Showing posts with label skin. Show all posts
Showing posts with label skin. Show all posts

Wednesday, June 8

+ inload: Catachan Spotter for Kill Team +

+ 'Get me fire support – now!' +

+ Another of the Ever-Readies finished up on the painting block last night. I was working the remaining half-dozen, and now have just the skin and details to do on the others. I didn't want to end the night with nothing finished, so worked this one up to completion. +


+ He'll be used as a Spotter specialist in Kill Team, so I wanted this role to be clear from the pose. The downside of single-piece metal models is that conversions are considerably more involved. Choice of figure is thus important. +

+ The sculpt is a loader from a lascannon team, so he's (appropriately enough) already pointing out a target to his team mate. +


+ One of the nice things about the Perry sculpts is that they're always well thought-through. This figure works well from any angle, and despite being taken from a two-part mould, has a very naturalistic and convincing pose. +



+ The face was fun to paint; you'll notice that it's worked up to a greater degree than the rest of the figure, in order to draw the eye. +

+ I also added 'Property of 634th' as a bit of kit graffiti. Large areas like the backs of jackets give nice opportunities for details like this that hint at the figure's character. +

+++

+ Catachan Devils +

+ The old Codex: Catachan had the regiments' veterans called 'Catachan Devils' in honour of the ferocious predator of their homeworld. I'm really hoping we see a dedicated Catachan Devils kit for Kill Team. In the meantime, I'll make my own! I'm a little limited by available figures, but I'm aiming to field:
  • Sergeant Veteran* with plasma pistol and power sword
  • Confidant Veteran with boltgun
  • Comms Veteran
  • Demolition Veteran
  • Hardened Veteran
  • Sniper Veteran*
  • Spotter Veteran
  • Gunner Veteran* with flamer
  • Trooper Veteran
  • Trooper Veteran
+ That's a bare bones list, with the unfinished figures picked out with asterisks. I'm confident that I'll get at least those done, in which case the Team will be ready to field alongside Tactical Assets (which I was tempted by anyway, as the idea of calling in off-table support seems quite fitting for the pulp Vietnam War-inspired Catachans). + 

+ If I manage to get them done, then the stretch goal will be to replace the Tactical Assets with:
  • Bruiser Veteran
  • Medic Veteran
  • Trooper Veteran
  • Trooper Veteran
+ But even these specialists will be counts-as figures (e.g. the bruiser will be armed with a chainsword, not a trench club), until I can spend some time sourcing some more appropriate models or convert them. +

+ Finally, I'd really like to build a Catachan-themed ogryn for friendly games. Ogryns are a favourite of mine, and they seem very fitting for a Kill Team-style narrative. It'd have to use homebrew rules for the moment, unless I swap over to using the new Kill Team Moroch Traitor Guard rules, which include an ogryn. +

+++


'No, over there!'

Monday, August 16

+ Catachan Sergeant 'Ripper' Jackson +

+ They make 'em tough on Catachan +

+ I finished painting Sergeant 'Ripper' Jackson and Colonel 'Definitely-not' Carl Weathers a few weeks back – and they've been here been sitting patiently (lying in ambush?) ready to go up on the blog. +

+ Both are absolutely wonderful models; just the right mix of comic-book exaggeration and fluid realism that I think sums up GW at their best. I collected the original Catachan Jungle Fighter models on release (long since gone on to a better place), but rather fell out of love with the range when the plastics replaced the superbly characterful metals. +

+ Time hasn't aged the infantry kit well (though even at the time it had a muted reception), but the command squad and heavy weapon teams are actually pretty good, in my opinion. The release of new characters gives me some hope that we will one day see a new Catachan range, but I'm not holding my breath. In the meantime, I'll pick up fantastic models like this, and hope that one day they'll have some soldiers to boss around. +



+ Since we saw the Catachan Colonel near-enough finished in an earlier inload [+noosphericinloadlink embedded+], we'll concentrate on Jackson here. Painting camouflaged soldiers is a tricky balance. Make the camouflage too realistic and effective, and it'll do its job – leaving your model looking bland or boring. Adding too obvious a contrast can appear jarring. That can work – particularly where the camouflage is heraldic, as on (say) Executioners Space Marines  but here I've tried to strike a balance between a couple of eye-catching areas on contrast and a generally muted tone. +

+ Here, the bandana and light t-shirt frame the face and create patches of tonal and colour contrast with the jacket and skin. The flat area of cloth was given a sense of texture and age with the addition of a touch of yellow ochre (Iyanden Darksun). The same yellow was used for the bandana and also in the first layers of highlighting on the skin, creating a cohesive and warm palette. +


