Armor Kit Painting Contest

armor kit painting contest
To celebrate the diversity of survivors that live (and die!) in Kingdom Death
as well as the artistic and mechanical marvel of so many compatible, interchangeable bits,
we are holding our first Armor Kit Painting Contest!!!!

 

Kingdom Death Monster offers imaginative players and hobbyists the opportunity to build countless representations of their survivors using the armor kits included with the game and its expansions. Nearly every item in the game is included as a sculpted piece that can be added to a survivor’s miniature.

We are holding a contest to find some of the most exciting survivors out there. 

Monday December 12th 2016 is the last day we will accept submissions. Don’t wait!

 

TO ENTER

Submit 1 picture of your submission to darkjudge@kingdomdeath.com.
If you want to show multiple angles of your submission, you can create an image comp.

All qualifying submissions will be posted online and shared with the community.

After the submission deadline passes our inscrutable Dark Judges will choose 13 finalists each of whom will receive a FABULOUS MYSTERY PRIZE. In addition, the top 3 survivors will be named.

 

GLORIOUS PRIZES

  • Everyone is a winner! Qualifying submissions will receive a $15 credit to the Kingdom Death store. Limit, one per entrant.
  • 3rd Place will receive $100 Kingdom Death store credit and a Bronze colored 3D printed Lucky Charm.
  • 2nd Place will receive $200 Kingdom Death store credit and a Silver colored 3D printed Cat Fang Knife
  • 1st Place will receive $400 Kingdom Death store credit and a Gold colored 3D printed Twilight Sword with Adam Poots’ signature.

 

Detailed rules are included below.

 

Examples of survivors built and painted by Thomas David (disqualified for extreme KD affiliation.)
Examples of survivors built and painted by Thomas David (disqualified for extreme KD affiliation.)

 

RULES

At least 51% of your submission must be comprised of Kingdom Death: Monster survivor armor kits. Submissions may also contain bits or parts from any other Kingdom Death miniatures or scratch built pieces but not pieces from non-Kingdom Death miniatures.

  • Each entry must be fully painted.
  • Each entry may only consist of 1 photograph. To include multiple angles or images you must create a composite photo.
  • Submissions may only be photographed in front of a plain black or white background.
  • A submission must be a .jpg or .png file, with a min width of 1600px and max file size of 5 megabytes.
  • Each submission must include a name or submission title. They must also contain (your) name or what you’d like us to publicly display on our website.
  • We encourage you to tell us about your survivor(s) with your submission!
  • Each entry must be an original creation for the contest and must not appear as a final product on any other website. It may appear as WIP (work in progress).
  • Each entry must consist of one unique survivor represented by one unique miniature. It may however, be part of a scene, diorama, or hunting party. Judging emphasis will be on the individual survivor chosen for this entry. If more than one survivor is present in your photos please make it clear which one your entry is.
  • Bases and scenes can be simple or elaborate, provided they do not use any pieces from non-kingdom death miniatures. Despite how gorgeous a base or scene might be, the final judgement will be heavily based on the survivors.
  • Only 1 submission per entrant may qualify for prizes.
  • Employees, contractors or authorized agents of Adam Poots Games, LLC are are welcome to enter and display their submissions, but will not be accepted as a finalist.
  • Retouched images will not be allowed in the contest. Only basic color correction will be allowed. A list of prohibited retouching or digital modifications includes but is not limited to: Labeling, airbrushing, highlights, coloring, blending, blur, glow, or other special effects.
  • All images submitted become the copyright property of Adam Poots Games, LLC.
  • Rules are subject to change without notice.
  • By entering the Kingdom Death Armor Kit Painting Contest, the contestant agrees to the rules as presented.

Forsaker Advanced Painting Guide

By Scott Hockley

Intro
Hi all,

This is a second installment of pinup painting guides. The last guide gave a full and in depth blow by blow direction of going from new mini in a box to finished display mini, with a lot of explanation about the theory and techniques involved. This guide will be a bit slimmer, but I shall refer you back to the larger guide for any specific techniques.

Preparation
The new plastic Forsaker is a totally different sculpt from the original resin version. The 8 miniatures in the box are arranged on individual sprues attached in groups of 4 to a master sprue. I clipped the Forsaker sprue off and set the rest aside for later. The individual parts of the model were in turn then removed from the sprue and popped into a little box (see previous guide about losing bits!!). Each part was then trimmed with a knife to remove mould lines, and lightly sanded with some fine sandpaper/manicuring board. The feet were then drilled to accept a 0.5mm pin in order to allow easier fixing to the base later. The rest of the model doesn’t need pinning because I am gluing the majority of it together prior to any painting.
For these models it is best to use plastic glue. My glue was just a proprietary one that I bought at Salute, but most polystyrene cements will work perfectly.

In order to best prime the model, I assembled it in 3 parts – torso, legs and right arm in the first (and main assembly)/ head, hair and cloak in the second/ left arm with big sword and some chains in the third assembly. The reason for this is purely for access to as much of the model as possible, as the cloak drapes over most of the back and the sword covers the back of the head and much of the hair. The joining points were covered with a tiny blob of blu-tac immediately before priming, so that I can still use poly cement to join them after priming.
The amazingly innovative way that the models were deconstructed in designing them for plastic manufacture means that assembly requires next to no filling if you are careful assembling the model. There is just a small line above her right boob, and a line on each arm to fix. The left arm was fixed with a little filler after initial priming.

I airbrushed on a grey primer (just like the Architect), and then airbrushed a light covering of Tamiya Deck Tan to the head, sword and torso from above to create a bit of initial highlighting.




Colour Scheme
We are working to the concept art again for the Forsaker, and in this case I will show another life hack that I sometimes use to help determine which paints I will use on the model.

I took the concept art and opened it in MS Paint (I’m sure that far more advanced programs will do the same job, and probably better, lol!). I then drew a load of empty boxes to the right of the image and typed in the key for each set of boxes, as you can see. I then used the dropper feature on each important part of the model, with a base highlight and shade being picked out.
Once done this gave me a nice variation of tones and a good idea of what I shall need for painting the model.

