the outset - this makes for an excellent "dust" effect on figures using different colors, by the way.


3.  Trying to avoid any warmer colors in the paving stone basing, I next lightly stippled thinned Vallejo Game Color Khaki over all the stone, but with greater attention paid to upper areas.


4.  The first actual highlighting I did was with (again) a thinned color - this time Vallejo Model Color Deck Tan, which is an excellent light cool beige-grey. I drybrushed this color primarily on edges using a squared-off Filbert synthetic brush - I like the brush shape (think tongue-depressor roundness) as it allows me to drag mostly along sharp edges, and I like synthetic bristles for drybrushing as it chews up natural hair brushes like nobody's business.


5.  The final highlighting on the base was more drybrushing with a thinned pure white color, being very careful to only apply it to edges and raised stone edges on the base with very careful dragging.


6.  The very last step on the base was a wash of a mixture I've had for ages - 3 parts Brown (or Sepia) Ink, 1 part golden yellow paint, and 1 part mid-range green all mixed together and painted more or less once over all the stone and then primarily into the crevices to darken things down a bit.

That's basically it for the color recipes and painting of this figure - feel free to drop me a line or post any feedback!

Something Wicked This Way Comes

 I've gotten back into painting again after another absence (been working a 60hr up-at-4am-every-morning job since last September, but am now laid off) and am motivated to get some sort of 40K army painted, even if a small one, that I can game with. I came to the realization that out of all the half-finished projects, a Necron force I've had shelved since 2008 was the furthest along and, more importantly, the easiest to really get cracking with in terms of cutting corners and just getting them done! I've not really done "army style" painting before, but with these Warriors I did one step at a time on each figure on the batch of 5 until I got 'em done to move on to the next step.

 This current batch of Warriors have now all been painted over the base color with shading, several layers of highlight, and the glow effects more or less fleshed out. I'm normally better at writing down color recipes so I can go back to things after the fact, but for some reason I never jotted notes on doing the glow color or the greenish physical corrosion on these guys. I've had to reinvent a painting recipe and color progression for both of those, and made a few other tweaks besides since I've picked up new colors - and, um, additional painting skills - since I last set brush to these guys almost 4 years ago. I'm planning a replacement for the one hand of the guy with the spiky growths from his upper left body - I decided I just wasn't happy with the closed fist made from the hand sawn off from a gauss glayer stock - I just need to figger out what would look good in its place, since the other arm is angled out slightly.

 Although painted in advance of the rest of the troops, the Necron Lord pretty much follows the same scheme but has had a bit more conversion. I'm aiming to have the wrappings on his staff and his cloak painted to resemble flayed skin. Oh, and he's also magnetized, so I can swap out the Ressurection Orb in his hand and both ends of his staff in case I want to change his equipment for a 40K game. He has has had some revisions recently, primarily since the magnetized hand holding the Resurrection Orb wouldn't stay pinned/glued on and kept snapping off. I drilled deeper/thinner pin holes, swapped out the metal forearm for a plastic Necron one, and then drilled/pinned the other end with the hand as well. I like the end result, because his arm is now slightly exaggerated in length in addition to having the corrupted claws.

 I did pick up the new GW Necron Codex, but haven't really read through it much or done much research on quality/competitive units with which to game. At this point, I'm just going for the basic Lord w/ Res. Orb, Staff of Light and two(?) squads of Warriors. I'd ideally like to hit 500 points, so I can at least start with small games. I'm also working on accompanying Scarabs, but need 3 more finished bases before I can field those as a valid unit under the newest rules.

 I'd greatly appreciate feedback, in that I'm thinking the (unfinished) Lord looks a little bland - maybe I need to do something more with the claw arm to play it up a bit? The Orb and Staff of Light are going to get a green glowy effect so I'm not so worried about those, but he otherwise just seems kinda "flat" to me and I don't know what to do about it.

Letters From Readers!

  I received emails from two readers recently (I'm pleased people still visit the site, given my lack of time to post anything at all in almost a year - thanks!) - I'm going to address those on the blog as opposed to individual responses back via email, since I think other people might get something out of it, too!

Michel M. writes:

I really like your painting and I was wondering what colours did you use for the night goblin on this page: http://home.wowway.com/~tinweasel/gw_cleaved_gobbo.html
In particular i'm looking for the olive green colour. What brand/colour is it ?