+ Insofar as anyone in the Imperium is a 'goodie', I've always thought the Catachans have a fairly appealing culture of community support, humour in the face of danger and an adventurous spirit. Bringing warmth into the palette by avoiding cold hues except where necessary (metallics, for example) or for intentional accents (green lenses for 'pop'), creates an attractive palette that invites further viewing. +



+ The camouflage patches – Zamesi Desert, Gretchin Green and uh... Battle Green? Or whatever the modern equivalent is – are added over a Halfords brown spray undercoat (from their Camouflage spray range). The pattern matches that used on the Colonel, providing uniformity that makes it clear Jackson's a soldier – even if her veteran status and Catachan demeanour afford her a little personalisation to her kit. +



+ The sword is nicknamed 'amiga' – a little nod to the likely inspiration of the hispanic infantrywoman Jenette Vasquez from Aliens, played by Jenette Goldstein. I very nearly went with an hispanic skintone, but enjoyed painting the warm dark skintone on the colonel (and Inquisitrix Barbari Kills) so much that I decided to use something similar here, too. Imperial Guard are a wonderful place to explore painting different skintones; and the goes doubly for Catachans, with so much muscle on display! +

+ If I find another for a reasonable price, I'll probably work up a conversion – perhaps an homage to Michael Perry and Mike McVey's 54mm Catachan that turned up in Golden Demon years back. +


+ The boltgun and chainsword received the same dull mid-green used in the camouflage patches, and I've highlighted these cleanly to add some harder lines that contrast with the softer blending used on her musculature. +


+ The bionic leg is treated exactly as a piece of military equipment, with the same dull mid-green. I really love the relatively low-tech look. It's a functional replacement for a warrior. + 

+ The dead tyranid on the base was painted red and blue to evoke the hivefleets of the rest of the PCRC, which mostly use these colours. I haven't tried to match any one specifically as they're all done in a lovely vivid, classic 'Eavy Metal style, which would clash with this muted look. To mute things, I added a spot of red to the blue, and a spot of blue to the red. +

+ Lovely sculpt, great model – I can only hope the God-Emperor sees fit to share more lovely Catachan sculpts with us soon! +



Wednesday, August 5

+ inload: Septival and Coriolanus +

+ The Tenets of the Ten Divine Princes +


Septival and Coriolanus, Kills' attendant Space Marine bodymen, no longer looked alike. Two years of hard fighting on the nebulous frontier had seen the pair adapt to the realities of their new situation. During the counter-invasion of Munda Ostiona, Septival had been honoured by Gnostic Deacon for ferocity in the face of the brutalist Rhigim. It seemed to Kills that he wore his relic plate with a swollen chest; still more upright than before.

It was more than mere armour detail, though. During the brief period the Ninth Strikeforce had operated alongside the Chapter Master's own Strikeforce, in patrols of the Shin-Xiao Expanse, Coriolanus had been seconded to Sho's own force – pointedly, it appeared to the Inquisitor; as though the Master was goading her. On his return, the space marine had a slightly different air. Not openly evasive, but his words seemed more considered. Kills wondered whether she was unconsciously reacting to him differently.

'The Tenets, mistress? We have spoken of this before.' His head, still shorn in the style of the Core, was unhelmed. Adaptive souls, these Primaris, Haim had mused, privately. Her acolyte was right. Every day the two groups of Gatebreakers seemed to become more alike. Under the auspices of Yeng and his fellow Gentles of the apothecary, more and more of the Astartes were undergoing the Rubicon process. As the resulting ruinous casualty rating climbed, the Primaris were integrated into Strikeforces, and then squads; rooting themselves more deeply in their adopted place.

Conversely, the Primaris were finding what the old Chapter had long-known – that resupply was rare and supply lines were thin. Practicality saw weapons swapped for more reliable and plentiful alternatives, and the techpriest-led forges were hard at work adapting to the new armoury.

'We have; and I ask again,' replied Kills to Coriolanus. 'You were a devotee of the Codex prior to your deployment. Why the change?' The space marine's face remained blank.
'It is no change, Inquisitor.' He replied, mildly. 'The Tenets are a form of the Codex; and can be read alongside them. More literary, perhaps, but the fundamentals of adaptat...' 
'I see little evidence of cross-comparison, Coriolanus,' the Inquisitor interrupted. 'Your time seems hard-spent in transcribing the Tenets.'
The space marine looked pained. 'That is true, Inquisitor. There is, however, nothing to hide. I have long ago committed the Codex to memory, while the Tenets remain raw to me.'
'Agreed, mistress. The discipline of our Chapter is not competing with that of our training.' Septival put in, 'It complements and alloys with it.'

Kills was sceptical, but not suspicious. She had requested – and been granted – leave to study both her bodymen's nascent copies of the Tenets. They were filled merely with the aphorisms and bon mots of generations of Andocrine wisdom; long-dead sages and warrior-poets. It was hardly great literature, to the Inquisitrix's taste, but she could see its value in teaching interpretation to the indoctrinated. 