The Forsaker is the darkest of the models in the pinups box, and the colours are mostly quite muted. She has an olive skin tone, kind of Latin American I guess; the chains and armour are a dark teal and green/brown; the cloak is a dark green with a dark red underside; the metal of the sword is a dark steely grey with dark blood speckles; there is a lighter bone coloured helmet and skull necklace; and the only real colourful area is the flames at the end of the sword.
Armed with this break down of colours I set about painting the model…

Painting Preface
I will mention GLAZING a lot throughout the article. Generally my glazes are around 1 part paint to about 4 or 5 parts water, and often with a drop of glaze medium to keep the blends smooth. Stronger colours are generally MORE dilute in glazing, weaker colours LESS dilute. You can read more about glazes in the Architect guide.

I also mention SPRAYING with my airbrush. You will have your own feel for dilution of paint if you have an airbrush, but I tend to work around 1 part colour to 2 parts water and 2 parts thinner. Just like normal brushing, it is always better to have 2 or 3 thin coats to cover nicely than 1 thick coat, and you are less likely to clog your airbrush!

If you don’t have an airbrush, just brush on as usual. The airbrush just helps to speed up some of the less enjoyable base coating…

Painting the Base

The base was painted in exactly the same fashion as the Architect model, with a point of light between and slightly in front of her feet. The lightest point was sprayed with deck tan, shading done by successive thinned sprays of sea blue and then Nato black around the edges. The outer rim was just painted in black.

Painting the Cloak
The colours used for the cloak are shown below…

First of all, a 1:1 mix of traitor green and cryx base was sprayed onto both sides of the cloak. While I waited for it to dry, I also quickly sprayed it onto the chains and arm guards as a base for later.
Once dry, I got the brushes out and glazed a bit of pure traitor green onto the highest highlight areas of the outside of the cape before glazing back with the base mix. Shading started by adding more cryx base in a couple of passes, then I added some coal black to deepen the shade, before a quick glaze of 1:1 sanguine base and coal black as a final shade. This mix gives a rich “black” to the darkest recesses.

The underside of the cloak was shaded as above first, but not highlighted like that. Instead, the whole underside was shaded, with shading increased the closer it got to the neck. Then once I was happy with the shading I glazed in pure sanguine base in several passes to the folds that were going to be visible, and then a mix of traitor green and sanguine base to the highest parts of these folds.

The little curved horns either side of her chin were painted with the base colour of the cloak, shaded with coal black and highlighted with pure traitor green

The Bikini Tabard and Hip Plates
The bikini or tabard is an interesting mix of teal and greenish metal tones. So I used the colours below…

First of all, I painted a base tone mix of Coal black and Cryx base, approx 1:1.
I then used a glaze of the base plus some Umbral umber and glazed over it all so that it gathered in the recesses nicely, and shaded the whole thing nicely too.
Next I toned the slightly darker areas with a mix of coal black and umbral umber. This was done as a glaze, but I had to be especially careful to not over load the brush as any flooding of the recesses just means lots of tidying up! Once I was happy with this shading, I took the base mix and lightly glazed the areas to highlight before adding a touch of Cryx highlight. Then some thin glazes of pure Cryx highlight, concentrating on just the “lit” section in the middle, and the edges. Final highlighting was done with Underbelly blue, concentrating mainly on the edges. Edge lights were done with slightly thicker paint, but the lighter part in the middle was only done with tiny glazes. At this point the whole thing looked teal coloured, so to get the green colouring added in I made a really thin glaze of Ordic Olive and applied it to some of the links of the tabard to provide the variation.

The hip plates are like a pair of bat wings curved around her and are bluer than the tabard. For this I substituted the Olive green for a deep blue and the umber was swapped for the dark red …

The base colour was painted in the same as the tabard, and shaded the same, except the sanguine base was added to the first shading coat. The toning shade was then a mix of coal black and Exile blue, with additional shades of sanguine base mixed with the toning shade and then pure sanguine base into the darkest areas – closest to the cloak. This gives the impression that there is a kind of dark reflection of the dark red inside the cloak too.
The highlighting was much the same as the tabard, first a base tone was re-established to the ridges and the parts of the plates most exposed. This was done in thin glazes to avoid blocky transitions.
Then a mix of Cryx highlight with a touch of the blue was added and glazed on in successively more focussed areas. Underbelly blue was added to increase the highlights, building up to pure underbelly blue at the lightest points. This whole highlighting process should be only about 6 or 7 smaller and smaller passes from mid-tone to final highlight if dilution is correct. If it is too stepped, just glaze back the transition with the next darkest/lightest colour until happy.

The Boots
The colour of the boots is essentially the same as the hip plates, with just the addition of the dark red rings around the ankles and calves.

The base colour was a mix of Cryx base, coal black and exile blue, which I painted over all parts of the boots. The shading was done first with glazes of coal black, then coal black mixed with sanguine base. Because the “red” parts were near to the darkest areas, I then painted these with pure sanguine base, quickly shaded underneath with coal black and sanguine base 1:1 for that nice “black”, and highlighted with a 1:1 mix of sanguine base and Skorne Red. I didn’t go far with the highlights, as this is a dark part of the model, and didn’t want the rings to show up too much.
The highlighting of the actual boots was done by adding increasing amounts of underbelly blue, up to a final edge highlight of pure underbelly blue. I found that it looked a little too light at the end, so I decided to glaze the entirety of the boots with a really thinned glaze of pure exile blue.

The Chains, Gloves, Armbands and Sword Handle
The chains are a bit of a mixture of colours, depending on which part of the model you are looking at (and what light is affecting them accordingly). The gloves and armbands are a dark metallic greenish brown. The colours used here are shown below…

First of all, the chains were given a base colour mix of cryx base and cryx highlight, while the gloves, sword handle and armbands were painted in pure cryx base.

Highlighting of the chains was done by either 1:1 base colour with VMC dark flesh or 1:1 base colour with underbelly blue. As a rule, the more yellow highlight was used on the areas closer to the flame of the sword and the bluer highlights were used in the darker sections.
Final highlights which were mostly the edges and upper most areas of the links were done with pure underbelly blue.
The highlights to the rings at the ends of the chains were added to the upward facing surfaces only.

The armbands, gloves and sword handle were all highlighted with a glaze mix of cryx base, dark flesh and underbelly blue. A final glaze of this mix plus additional underbelly blue was applied to the highest areas and any edges. Again, like the boots, these are some of the darkest parts of the model, so I didn’t want to get too light with the colour.