Thanks,
Michel Melis

  Well, as requested, here's a more-or-less accurate summary of the colors and steps I used in painting that Games Workshop Night Goblin's skin tones:

• Basecoat 1:1 GW Catachan Green / GW Camo Green
• Layer on 1:3 Catachan Green / Camo Green with mixture at 1:4 paint/thinner consistency
• Highlight with 1:1 GW Bleached Bone / Camo Green with mixture at 1:4 paint/thinner consistency
• Upper-facing highlights of 3:1 Bleached Bone / Camo Green with mixture at 1:4 paint/thinner consistency
• Add minimal spot highlighting of 1:4 Bleached Bone / thinner 

Michael S. writes:

I just thought you should add a note to your rust tutorial stating that the bleach and vinegar solution from your rust tutorial creates chlorine gas, which is dangerous and possibly even deadly if inhaled. I tried your rust tutorial and I hope it works. I've always wanted real rust.

Sincerely,
Michael Smith

  I'd say that's definitely worth emphasizing - when I made the rust mixture originally, per my posted tutorial, I let the ingredients sit down in the basement by themselves for several days. There was noticeable bubbling, and I left the cap of the dropper bottle in which I mixed the materials open in order to vent. While I don't think it produces a significant amount of gas - only as a by-product in proportion to the amount of ingredients used in the Rust Mixture recipe - combining any chemicals or household materials should always be approached carefully and with every precaution possible!

  As an aside, though, I've still got that bottle of "Rust" in with the rest of my paints and I use it to add color and texture to items I want to look rusty. The original figure in the tutorial, a Privateer Press Cryx Deathripper, is still holding up fine with no degradation of appearance or other ill effects even after several years at this point. In applying the Rust Mixture to a figure, you likely will still want to add a little bit of highlighting and shading to any painted-on rust patches, otherwise it looks a little bit flat, but I essentially use it much like any of my other paints. (Coincidentally enough, I used the rust mixture on the metallic pieces on the base of the Ork Nob above as part of the weathering process - likewise still holding up after several years!)

EDIT: I've updated the original Rust Mixture tutorial page with a warning as well (and cleaned up the web code a bit, too!)

Hobby Tip - Painting Aged Parchment

Step 1:

 Apply a basecoat of 1 part Vallejo Model Color Russian Uniform (although Games Workshop Catachan Green might do in a pinch) and 3 parts GW Bleached Bone at a 1:1 paint/thinner concentration


Step 2:

 Layer on 1:4 GW Bleached Bone/thinner, leaving the shaded areas and deepest depressions uncovered


Step 3:

 Apply a wash (or two) of GW Devlan Mud over the whole of the area to be painted as parchment, paying extra attention to the depressions and shaded areas


Step 4:

 Layer on a first step of highlighting with 1:4 GW Bleached Bone/thinner, making sure to only brighten up the most raised and/or light-facing areas


Step 5:

 Apply extreme highlights to the edges and most raised areas as finely as possible, paying close attention to sharp edges and corners


Step 6:

 Using a mixture of 1:1 Scorched Brown and Black Ink (or Chaos Black and Badab Black, by preference) thinned down to at least a 1:4 paint/thinner ratio, carefully paint the lines of your letters on the parchment. You might want to practice on some scratch paper beforehand, as it really comes down to getting a feel for the hand movements when putting the brush to figure. It would be a good idea to do the first, last, and middle letters all in the same relative size to get the spacing correct, and then fill in the rest of your lettering as you can subtly adjust the sizing of your letters to accommodate how much room you have left.

 It might sound like an oxymoron, but the thinner you have your paints when doing fine detail like this, the more control you will have.


Step 7 (The All-Important One):

 Inevitably, you may need to go back and touch up things a little. Again, thin your paints by a decent margin so as to be able to get it to flow easily. You want to have as sharp a point on the tip of your brush as possible and be applying little to no pressure, simply letting the brush do all the work and allowing the paint to wick off onto your figure.

 In this case, I wanted to neaten up the letters a little bit, and add a slightly lighter "highlighted" black to the right-most lettering. I increased the size of the image, too, so that you can see it's not all smoke-and-mirrors, but generally a case of "if it looks about right in close detail then it'll look very close to right at regular scale."

Happy painting!

Hobby Tip - I Remembered How To Paint Highlighting

 Like the title says, I literally had to think about it because I'd forgotten, and suddenly remembered the method I used to use to paint highlights. By way of explanation, I've only gotten back to painting again after about a year off, which started shortly before the birth of our son in 2/2009. I've painted a few miniatures in the past few months, but when doing touch-ups on the Plaguebearer I've posted pictures of recently, I ran into a problem - all my highlights (especially edge highlights) turned out looking a little "off." I'd forgotten what technique I used exactly to highlight and get nice, neat lines and couldn't for the life of me get any of them to come out looking the way I wanted them to.