Kills was no monodominant. She had long ago concluded that the practicalities of Imperium meant that faith and loyalty trumped almost any trespass in style; doubly so for an entity as independent as a space marine Chapter. Alongside her historilogician Haim, Kills had read through the Tenets, and found no sinister trace of heresy amongst the prose and verse. Although the conception of the Primarchs as Divine Princes – and ten of them – had initially unnerved her, she had been reassured by their occluded relationship to the orthodox teachings of the Ecclesiarchy. 

In the Lay of Hayagriever, for example, the Gatebreaker's symbolist tale of a Divine Prince invariably – and gratingly repetitively – described as 'swift, secretive and powerful', Haim had teased out roots familiar to those told in the wider Imperium attributed to Corvus Corax or Jaghati Khan. The name of the first Divine Prince; Kali-Bahn, had similarly raised a smirk of satisfied recognition on the Inquisitor's face. Others were more troublesome. Chemos, the proud and quick to anger Fourth Prince, had raised concern, but Kills' concerns over the dubious associations had been somewhat allayed by the clear blending of tales of Ferrus Manus with his traitorous brother. She would not sanction a Chapter over veiled myths – indeed, she judged that raising an alarm would more likely highlight and spread the problem as resolve it.

As for the others... 'Well,' Kills had said to her acolyte, 'as much as is strange about the surface; the core has survived.' 
'Mutatis mutandis, Barbari.' Haim had agreed. 'The Gatebreakers' ways are odd, but such might be explained by cultural drift typical of their isolation.'

The memory reassured Kills, but she was far from equianimous. It was not the form of the Tenets that bothered Barbari; but the change in Coriolanus since his return.

+++

+ Work in progress: Septival and Coriolanus +

+ Ideas sometimes stem from writing, and these two marines are a perfect example. Introduced to give Kills someone to interact with in her first story, these two have played on my mind. They're symbols of Chapter 333's integration with the Gatebreakers – or to put it another way, they're 'normal' Primaris space marines who serve to introduce us to the Gatebreakers culture. +

+ Being Primaris from the Core Imperium, I gave them both typical Latin-dervied High Gothic names. When I decided to build them, I wanted to blend the clean lines of the Primaris intake with some of the more rough-and-ready elements of the original Gatebreakers. +

Member-Ordinary Coriolanus
+ Member-Ordinary Coriolanus +

+ To that end, Coriolanus is virtually stock Primaris, but with a substitute boltgun for his bolt rifle, and with additional charms on his belt. He has removed his helm – a reduction in battlefield discipline, but it reveals a clean, shaven head and stereotypical space marine colouring. +

+ Member-Ordinary Septival +

+ Septival is outwardly more integrated with the Gatebreakers, replacement shoulder and chest plates marking him as honoured. +

+ Both require detailing – markings, some more work on Coriolanus' boltgun, and basing – but they're nearly ready to join their brethren. I'll likely add some form of mark to indicate their status as Inquisitrix Barbari Kills' bodyguards. Perhaps an Inquisitorial I, or similar. + 

+++
+ Thought for the day: 'Cherish those hearts that hate thee// Corruption wins not more than honesty.' +

Tuesday, August 4

+ inload: Castaway +

+ Castaway +


Breccia. Little to recommend it beyond its mineral riches. Low flora, high gravity. You'd wake in a panic, stars in your vision. Breathing felt like an animal was squatting on your chest. Infinite drifts of microscopic dust necessitated airlocks and bulky rebreathers almost everywhere; and still your spit would be terracotta. 

The inhabitants? Homo sapiens rotundus. Kinsmen, or thronglings, to themselves. Squats, to you or me. 

A prickly, short-tempered and belligerent people, they seemed to have picked up and internalised the oppressive atmosphere of the planet. It was pure happenstance that I'd made landfall – I'd had to abandon a starcraft following a disagreement with naval security, and my hastily-secured shuttle required some repairs. 

I met Castaway in the cold dock. He was a visitor too, and slightly more agreeable company than the masked Breccian natives. I say visitor, but survivor's probably closer to the truth. A greenskin crusade had reportedly broken over his homeworld – itself in some backwater sub called Antona Australis – and he'd found himself unable to return. 


We met as I attempted to find some way off the rock. Castaway had much the same idea, and over the local brew, Brunski, myself and he concocted a plan of sorts. Like most of my acolyte's plans, it started with persuasion and ended with lasers. Suffice to say we emerged minus a shuttle, but plus a curiously handy engineer.