Shading of the chains was first done with a thin glaze mix of coal black and umbral umber, concentrating where possible on the undersides of the links. The rings and lower areas also had some thinned glazes of sanguine base and pure umbral umber, particularly on the chains dangling from the sword. All parts of the chains were then CAREFULLY washed with Reikland Fleshshade, to add the ruddy iron look, with a couple of thin glazes of Nuln Oil to the darkest points, like the underside of the rings, and where the chains come into contact with the gloves and sword handle.
The chains are done before the skin so that I didn’t have to be so careful about over loading the shading and getting it onto the lighter areas. As a result there was a little bit of repairing to do to the chains later when the skin was painted, but as I mentioned in the Architect guide, it is almost always easier to fix dark colours than light colours!
Anywhere that I felt may have been too dark after this painting and washing was just given a fine edge highlight of pure underbelly blue, using the flat of a well blotted brush.

Shading of the armbands, gloves and handle were done using a mix of the cryx base and first Reikland fleshshade, and then Nuln Oil. Recesses were glazed with pure Nuln Oil.

Sword Blade
The fiery glow to the sword is the final piece of the paint job to the model, but I quickly coloured in the area involved with VMC dark flesh.

The rest of the sword blade already had some highlighting and shading from the airbrushing earlier, so I relied entirely on glazes to paint this section.

The underside was glazed all over with thinned coal black then additional glazes of coal black and “normal” black (in this case thamar black). The shading was concentrated towards the “spine” of the sword – I call it a spine because the fiery bit at the top is shaped like a skull and then has vertebrae like details running down the back – with the coal black used more towards the front edge of the sword, plus the extra spike near the handle.

The topside of the handle was similarly shaded, but less intensively with the black. The blade is very dark, like much of the rest of the model so far, and there is some blood spatter to add. I glazed in some coal black mixed with Cryx Base and Thornwood green as a first highlight, and then added some underbelly blue to the mix in slightly increasing amounts, just to pick out the ribs on the blade, the edge of the blade and to create a dark to light transition on the spike near the handle. This was not done in as high contrast as I might do for “clean” or “shiny” NMM, because of staying close to the concept art. I have talked more about different NMM in the Architect guide though.
Once I was happy with the colours I stippled on some Skorne Red for the blood speckling. This was done using an old, small brush and only slightly diluted paint.

Stippling can be done several ways – some use specific stippling brushes with stiff separated brushes – but in this instance I needed fairly close control, and not too much of the blood effect, so I just dipped the tip of the brush into the paint, tested a couple of dots onto my paper towel (to also blot off the worst of the paint load) and then applied it to the blade. Typically I would get up to 5 or 6 decent stipples before I needed to reload the brush.
This technique can quickly ruin a brush, so don’t use a nice new brush to do it!

Last thing I did was applied a quick glaze of the 1st highlight mix (cryx base, thornwood green and coal black) over the blood to stop it looking too stark, as if the blood has dried up and got old on the sword.

Hair
The hair didn’t take very long to paint at all at this stage. The reason for this is that the majority of the highlighting wasn’t done until I applied the glow from the sword later on. The colours used here are below.

The base colour for the hair was a mix of Cryx Base, Bloodstone and a touch of black. I painted this over all surfaces, and then washed the whole area again with some Nuln Oil, concentrating on the underside surfaces of the hair. The lighter areas were then glazed with the base mix plus some additional bloodstone. I did paint in some individual strands of hair using pure bloodstone, and highlighted a few of the edges of the hair too, but felt that this would look too stark, so I glazed back over the hair with Reikland Fleshshade. The rest of the highlighting, as mentioned before, was then left until later.

At this stage I decided to tidy up the model by painting all of the remaining parts of the model with deck tan. This takes a lot of hard work out of getting the flesh in particular to be nice and clean looking.

The Skin
The skin for the Forsaker is quite olive toned, and coupled with the darker feel from the artwork meant that I decided to start a bit darker than I might do normally, making the shading blend together more easily, and placing slightly less emphasis on the highlights.

The colours used here are shown…

The base colour of the skin was a mix of Kislev Flesh and Midlund Flesh with a touch of deck tan, ordic olive and bloodstone. By introducing all of these tones to the base colour it allows for me to alter the tones of the skin more easily when shading and highlighting.

I applied this base colour to all visible areas (and just about accessible areas behind the cloak!) in several thin layers, until I had good coverage everywhere.
I then added some Ordic Olive and Bloodstone (approx 1 drop of each), and began shading her. The whole of the backs of her legs were shaded, plus the buttocks, insides of the legs, accessible part of the back, undersides of the arms, under the boobs and ribcage, and down into the pelvis. I then added some more Olive and repeated the shading in slightly smaller areas. The final shading was done using the shade mix plus some Reikland fleshshade. This I applied thinly to the folds under the buttocks, between the buttocks and then everywhere where the skin is in contact with other surfaces, such as the chains, with an emphasis on any underside areas. The skin of the back was liberally painted with this mix to fully shade the part under the cloak.

Highlighting was started by blending glazes of the base colour back in, where the shading was initially a bit blocky. Then I added a bit more midland flesh and glazed this into all areas to highlight. This gave it a slightly more pink tone to start off with, to add a bit of “life” to the skin colours. Once I was happy with this, I added a drop of deck tan and concentrated the highlights on the front of her right leg, top of the stomach and hips, fronts of arms, top half of the boobs, and the face.
The face didn’t need too much attention, as the top half is inside the helmet, and the eyes are too deep set to paint anything other than black. I just highlighted the tip of the nose, chin and jaw line.
Finally, I made up a thin glaze of olive that I applied to the darkest shades and another glaze of bloodstone which I used to help smooth out the dark to light shift in places like the stomach.

Last detail was the bit of visible hair above the tabard. I just used some thinned Umber and Coal black and stippled it on before glazing it with the bloodstone.

Helmet, Necklace and Handle
These sections look like they are all a kid of bone colour. I used the following…

Most proprietary bone colours are a bit yellow or orange for my own personal liking, so I tend to use the old favourite, deck tan, as the base tone.