 I realized what the problem was in a sudden flash of insight - I was applying to much pressure and needed to slacken up a bit. Trying my "newly remember" old method, I was back to painting highlights properly on that figure and the commission I'm also working on simultaneously. (Not exactly like riding a bike, but more like getting back into an old "groove.") I figgered since it had "come back to me" pretty clearly as to how I should be approaching highlighting, and in a way that I can (relatively) easily explain in words, and I've taken a picture of my painting in the past to explain a related concept, I figgered that I'd dig up my old tutorial picture and write something up for the site. Enjoy!

 The problem I realized I was having was that I was applying too much pressure on the brush. Ideally what you want to have is thinned paint - something along the lines of a 1:3 or 1:4 paint-to-thinner ratio, or to throw the phrase out that everybody seems fond of, about the consistency of "skim milk." The reason for this is that you want your brush doing most of the work - it's a tool like any other, and if you're working harder than your artist's tool, then you're doing something wrong. The biggest thing to painting highlights (other than thinned paint) is the amount of pressure you apply on your brush. What you ideally want to do is practice applying as little pressure as possible - if you can, try applying so little pressure that barely even the tip of the brush would touch. Do this without paint if you like to get the feel for it, but practice just barely skimming the surface of something with a feather touch and nothing but the very tip of your brush. Got that down after endless repetition? Good! (Realistically speaking, a skilled painter has had lots of practice doing light brush strokes and with a lot of not-so-good painted miniatures back in the past as trial and error - if you're lucky, you can skip all the bad parts and cut straight to painting good highlights!)

 Now to apply some paint - dip the brush into your thinned paint no more than halfway. Any more than that and you risk getting thinned paint up into the metal ferrule holding your brush hairs in place (and we all know that's a good way to ruin a perfectly good brush). If you're comfortable with this paint consistency and you're painting on a broad area, that's fine, but it's generally a good idea just to lay the brush point flat on a paper towel (or give it a quick swipe along a fingernail, by preference) just to wick some of the excess liquid away - what you're doing is loading up with diffused color due to the added thinner and then taking some of the excess liquid off - you're still going to have the same diffusion of color but just not as runny. Now with as light a touch as you can, draw the brush back towards you slowly - it's the slowness here that matters, by the way. The longer you keep the very point of the brush in contact, the more of your color will unload onto the figure, and by keeping a bare minimum of contact you're letting the brush and the thinned paint do the work. Applying pressure won't do anything to help lay down a highlight, all that will do is make it thicker by bringing more of the brush hairs in contact with your painting surface by force.

Here's the final light purple highlight on a broad span of purple, drawn up towards the top of the shoulder pad:

 If you've done it right and let minimal pressure on the brush do all the work, you should ideally end up with a nice, narrow line. Straightness comes with practice, as does the ability to know how "far away" to hold the brush so that you're not pressing on the surface of the figure at all, but simply letting the bristles touch it with their built-in "springiness." If you approach highlights obliquely - that is, head-on - you're going to end up with fine lines. If you approach them with a slight twist to your brush, so that instead of drawing the very tip along you're drawing more of the side of the tip slightly sideways back toward you, you're going to end up with a slightly more diffuse highlight. I prefer the latter, but it's all a matter of style.


 If you've got highlights down, how's about something a little more tricky? Sharp edge highlights? Sure! Essentially, what you want to be doing now with the same consistency paint and the same wicking off of excess moisture, is drawing the side of the brush along a hard edge instead of using more of the tip. If a picture's worth a thousand words, this might help:

 Using thinned paint, drag the side of the brush along the sharp edge of the surface you want to have a crisp narrow highlight at roughly a 45° angle. Rather than the bristles of the tip splaying and making a fuzzy highlight, the side of the brush which doesn't splay (well, at least not so that it affects the highlight overly much) is what you want to be making all the contact. Between the thinned concentration of your color and the positioning of your brush, with a couple careful passes you'll end up with a nice, crisp edge highlight. Same technique as regular highlights and with the same light touch, it's just applied to the hard edges of things rather than straight and with the (side of) the tip.

 Any more questions? Feel free to ask! Now that I've remembered how to highlight again, I'll do my best to answer. This actually helped someone? I'd love to hear that, too!