+++

+ Faces of the Gatebreakers +


+ Painting things on sprues is a very weird experience, but novelty's a good way to keep your interest up. It also allows for quick and easy comparison, which is handy both for achieving uniformity (for the helms) and diversity (for the bare heads). Regular inloaders will have heard my witter on about painting skin beforehand, but if you're interested in a little more theory, this inload includes some thoughts on getting variety into skintones [+noosphericinloadlink embedded+]. +



+ The Gatebreakers take this a little further: their wide-ranging recruitment methods mean the Chapter is hugely varied in skintones, so having them all on sprue allowed me to really have fun jumping around. Top left of the image above was built up from an ochre base (Averland Sunset) with Army Painter Mummy Robes (a lovely creamy brown-tinged white). A wash of Seraphim Sepia and some pink hints gave a nice smooth result. For the very dark skintone on the top right head here, I used a base of dark brown (Rhinox Hide) and green (Vallejo Flat Green), and added orange (Fire Dragon Bright) as I highlighted up. The fresh scarring was achieved with Vallejo Flat Red and Vallejo Off-white added to the mix. The same flat red was used to add warmth to the cheeks, nose and lower lip, too. +

+ The head on the lower left combined Averland Sunset and Rhinox Hide, and was then highlighted up with Off-white before being glazed back down with washes of Seraphim Sepia. The head on the lower right was painted over a Rhinox Hide layer, using increasingly light mixes of Vallejo Flat Red, Off-white and Averland Sunset. +



+ Once I got a bit bored of painting faces, I swapped to painting metallics and laying oils over the varnished green and yellow areas. These need a bit of cleaning up tonight, and then I'm onto highlighting and assembling. Nearly there! +

Tuesday, May 12

+ inload: Are you a Catachan, or a Catacan't? +

+ If it bleeds we Catachan kill it +



+ No prizes for guessing who this Hasslefree miniature [+noosphericexloadlink embedded+] represents. The first of those Rogue Trader-themed models I posted about recently to receive paint, he's proving good fun. The over-muscled arms and chiseled features make it fun to play around with lighting, giving an almost cel-shaded look at this stage. I'll be refining him with some highlights, but it's been good to get some variety in pinks and ochres to – hopefully – give some realism. +

+ Not sure how I'll tackle the fatigues etc. Urban or desert could work, letting him tie in respectively with my Red Hand or Imperial guard; but there's also the option of running with the jungle theme of the inspiration. +


+ The same painting session saw me tackle some beards and skin on the dwarfs – there's only tiny flashes of skin visible, but it'll all add up to a nice effect when they're finished (I hope). +


+ To avoid an uncanny-valley effect of models in particular units all having the same beard colour, I plucked random piles of models from across the army, and used slightly variations on a few 'core mixes'. That allowed me to do a sort of half-way house between batch painting and individualy focus. +


+ Further work necessary, but this is proving a marathon, not a sprint. I'm aiming to have 1,000pts finished for a PCRC 'parade' at the end of May, which is still looking fairly likely. +


 + To close, another shot of our 80s action hero. +

Monday, May 4

+ inload: painting dwarfs +

+ The dawi begin to assemble +



+ I can't decide whether this week has been productive or not. I was certainly hoping to have more done on my dwarfs – the background of which is being fleshed out on our sister blog The Tallowlands [+noosphericexloadlink embedded+] – but I got fed up with batch painting and decided to paint some characters. +

+ The good news is thus that I've actually got a few models done, rather than lots half-finished – and owing to the way Age of Sigmar seems to involve lots of individual characters, I think they should be fieldable as-is. +

Strong features reward traditional techniques.
+ Anyway, I'll chat more about the background and rules over on The Tallowlands; here I just want to talk about the painting. I often find dwarfs really fun to paint, as they have relatively large heads with bold features – great to play around with skin mixes, and to enjoy working wet-in-wet. Assuming they're not helmed, details like eyes are relatively easy to paint in. +

 + All of the figures I've painted recently have used the same colours as the basis for their skin: Vallejo Off-white, Citadel Averland Sunset and a touch of Vallejo Flat Red – the latter is a very intense paint, so you really need tiny amounts, particularly when using a quite subdued yellow like Averland Sunset. +

I didn't want to use many washes, as they can flatten the highlighting, and I thought the features of these figures were defined enough to reward good old-fashioned painting. I therefore worked up from a underlayer. For these, I just grabbed any brown I could find – so there's a mix of Skrag Brown and Doombull Brown. +

Variations on a theme – different combinations of the same mixes were used for the skin on each dwarf.