Shading quite simple, I just took a touch of Coal black and added that to a drop of deck tan, and applied it to the recesses of the helmet, necklace and the bit of the sword handle that looks like the top of a thigh bone. The helmet shading was done to mimic the shading of the artwork, but also to help pick out some of the details, like the laurels and the lines in the cheek areas. Extra shading was done to the horns of the helmet.
Next I shaded all of the areas with some sepia wash. This added a bit of yellow tone (that I just moaned about in bone colours!), but it is just as a bit of a filter as once it had dried I added some Agrax Earthshade, and pushed this right into the edges and recesses. Final shades were done with a thin mix of Agrax earthshade and coal black, again applied to deepest recesses and undersides.

Once this was all done, I took some thinned deck tan, with a drop of glaze medium, and started to glaze the different larger areas that needed to be highlighted, slowly building up the transition to a final highlight point in about 4 passes, allowing it to dry in between. While I waited for this to dry, I VERY carefully highlighted all of the tiny details of the laurels, the ribs of the helmet, the spikes of the antlers, the details of the necklace, and the very edges of the helmet cheeks, paying close attention to the edges beside the lines and cracks of the helmet and necklace.

The model is now effectively “painted”, with the only thing left to do being the glow from the sword.

OSL (Object Source Lighting)
Different painters have their own approach to object source lighting, or “glow” on their models. My technique isn’t necessarily “right”, but it works for me! ☺

These are the colours that I used for this model…

Before I start painting any OSL on models, I always look at what parts of the model will be affected, and how much. I then look at what colours are to be used and work from “dark” to “light”, or perhaps more accurately “least intense” to “most intense” glow.
My method might be a bit more time consuming than say painting in the brightest glow and then blending in the transition, but I feel that it gives me more control over how much I do and allows for easier correction if I go too far.

So, first colour used was some thinned Skorne red. Which I applied to the raised folds of the cloak, hair, spine of the sword facing towards the flames, back quarter of the helmet and the details of the sword itself. This also helped to pick out all of the flame parts in the sculpt. To this red I added some Heartfire and started to build the effect in the appropriate areas – working towards the flame, so that only a small amount went on the cloak, but more went on the hair and helmet.
Once happy with this I made a glaze of Cygnus yellow and Heartfire and applied this in smaller amounts in the flame itself and to any details and edges close to the fire – like the hair and helmet.
Final “highlights” were done using Menoth White Highlight with a touch of Heartfire (I used this to keep the orangey tone bright. These were applied to all of the upper details in the flame itself and a couple of tiny touches to the hair. Any parts that I wasn’t happy with got a quick glaze of heartfire, with a hint of Skorne red added if I wanted to deepen the detail volume a bit.

Final check over the model, with a couple of fixes where paint wasn’t where it should be, and I felt that the OSL on the cloak was a bit too much. I then glued her to the base properly, let that dry and applied a spray coat of matt varnish.

I have mentioned in my blog and various forums that I now use Winsor & Newton UV matt varnish. P3 paints have a satin finish on the whole, so aren’t ideal for photography without being matted down, plus any varnish helps to protect the paint finish. I used to use Testors dullcote, but this has recently become less consistent in the UK due to reformulation to make it less toxic to use (which is fair enough!). I had been on the lookout for an alternative that I could use in my airbrush, and this when thinned 1:1 with Tamiya thinner goes on superbly flat, dries enough to take a second coat within a few minutes if applied thinly, and once fully dry gives a wonderfully smooth and matt finish without too much of the dangerous vapours too!

And that is that. I find that when taking photos of models with OSL glow, a darker background will usually give a better show of the effect, and so took lots of shots with different backdrops to highlight this.



I hope that you have enjoyed this new model as much as I have. As a first foray into the new plastic models, this should be a great indicator of the game pieces to come, and the intelligent design that goes into the building of the sculpts. As a paintable piece, this translates to a model that can be painted fully assembled, as above, or in separate parts, according to taste. I’m looking forward to working on the next one now!

Should be fine times ahead! ☺

Cheers all,

Scott

Pinup Architect Painting Guide

By Scott Hockley


Intro
Hi all.

Well, many of you know that I’m not shy about poking my oar into discussions about minis, paint or *gasp* real life stuff. But one thing I keep “meaning to getting around to” is a series of articles on how I might prepare, build and paint my own models, plus some of the thought processes on how I might prepare myself for these pieces too. To that end I have been asked to produce an article specifically about the Kingdom Death Architect Pinup.

I have always loved the distinction between the Pinups and the *proper* KD characters, and the wonderfully strong accompanying artwork from Lokman Lam. Normally for any piece that I paint I will do a bit of storyboarding, which usually involves a little collage of images from books, Google searches, or in this case Lokman’s original image. This pre-preparation gives me a feel for the colours that I might choose, any special textures and any designs that I might use for freehand painting later on.

Typically, right at the beginning, I will select what I plan on using as a plinth, decide what kind of base I will set the model(s) in and start test fitting everything. This I shall cover another time though, because the brief for this model is to build and paint it exactly as the kit comes, and as close as possible to the concept art.

For this article I shall concentrate almost entirely on the “concept” version of the model. I do have, however, the second version too, so it will appear in some of the photos, especially during the preparation stages.

So, let us begin with the preparation…

Tools
Scalpel, with a nice new blade – I can’t stress enough how much easier it is to prep with new blades, but do be careful because I also can’t stress enough how much new blades like to extract flesh and blood from unwary fingers!

Clippers – I have an old pair, which I use to snip parts from sprues (not too close to the actual parts of the model), and also to snip the metal that I use for pinning later.

Razor Saw – For cutting off those blobs and blocks of resin around the feet and such, where using a scalpel becomes either too dangerous to the model, or more likely to cause injury. Resin models are notoriously fragile, so any additional pressure often leads to lots of broken bits to repair.

Cutting Mat – I should use it more myself, but I always use it for when I’m sawing!

Files – I have lots and lots of all sorts of shapes. The main thing here is to get some fairly fine ones, as the rougher ones make re-finishing the model harder later. The rougher ones tend to be better on metal models though.

Sanding paper and sticks – I have a wife who is a nail tech, so I have a cheap source of manicuring tools. However, a trip around the makeup and nails section of your local department store/supermarket/pharmacy will often yield plenty of cheap solutions. The sandpaper that I use is about 1200 grit, and I tend to tear it up into smallish pieces, then roll into a cone and use the pointy end to polish up.