+ The three colours listed above combine create to create quite ruddy-looking tones, which can easily be varied by introducing more yellow or white, or by using a different underlayer. Very little of the underlayer remains apparent after painting, but it ensures there's a flat, even surface to cover with translucent layers, and a deep value in any visible recesses. In turn, this increases the contrast so you end up with a punchy result without having to go back with washes and so forth to strengthen the values in the shadows. +

+ Working wet-in-wet simply means that I'm working fast enough to wet blend on the surface of the figure. If you're struggling with the speed it's drying, a wet palette will help to keep your palette mixture workable, while retarding medium will slow the paint drying both on the figure and the palette. +

+ I tend to instead use flow enhancer medium to keep the paint workable. It only slows the drying in the same way water does, but it helps to prevent any brushmarks by aiding the consistency. This means that the paint dries relatively quickly – good for repeated layers – but has a crucial few extra seconds of working time so you can work back into it without creating physical texture: something that will quickly ruin the finish. +



Monday, April 9

+ inload: Anatomy of Empire I: The Charadon Empire +

+ Anatomy of Empire I: The Charadon Empire +


Located in the Ultima Segmentum, the Empire of Charadon today incorporates nearly seven hundred primary ork systems, and with a significant further dominion of slave worlds.

The empire sprang up in the wake of the Horus Heresy. Its first leader, the Arch-Arsonist Garslab, was quick to take advantage of the power vacuum left by the withdrawing legions, and the pocket empire quickly began to exert its influence across the spiral arm.

Today, the Empire is eclectic, established and markedly cosmopolitan; incorporating as it does a substantial permanent population of non-orkoids, including independent humans, abhumans and nearly a dozen other identified xenos species. The orks seem to tolerate – with some ork planetary commanders even encouraging – the presence of raiders, pirates and freedom-seekers in their realms. The existence of such ne'er-do-wells gives the orks of the Empire an unrivalled understanding of other species' strengths and weaknesses, and a ready source of both mercenaries and enemies against which to test themselves.

It is a mark of the Empire's longevity that the Tactica Imperium itself makes note of the forces of Charadon, using the military strategies of the forbidding black planet as an example of the perils of underestimating the threat of the orks: it is this Empire's pragmatism that has allowed the Arch-Arsonist and his cronies to prosper so long, and to have grown so powerful as to bring the Imperium of Man to terms on a number of occasions.


+ Military forces of the Charadon Empire +

The denizens of the Charadon empire are typical of orks – by which it is meant that the inhabitants are by turns belligerent, aggressive and surprisingly cunning. Unlike humanity, orks show little adaptation from region to region. If one could bear to remove the greenskin's stinking clothing, an ork of Charadon would be all but biologically indistinguishable from one from across the galaxy, which goes some way to demonstrate the sheer resilience of the ork genomic equivalent.

With that said, cultural tropes and norms do vary, and ork forces of Charadon are typically armed and armoured in a slightly more uniform fashion than one might expect of less-established ork regions, whose nomadic forces rarely have an established regional identity. This is due almost entirely to the stable supply lines from a string of indentured manufacturing worlds deep in the region. These include the fabled Lost Forges of Zoroaster – a dozen former Forge Worlds that fell to the first Arch-Arsonist over a decade of terrible warfare, and have remained firmly in the Arch-Arsonist's claws to this day. These churn out the murky fatigues and granite-grey armour plate by which the orks of Charadon can be recognised.


Typical ork Grenadier squad of the Charadon Empire
The clan system here is not absent or suppressed – indeed, a number of worlds within the Empire are vibrant examples of ork Kultur – but it is not a mineral-wealthy region, which in turn means that dyes, paints and other materials are relatively hard to come by. This is no hardship to the orks – after all, it provide the perfect reason to continue raiding each other, and to launch occasional large-scale fleet assaults that the orks call 'World-burnas' on fringe worlds in the reaches. Such attacks are launched by ambitious warbosses (sub-commanders) on their own initiative, but the most terrible are those made by order of the Arch-Arsonist himself, as such fleets are drawn from all across his Empire, and rival the Naval fleets of the Sector in number and mass-displacement. 

The armies of the Arch-Arsonist show the usual range of ork technology and tactics, ranging from light infantry forces supported by war buggies to specialised artillery and air units. The warboss Brug Wellshod's Iron Stompers are a good example of such specialism; being a force made up entirely of siege dreadnoughts and power-armoured support. Given the provenance of much of their equipment, it is perhaps not surprising that the orks of Charadon demonstrate a greater-than-usual proportion of vehicles recognisable as adapted STC designs; and most of the Arch-Arsonist's military forces will include weaponry and materiel that would be broadly recognisable to Imperial commanders, ranging from Rapier light weapon platforms to Bullock jet-cycles. This corruption of the Machine God's will, along with the loss of the forges of Zoroaster, has earned the Empire the eternal opprobrium of the Adeptus Mechanicus, who continually petition local Imperial Commanders, mercenaries and Astartes commands to launch counter-raids to recover precious knowledge from these lost worlds. 


+++

+ Charadon in the Alien Wars +

By the time of the Alien Wars, the Charadon Empire had become the longest-standing and most stable orkoid region in the galaxy, and the current Arch-Arsonist – by now an inherited title – a significant concern in galactic politics. Prior to taking the mantle of Arch-Arsonist himself, Zogblad the Belligerent had been a powerful lieutenant who helped his predecessor into the ork afterlife by 'accidentally' nudging the previous incumbent into the voracious maw of one of the Seismic Proto-dragons of Kor Luft.

Ruling from the black granite throne of the principal world from which the empire takes its name, the arch-arsonist now broods on the best course of action to take as his minions bring news of retreating Imperial forces all across the galaxy...


+++


+ Painting +

+ A productive weekend's work has seen me get the fatigues and weapons base-coated across the four squads, and to complete the skin on them all – a very satisfying stage. As noted elsewhere, I've taken pains to make sure they've each got a different skintone, by using unique combinations of paint mixes and washes. I'll have to be careful when adding further refinement, as I've no chance of remembering a particular mix! +

More of da ladz

+  All that remains is to work back over each model in turn, picking out details, filling in gaps (straps and pouches in particular), and adding details like the Drop Legion logo and warpaint to suitable areas. I hope to have that done by the end of the week; then it's on to finishing off the terrain for the game. +


Thrugg Bullneck and his squad leaders
+ What's next? Well, I'm still enjoying painting orks, so I might well paint up a few gretchin and a dreadnought – if I can do that, I'll be able to recreate the 2nd edition ork force, as well as the Rogue Trader army, which'd be a fun additional project. That'll bring things back round to the Blood Angels, who have received some exciting reinforcement from my friends in the PCRC... +

Sunday, March 4

+ inload: Painting ork skin +

+ Green iz best +


+ This technique should work well on orkoid/goblinoid skin, or anything that requires a similar scheme. You might wish to use lighter-tones for gretchin, goblins and the like; and darker tones for older or bigger orks/orcs. For this example, I'm demonstrating on a model I'm using in an army for my Alien Wars project, so other bits of him are painted; you can ignore these. +

+ I've posted before that I really enjoy painting skin. I think it's one of the most rewarding parts of painting a model, and deserves a bit of extra care and attention. This applies as much to orks (or any other species) as it does to humans. There's a lot of variety in human skintones, as mentioned in an earlier inload [+noosphericinloadlink embedded+]


'I like to add diversity to my skintones – they're hugely variable even in an individual: quite aside from big differences such as ethnicity, conditions such as sunburn, sickness or even being out of breath can change people's skin colour quite dramatically. Adding touches of blue to the skin mix for stubble and bags under the eyes, touches of scab red to the mix for lips, cheeks and fresh scars, or a dilute wash of Olive Green for feeling poorly can make the difference between a cool-looking model and a believable individual.'
+... and I think that doing a similar thing for orks is a good way to add a little more realism to your work. +

+ Greenskins are interesting from a colour theory point of view, as green and red are very similar tonally; and as a result, we can use similar techniques – and even colours – as we would use for humans to paint them. This also allows us to create varied 'ethnicities' for orks. In a similar way to human skintones all drawing from various proportions of red, yellow, white and brown; all ork skintones can be made from blue, yellow, white and brown. Swapping the red for blue naturally creates green mixes when combined with yellow. With that said, just as I use hints of blue when painting humans (to mute the orange mix of yellow and red for eye bags, shading etc.), I also use hints of red when painting orks for precisely the same reasons: red is the complementary of green, so it mutes the colour and makes useful mixes for shading. +

+ A lot has been made of orks being fungus-based, but I prefer to think of them as basically red-blooded animals (as in the Waaagh! the Orks background), which have a green tinge as a result of a symbiotic fungus; as opposed to literally being mushroom-beings. As a result,I use reds and purples to show thinner parts of the skin, and keep the greens I use relatively muted. Just as humans appear browny-yellowy-pink rather than literally black or white; I see orks as basically having an extremely olive green-tinged human skintone. This also leaves a lot of space open for natural variance, which adds to the naturalism. +

+ Preparation and priming +

+ Clean and assemble your model/s and stick it/them to a base. Undercoat the models with a light undercoat of grey. I use Halford's car primer. An undercoat should cover every part and recess of the model evenly and lightly, obscuring no detail. +

+ Painting +


+ I_ Apply a dark-toned basecoat. I've used a mix of Doombull Brown and Incubi Darkness for this example. Ultimately, however, the basecoat doesn't really matter too much as long as it's dark.