Super Glue and Activator – I use a brand that I liberate from the works stores, but it is no better than other brands. The activator I just find invaluable because I’m impatient to get on with it!

Pin Vice with 1mm and 0.5mm drill bits – KD human models are mostly very fine, so a fine drill bit is essential for pinning some bits together. That said, a lot of the models can be just glued together. However, if you don’t fully assemble models prior to priming and painting, then pins are essential, because supergluing paint to paint doesn’t give strong bonds!

Paper Clips and 0.5mm steel wire – For pinning…. Paper clips are the most readily available source of 1mm steel rod and will suit most resin models over 28mm. The 0.5mm wire was used here more though, because the arm, and neck are very fine. The larger pin is used to fit the stone face to the base.

Liquid Green stuff (and/or dissolved standard Milliput) – To fill any gaps when the model is assembled, plus any odd bubbles in the casting process.

Old Brush or colour shaper – To apply the liquid green stuff. Don’t use your finest Kolinsky sable to put this stuff on unless you’re a lottery winner…

Corks – I glue them to standard old GW bases, cos I have thousands of them! I then mount the assembled models on them , ready for painting.

Some textured paint – GW do a range of these, as do Vallejo, but in this case I’ve used some Tamiya Concrete paint, which is very fine, and I shall just use it to blend the stone face into the base, which already has some texture to it, and saves the need for any gap filling when the time comes.

Physical Preparation of the Pieces
Take some time to separate each of the pieces, check them over for any bubbles, miscasts or mould lines. With KD models you get a lovely box with the model. I tend to cut up the parts and pop them back in the box while I check and test fit everything. The reason for this is that the little tiny pieces are a nightmare if you lose them in the carpet, or accidentally lean on them while reaching for something else. So, word to the wise, keep them where you can’t lose them! 😉

Once you have done this you’ll have a rough idea of what needs to be done. My own copies were pretty good casts, with minimal mould lines down the arch of the back and along her right leg on the main model, a couple of fine lines on the weapon thing and arm, a very fine line on the helmet, and a little line down the back of the other leg. The stone face had a blob of resin on the back which I sawed off and then sanded completely flat
I quickly took these off first with the flat of my scalpel blade, and then with my buffering sticks and sandpaper.
Once this was done I glued the leg on to her and, placing the stone face on the desk, I then glued her foot to the eye recess of the stone face, using the desk to ensure that she was upright.
Normally I might pin through the feet, but she has very fine heels and feet, and a quick attempt led to a hole in the foot! So I opted to repair that and glue her instead.
I did drill the arm and neck though, and a couple of holes into the back of the stone face (before I glued it!!). Then inserted some 0.5mm wire into the arm and neck, with 1mm wire (paper clip) in the base, and glued them in place carefully – DON’T use too much glue or you won’t get a good join when you fix the parts in place!

The arm and head will either be painted separately, or glued on after other parts are complete. I find it incredibly frustrating if I fully assemble a model, only to find crucial areas that are no longer accessible with a brush, or there are delicate parts which are likely to break off during handling.

Once the parts are appropriately pinned and glued we need to do a bit of filling. Like I said, there was very little in terms of mould lines to fix, but there were a couple of tiny bubbles to fix, and the join between leg and groin needed a little filling once it had been glued up. I used liquid green stuff exclusively on this model, but I more often use a little standard Milliput, mixed up and then dissolved in some water, particularly when doing the next part, which is to smooth over any sanded areas that I may have been a little rough on during the earlier preparation.

The main thing to remember is put thin layers on, allow it to dry a bit, before adding more. This will avoid you obscuring any details, or giving yourself a load more sanding to do when dry.

Once the green stuff has fully dried, give the areas a very fine sand, to level everything out. I would then suggest that you wash the model carefully in warm soapy water and if you have access to a hair dryer, then blow everything dry using the cool setting (using the hot setting is likely to bend the resin!).

Finally, mount the models and parts onto corks ready for priming. I have kept the head and arm separate from the main model. This is because the helmet horns and parts at the back sit quite low, so accessing the neck and shoulders, plus the underside of the helmet, would be difficult if already glued to the torso. The arm has a long thin weapon attached, which I can guarantee will break if glued to the model when in my hands! So I’ve left it separate, if you want to glue it on and are confident that you won’t bust it then great. ☺

Priming
OK. At this stage I should explain the priming options available, and the choices I might make when preparing a model for painting.

There are essentially two types of primer available to us – brush-on and spray primers.
The spray primers available vary massively in quality, but often people make the mistake of using spray paint in place of primer, especially those who use the GW sprays, which I can confirm are PAINT and NOT primer. Spraying paint onto models without primer is liable to all sorts of issues, so try to get a proper spray primer for model kits – I use Tamiya Fine Spray in light grey or white when using aerosol sprays – you can sometimes use automotive spray primers also, but I’ve had such mixed results that I just don’t trust it on fine resin pieces (metal pieces are easier to strip and scrub if priming goes wrong!).

The other option is to use brush-on primer, and for single model pieces I would tend to recommend this. I have Army Painter black primer and Vallejo Game Colour white primer, which I tend to mix together to give me a nice grey not too dissimilar to the bare resin.

I should also own up at this stage to going one step further because I have an airbrush. I use my airbrush now to prime all of my models, and it gives additional flexibility for pre-shading the models if I want to introduce contrast before I start painting. I will often do this for display models as it helps to increase contrast in the paint later, but it can be a little problematic when painting lighter coloured models – such as this one – so in this instance I have just sprayed the model grey.

A quick explanation of pre-shading is that the model is sprayed grey, then turned upside down and sprayed from directly underneath with black, before turning the other way up and spraying straight down the model in white. What you can also do with this method is establish a light source if you wish. This is helpful for instance when doing a dark model lit perhaps only by a lantern… ^_-

Because I used an airbrush, the mix for priming was:
1 part black/4 parts white/5 parts water/1 part airbrush thinner

If brushing on, just mix equal quantities of water to paint, no need for the thinner.

So, we have a nicely primed model in grey ready to go, right? Well, sort of, yes. But first check the model for dust caught in the primer, and any pesky mould lines that you might have missed. A quick fix with the sandpaper, then clean the area and re-prime. Done.