+ II_ Once the basecoat has dried, add some Death World Forest and Averland Sunset to the mix on your palette to create a midtone. Apply this over all the skin except the recesses. +



+ III_ Mix a little Screamer Pink (or similar red hue) into the skin mix on your palette, then paint the nostrils, lower lip, inner ears, fingernails and elbows – essentially anywhere the would have blood near the surface. If you can do this while the paint on the model is still wet, all the better. +



+ IV_ Add some flow enhancer medium to a fresh version of the midtone mix (Death World Forest and Averland Sunset) and establish your initial highlights. Note that the colour will be lighter-toned than in step II, as it is not mixed with the paints from your initial deep tone. When placing the highlights, start to create a sense of form. Highlight areas like the bridge of the nose, brow ridge, chin and so forth; while avoiding the recessed areas under the cheeks, in the inside of the elbows and between  fingers. +


+ V_ Punch up the impact with finer highlights. Add Flash Gitz Yellow and Vallejo White to the midtone mix and apply this sparingly; concentrating on the face, and applying it sparingly elsewhere. +



+ VI_ The yellowish tint may well look unnaturally vibrant, so you can knock it back with a purple wash of Druchii Violet (or a glaze of purple).  You'll note I've painted in the teeth and eyes at this point, too. This is a good stage to do it, as the light-toned teeth give a good anchorpoint for getting the balance of tones right later. +



+ VII_ Once the wash has dried, apply sparing touches of Elysian Green as final highlights. +


+ The result +


Wednesday, October 23

+ inload: Infantry camouflage tutorial +

+ inload: Lamb's World infantry camouflage scheme +





+ This is a guide to painting Imperial Guardsmen with a quick, simple camouflage scheme. The technique should work well on anything that requires a similar scheme.+


+Preparation and priming+

+ I_ Clean and assemble your model/s and stick it/them to a base. I use a mix of plain bases and textured resin rocky ones. This keeps costs down and provides a nice visual mix while remaining cohesive.



Stage III
+ II_ Undercoat the models with a light undercoat of grey. I use Halford's car primer. An undercoat should cover every part and recess of the model evenly and lightly, obscuring no detail.

+ III_ Once dry, give the models a basecoat. For these, I've used Humbrol's Desert Yellow 93 from their Model & Craft Hobby Spray Acrylic range. The important thing for a basecoat is that it covers everything fairly evenly, so feel free to apply yours with a brush. However, if there are a few small recesses that remain grey, that's not a problem. Since both the undercoat and basecoat are mid-toned, it'll blend in nicely and create a natural worn variance in the cloth (the armour, flesh, weapons etc. will be covered anyway). This won't work if you undercoat in a dark shade or bright tint (such as  black or white) unless your basecoat is a matching dark or light tone*.


+Fatigues+

+ IV_ Once dry, check the models over. If you've missed large areas with the basecoat or the models don't look vaguely uniform, give them another basecoat until you're happy. 


Stage V
V_ Identify the fatigues of the model. Using a small flat brush apply the darkest tone of your camouflage pattern in a broken pattern – I have used Scorched Brown for these. Keep only a little paint on your brush, and dilute it only very slightly: it should feel a little dry and stay exactly where you place it on the model. Try to keep the pattern evenly spaced, and aim to cover one third or so of the fatigues with blotches. Try to make these in thin, broken lines that curve back on themselves, rather than big near-circular patches.

It is important for the effect that the blotches cover the undulations of the surface evenly – they should go into recesses and touch high points equally, so poke the paint on with a slow stabbing motion, rather than with a light, surface-catching drybrush technique.

I tend to use a size 1 flat synthetic brush, as the bristles have more resistance which makes it easier to touch the tip to the model. If you don't have a flat brush, this is a great chance to use that poor split/damaged detail brush you have lying around, rather than retiring it! Since the bristles shoot off in different directions, you'll have slightly less control, and will get a more natural, uncontrived effect to the camouflage splotches.



Stage VI
+ VI_ Once the dark-toned areas are dry, overlay a wash of Gryphonne Sepia (or equivalent) over the fatigues. This will help to bring out the colour of the fatigues and start to develop the shading. 

It's worth pointing out that I also use the wash on non-camouflaged areas of cloth, such as any bedrolls or officers' headgear.


Stage VII
VII_ Using Dheneb stone, add camouflage patches as before. Use a slow semi-stippling motion with your split brush to get the blotchy curved lines and dots. Aim to cover roughly a third of the surface, and – importantly – overlay both the basecoat areas and dark-toned areas. This is a great opportunity to cover up any mistakes made with the darker-toned areas, and also to cut in and reshape any blotches that have got too large or unpleasantly-shaped.

At this point, the surface of the fatigues should be roughly split into thirds: basecoat (midtone), tints (light tone) and shades (dark tone).+


+Weaponry and equipment+

Stage VIII
 + VIII_ With the camouflage pattern in place, paint in all the parts that you want to be metallic using black.



Stage IX
+ IX_ Once dry, paint over the same areas with Boltgun Metal.