Colour Scheme

The concept art for this model is quite desaturated, by which I mean that the colours on show are not strong colours. There is a pale, pink skin tone, the red of the weapon and patterning is dark, the brown of the panties and boots is also dark, the cape is pale, as is the mask part of the helmet.
The only splash of colour, as such is the hair, which is still a dirty blonde colour with a hint of orange, so we aren’t going to be using too many bright paints for this model.

There are lots and lots of ranges around, but I will use mostly paints from 3 ranges.
The first is GW whose paints I tend not to use too much of other than skin tones. I intend using some of their new and old flesh colours here.
The second is the P3 colour range. I really like the pairings of colours that P3 has available, plus some nice desaturated earth tones, so some will get used here.
Finally are Vallejo’s Game Colour and Model colour ranges. I shall use some Game Colour for altering tones here and there mostly, while I’ll use the Model Colour for more earthy tones, but also for one particular colour which I intend to use for creating colour harmony throughout the model, which I’ll explain in the colour theory part in a moment.
A special mention will go also to Tamiya model paint too though, which I use exclusively in my airbrush. It is fantastic for spraying, but terrible for brushing onto models, which I think may be due to the fact that it is solvent based (though still water soluble apparently), rather than water based. The reason that I mention it is because I use it at the earliest stage of painting, but also for an early stage in the base painting.

Colour Theory
Colour Theory is a difficult thing to explain without going on and on forever about all of the different aspects and why some things work and others don’t. However, in the simplest terms, the more limited the number of strong colours in use on a model, the more impact you can create with those colours.
At this stage it is worth mentioning a site which helps me when thinking about colour – http://colorschemedesigner.com/

The site mentions some of the most commonly used aspects of colour theory, such as complementary colour (directly opposing colour), analogous colour (colours directly next to each other on the colour wheel) and so on, but I am going to use a TRIAD system, with a cool teal colour used in opposition to warmer desaturated red and yellow (see images).

As you can see, the pink of the skin is picked up by this, as is the hair colour, and a colour for the metal parts, but the accents thrown in match quite nicely with the glove and weapon, panties, boots and even the cape.

So, colour choices established, we need to translate this to real paints. I am sure that there are means of doing this via digital means, but I just have loads of paints at home, so I shall just pull a few out to match by eye.

However, I mentioned earlier that there is one colour that I intend on using everywhere for this model to create colour harmony. Essentially colour harmony is a method of painting where one specific colour is mixed in with every other colour in play, to create a consistent tone across the model. This is not something that I do all that often, but when I do, it tends to give a lovely smooth feel to the paintwork, and I want that feeling with this Pinup model as that is mostly what I feel when I see the concept art.

The colour that I want to achieve the effect with is Vallejo (or Tamiya) Deck Tan. It is one of my own personal favourite paints. I hesitate to call it a colour as such because it isn’t really much of a colour, but if I were to describe it then I would call it a cool cream. If you are following this and don’t have the colour (and don’t feel like adding it to your set), then you can take a cream colour and add a hint of very pale blue/grey. This will get mixed in with each of the other colours as we go, or will serve as a base tone to be highlighted and shaded to suit.
To this end, I have decided to base tone the entire model with Deck Tan. I’ve used the Tamiya version, purely so that I can airbrush it on, rather than brush on, but the benefit of this is that I end up with a lovely smooth base coverage, with just a hint of texture because this Tamiya airbrush paint is particularly matt, which is ideal as a key for the paints and glazes to grab onto. Too much texture (which is often seen when using GW white spray paint) and the paint will look terrible and grainy, too little and the primed model is shiny, so thinned paints don’t stick very well, and so rub off more easily.

Painting
Right, well, we have a nicely assembled, nicely primed, plain and flat model. I guess that she needs some colouring in! ☺

We have already established the colour scheme in the previous section, so it is time to start converting theory to real paint.

Now, I often use a wet palette, which is fine for some situations, but in this instance I am going to go back to a painting method which I am more practiced in, and should yield slightly smoother results, in line with the concept art.

For this I am going to use well palettes – which are easier to take photos of anyway! – with plenty of glaze medium, some matt medium and of course some paint.
I’ve set out a few wells with a drop of matt medium, a couple of drops of glaze medium, a drop of deck tan and about 6 to 8 drops of water, then given them a stir. To this I’ll add the paint. It will be difficult to say how much as I tend to just dip a mixing brush into a pot with P3 and GW paints, but I guess that I am adding approx 2 or 3 drops of the first base colour, then successive additions are approx 1 drop at a time. This model doesn’t need large quantities of paint, and the pre-basing with the deck tan will help accept what will be essentially successive glazes to build the colour. The use of matt medium helps to reduce the amount of shine that you can get from P3 paints in particular. They have a tendency to be a bit plasticky in finish, which is fine when the model is dullcoated at the end, but not very helpful if I am taking photos as I go along!

It is worth pointing out at this stage that I am going to assume that the light falling on the sculpt is similar to the concept art, and so it is above and slightly to the left as we look at her. This is helpful with the shading that I will be applying throughout the model.

We will start with the part of the concept art that is missing! That is the legs below mid-thigh, which consists of some kind of shapely one piece stocking/armour combination, plus her shoes.
I think that that larger area (the legs) need to be done first, and then the shoes, as there is a kind of cuff at the bottom of the stocking/armour that separates the shoes up nicely.

For the stockings, on the full sized concept image, we get a bit of the colours in use, which is a dark reddish brown and a kind of fawn-like colour. The two colours go together quite nicely, and due to the sculpting detail, that is helpful because I am going to have to blend the hard and soft areas together as one continuous blend.

To achieve this I painted the fawn colour first using P3 Battledress Green, which is not really green at all, and reminds me more of a milky coffee colour. Mixed with the base mix above that gives a nice tone that I covered the entire area with. To do this I used a well blotted brush – dip the tip in the paint mix, touch the whole flat of the brush to some kitchen roll for a second or two and you will have a nicely loaded brush – and painted the area with 2 coats, allowing each leg to dry before adding the next layer. At this stage, I also used the same colour to paint the underside of the cape. This colour can be seen in the concept also (slightly more yellow, but not a major problem if I need to tweak it later) and helps with the whole colour harmony thing.

Once the legs have dried, I added a few more passes with the same colour to the areas that would be either in shade, or will eventually become the (darker) hard parts of the stockings/armour.
Next I added a drop or two more Battledress Green to the mix to make it a bit stronger, and worked on the same parts as before, but in slightly smaller areas, to start building the richness of the shading.