+Hard armour and additional fabrics+

Stage X
+ X_ Use a size 1 round brush to paint the shoes, gloves, armour straps (the bits behind the knees and in front of the elbows) and some of the pouches (the ones you want to stand out a little) with Charadon Granite. Once dry, use a size 2 round to give the fatigues of the model a wash with Gryphonne Sepia and allow to dry. Don't worry too much about neatness with this stage – as long as you keep the wash away from the metallics and the Granite areas.


Stage XI
XI_ Switch back to a size 1 round and carefully paint the hard armour areas with the Vallejo Russian Tank Crew II (Catachan Green or Straken Green are good equivalents), including the respirator and any technical widgets and doobries on the helmets.



Stage XII

+ XII_ Use a size 2 brush to add a second wash of Gryphonne Sepia to the fatigue areas, and while it is still wet, use a size 1 brush to drop in a little Agrax Earthshade to the darker areas around the elbows, knees, and groin. Allow the two washes to bleed together a little, then use a clean dry brush to lift away excess wash from surface areas.

Once dry, give the armour, weapon casings and Charadon Granite areas (boots, gloves, etc.) a wash of Agrax Earthshade (or Devlan Mud), allow to dry, and then apply basic highlighting to the plates using a size 1 brush lightly loaded with Camo Green (I think Elysian Green is the new equivalent). 

To apply the highlighting to each section of the armour, pick a direction for the light source (top left or top right), and use the side of a lightly-loaded size 1 brush with a scumbling technique. Start from the direction of the light source (e.g. top left) and scumble the paint towards the opposite side (bottom right). This technique should result in better paint coverage towards the light source, blending away to the base colour about a third of the way across. Note that this is just on average – you'll have to evaluate each plate separately. If the flat of one is pointed directly at the light source (e.g. the top parts of the left shoulder plate), then this will be almost entirely covered with the highlight. Equally, if something is shaded almost entirely from the light (such as the bottom of the codpiece), then this will be almost entirely covered with the base coat.

Once this is completed (the paint should dry almost immediately on application owing to the light loading of the paint and the scumbling technique), add Rotting Flesh to the Camo Green and add some gentle edge highlighting to the sharp corners. Again, apply the paint lightly using the side of the brush, and apply more paint on the edges that face the light source and less paint on the edges that face away – this ensures that you don't get a 'neon glow' to the armour plates.+


+Detailing+

Stage XIII
 + XIII_ Use the jewel painting technique (blending from a dark colour towards the light source to a light colour away from the light source, then adding a dot of white in the centre of the dark area) to paint the eye lenses. I used Dark Flesh blended away to Solar Macharius Orange.

Lightly load a size 1 brush with Solar Macharius Orange and draw a vertical line down the shoulder pad as a Company sigil.



Stage XIV
+ XIV_ Paint the model's skin in the manner of your choosing. My skin painting technique is fairly involved, but on models with this little flesh showing, a good result can be achieved by painting the neck, fingers and any exposed skin with the base colour (such as Tanned Flesh), then adding a highlight (such as Tanned Flesh and Bleached Bone), then washing with Agrax Earthshade and lifting out excess wash from raised areas. Paint the eyes by drawing a short fine line of black and allowing it to dry, then adding dots of white, one on either side of each eye. Make sure each dot has a border of black remaining around it. Once dry, draw lines of the skin base (e.g. Tanned Flesh) under and over the eye. 

I like to add diversity to my skintones – they're hugely variable even in an individual: quite aside from big differences such as ethnicity, conditions such as sunburn, sickness or even being out of breath can change people's skin colour quite dramatically. Adding touches of blue to the skin mix for stubble and bags under the eyes, touches of scab red to the mix for lips, cheeks and fresh scars, or a dilute wash of Olive Green for feeling poorly can make the difference between a cool-looking model and a believable individual.

The model itself is basically finished at this point, but I think a good base – even if very simple – really lifts a figure. Apologies that the main picture doesn't really show the skin and eyes; it was a very quick shot! There are some closeup example of skintones to the left.


+Basing+

Stage XV
+ XV_ Use an old brush to apply Armageddon Dust to the base (pictured).  

+ XVI_ Once dry, paint the whole base Khemri Brown. Allow to dry, then drybrush the surface fairly heavily using Dheneb Stone. Finish the base by painting the rim Calthan Brown. 
Examples of completed guardsmen in M41 Lamb's World fatigues

+Optional details+

+ XVII_ Touches of personalisation can add a lot to the final effect, but these are the most fun to think up – knock yourself out! Below are some examples of freehand text, non-uniform bandanas and variant techniques.


Note freehand 'Lobo' personalisation and bandana.

Small black patches were added once the fatigues were completed,
then tiny paired white dots were overlaid.


+++
*Though it's worth noting that using differently-toned sprays can give lovely effects, such as zenithal highlighting. Spray black (or a dark tone), then spray a lighter-toned colour from a fixed point at the top. Bang – instant dramatic shadows!