Time to get another colour into the mix, so I used P3 Umbral Umber, which is a lovely, rich dark red-brown (GW scorched brown is very similar).
First I added a drop to the previous mix and painted the same parts, this time painting all of the hard points and ribbing, and adding shading where these hard points become a part of the stockings. It was important to keep the paint thin here, so that the blend was nice and soft between the two areas, and not like a stripe. This needed at least two coats to be sure of coverage, but I had to make sure that the paint dried fully between passes, because the Umber becomes more opaque as it dries, so it can leave tide marks if not careful.

After this I made up a glaze of Umber, water, glaze medium and matt medium without the deck tan. I used this on all of the hard areas, paying particular attention to the shaded areas. I also used this to start any dark lining needed at the edges of the stockings. This was built up in about 3 coats. I did also do a little extra shading with GW Agrax Earthshade, which made little or no difference, but it did help to make the areas a little more matt.
The last bit of shading that I added was a mix of the Umber glaze and some black paint (I used the P3 one for convenience, but any black paint will do). This I used to increase the final shades, and help to define the crease on the shaded side of the knee guard area.

To help emphasize the shade in this area, and to any areas of the hard parts that needed a highlight or two, I took some of the Umber paint and mixed it with the deck tan glaze mix. I used this on the high points and again particularly next to the black shaded area on the knee pads.
A quick final edge highlight here and there in near pure deck tan, with just a hint of the umber on the hard areas, and a hint of the battledress green on the softer areas, and a couple of really thin glazes to bring everything together and the legs are nearly done.

We still have the feathers, the ribbed under-stockings that are peeking out at the top, and the shoes to do, but I’m quite happy with how it looks so far, and any toning glazes, additional contrast or highlights that I may feel are needed later will be assessed when the rest of the model is done.

Addressing the shoes next, I will use the colour of the shoes and carry this on to the panties, shirt (not where the boobs are, of course), and gloves.

Painting the shoes, panties and shirt parts was pretty straightforward. First I needed a warm kind of black colour. For this I mixed up a base of the deck tan/matt medium/glaze medium (of course) and added some of the umber from previously. To this I added a blob of P3 Sanguine base and a dot of black. This gave me a deep, desaturated dark red brown, which I painted onto the shoes, little glove, panties and shirt.
It is important to try and be quite careful with the painting of the thong strings and the areas of the shirt which are going to come into contact with the skin and cape later, as otherwise there will be a lot of correcting to do. A little more time taken with blotting the brush and taking 2 or 3 passes to establish the colour is worth it to avoid the 4 or 5 passes cleaning up later, believe me!

So, the base colour is established after 2 or 3 thin coats. Try to get it nice and even, with no under colour peeking through, as it will make the shades feel more rich and less flat, as we are building up successive glazes of translucent paint.
After this I added a bit more deck tan to the mix and highlighted any edges or areas where there would be a bit of natural shine on the shoes. This was established in a couple of thin coats, and a final shine was established with a dot of deck tan glazed on with a wet brush.
Not the easiest of tasks, but essentially you touch a dot of paint to the brush, quickly dip it in your water, then onto the model. You have to make sure that your brush is not too wet, so if you see excess water before you touch the model, touch the sides of the brush to your kitchen towel to absorb the excess.
Once you touch to the model you need to be quite quick to spread the tiny piece of paint and blur the edges of it. It needs a bit of practice to get right, but looks effective when you get it down.

Once happy with the highlights – if not happy, just glaze a bit of the base red/black colour over and re-establish the final highlights if necessary – I moved onto the shading, which was pretty quickly done. First I took a small amount of GW Agrax Earthshade and pushed that against the details in the shoes to help emphasize where the highlights are. Then I used some more to further shade the shoes, always brushing towards the shadows and away from the highlights.
Last thing I took a dot of black and mixed it with some of the earthshade, then glazed this right into the lines and details to fully sharpen the shadows.
The shoes have a couple of hearts on them which I will go back and paint properly when I do the armoured glove and weapon, but for now I quickly painted it in a mix of Sanguine base and deck tan, which made an interesting raspberry colour…

The shirt, little glove and thong panties were painted the same way as the shoes and I quickly painted in some of the freehand designs that are on the concept art using some of the deck tan base mix. There’s no easy way to explain how I did this, other than saying that the paint was slightly thicker, and I made sure that the brush was well and truly blotted before I painted the designs on. I test the line on my glove hand before I touch the model, and I make sure that I use the brush with the best point, which in my own case is actually a size 1 brush, but equally could be done with a 0 or smaller, if the point itself is good. I’ll go through a bit more on drawing freehands when I come to the cape next though…

Which leads nicely onto… the cape (duh).

The cape in the art is a soft white colour, without too much contrast, so this is a part where I had to rein myself in a bit and avoid going too heavy with the shading.

So, to start with I had already used some Battledress green mixed with the deck tan base as a shadow under the cape, so I used the same mix and glazed this thinly into the folds of the cape. I then added some more deck tan and started glazing away from the folds and up onto the high parts of the cape. Next, pure deck tan base, glazed again in a couple of coats in a decreasing area, brushing towards the highest points. Next, I made a glaze of the deck tan base plus approximately equal quantity of Vallejo Silver Grey and applied this in a couple of further decreasing coats, starting to get close to final highlights. Next to last was a quick pass of thinned pure Silver Grey mixed with glaze medium. Final highlights were done in the absolute uppermost areas and edges of folds with a 50/50 mix of the Silver Grey glaze and some white paint.
At the end of all this I felt that there needed a little bit of glazing back in places to get the transitions smooth – a common thing particularly with black and white blending – so I used some of the deck tan as a first glaze and then some of the battledress green mix, to re-establish the shading and cover up any missed brush strokes. I also glazed the deck tan mix very lightly to the fold of the underside which would be visible when the model is photographed at the same angle as the concept art.

Now, the challenging part… Freehand lines!

Some find freehand lines easy, others hideously difficult. With a steady hand and a planned attack it shouldn’t be too hard though. There are lots of folds to the cape, which can be a help or hindrance. The help is that you can paint a section, stop, do the next part, and so on, with less worry of going off line. The hindrance is that the actual folds can make parts of the line difficult to do.

Before starting to draw lines on the carefully blended cape, I strongly suggest that you practice drawing fine lines with your best brush. The secret for me is to get a strong, steady, comfortable hand position, usually with the side of the model holding wrist against the edge of the desk, palm up, and model in hand. Then rest the paint brush hand against the other hand, with the heel of each hand in contact (almost like doing a “handcuffs” action). This gives ME enough space to work happily, but I have fairly big hands, so find your own comfy spot! ^_^
I tend to draw lines by painting towards me and angling the model so that the brush stroke will take the model out of contact with the brush, rather than closer to it. This will encourage a finer line and stop me blobbing the lines as I go. Due to the folds, I tended to do half of the line until it became difficult to reach, and then turned the model upside down and continued the line more comfortably.

So, the actual lines… First, I used a drop of battledress green, mixed with a drop of glaze medium and a dot of water. I need it fairly thick to draw with sharply, but not so thick that it dries too fast, so the glaze medium helps slow the drying enough. I then painted the 3 lines, starting with the one at the edge, and then the paired lines. I kept these lines really thin, trying to concentrate on being as correct as possible. Using the battledress colour means that any corrections at this stage if you go badly wrong are far easier to fix than the reddish colour.
Lines established, I took some Vallejo Game Colour (or GW) dark flesh , a drop of glaze medium as above, and just moistened the brush before loading the paint on. I did this because the Game Colour paint tends to be quite wet to begin with. I then VERY carefully followed the previous lines in a couple of passes. At this stage any roughness to the lines was corrected using the appropriate colours left from painting the cape. Again this was done carefully and I made sure that I was happy with the positioning and consistency of the line. That done I quickly mixed some of the battledress with the dark flesh to create a highlight colour, which I applied to the high points of the folds of the cape. Nothing too strong, just a hint of lightening of the colour. A final tidy and the cape is just about done. I will come back to the tassels later when I start on the metals.

At this stage I quickly did a little bit of placeholder painting of the feathers tucked into the leg armour and those poking out of the armoured glove, just using some P3 Coal Black, which is a fantastic teal colour that I use extensively on models. The reason for this is again because when the skin is painted it will be a lot easier to fix a few stray brush strokes of skin on the teal, rather than the other way round.

So, now the model is starting to take shape and I reckon that it is time to move onto the largest, and most important part of the model, which is the skin…

Painting – Skin
Now, skin is a part of the model which I often get carried away with, creating extra areas of interest in light and shade, along with warm and cool areas. As a result I will often use a whole range of colours, throwing a bit in here and there, and beavering away like some nutty professor, sometimes repainting entire areas until I am happy with the finish.
In the case of this model I bought a couple of the new GW skin tones, mainly to replace some old ones that have just about gone, but also because credit where it is due, and as a personal preference, I really like the look and feel of GW skin tones (even if I don’t paint them in the style that GW does!) . The concept art has very pale, pinky coloured skin, without heavy shading, so I worked on that basis.

So, I’ll list the colours used and go through how I approached the skin here. I actually did something that I don’t normally do, and painted the face before the rest of the skin with this model. My reason was that I wanted to test the colours before I applied them to the model, and the head was separate, so if it all went wrong I could easily fix it!

Colours:

Vallejo Deck Tan base mix (1 drop paint, 2 drops glaze medium, 1 drop matt medium, approx six drops water)
Vallejo Game Colour Pale Flesh
Vallejo Model Colour Salmon Rose
GW Cadian skintone
GW Tanned Flesh (old colour but I think Vallejo Game Colour do the equivalent)
GW Kislev Flesh
GW Reikland Fleshshade
GW Pale Wych Flesh

First of all I mixed up a base mix that went into every tone, which was the Deck tan base plus a drop of the Kislev Flesh. Kislev flesh is like the old Elf flesh, and on its own is too peachy for this model, but works as a nice softening tone to the pinks of the other colours, or else she would look like she had bad sunburn!
In a 10 well palette I made up this base mix to the wells, ready for the paint, then to the first I added two drops of the pallid Wych flesh, the second had 1 drop of Wych flesh and 1 drop of Pale flesh, the third 2 drops of pale flesh, fourth 1 drop pale flesh and 1 drop Salmon Rose, fifth 2 Salmon rose, sixth 1 salmon rose and 1 Cadian skin, seventh 2 Cadian, eighth 1 Cadian and one Tanned flesh and ninth was 2 Tanned flesh. The final well I used eventually to mix some Reikland shade and the tanned flesh mix together, but I didn’t use the deck tan base here.
Once the 9 wells had their paint I stirred each in turn, starting with the darkest and moving up to the lightest, and then back down to the darkest again, without cleaning my mixing brush off in between. The reason for this is to do a little pre-blending before the paint goes on the model, and I can decide which colour I will start with.

I decided to start with the 3rd well, which I painted onto all of the flesh areas, starting with the legs. The thin consistency of the paint again meant that this was effectively a glaze onto the pre-sprayed deck tan, so 3 or 4 coats were carefully applied, trying to avoid damaging the paint work around it, mostly by blotting the brush before applying to the model – which also allowed the paint to dry nice and flat onto the model after each coat.

Once on, I decided that it was a bit too pale as a base colour, but this was no problem, because I then painted over everything with a couple of coats from the 4th well. This might sound like a waste of time, but what the paint looks like in the palette and then on the model can sometimes be quite different, and as I mentioned previously, the building up of the colour adds richness to the colour.

Happy with the new pale skin tone, I started the shading of the legs. First I decided where the light would fall on the legs, which was on her right hip and down the outside of the thigh, with some light falling on the inside of the left leg. I worked away from these light areas in decreasing spaces looking to add volume to the skin tones.
So I did another couple of passes of the 4th colour into the shade areas, then a couple of slightly smaller glazes of the 5th well. By this time I was concentrating on the underside of the buttocks and the rear parts of the legs, as well as where the skin came into contact with the boots and thong strings.
Successive, and ever decreasing, glazes from the 6th, 7th, 8th and 9th wells fully established the shades nicely. The final shadows for the crease of the buttocks, and right up against the boots were done using the Reikland shade mixed with the tanned flesh.
After this I felt that the transitions needed some smoothing out, so I worked back and forth, using small quantities of the paint from the 4th, 5th and 6th wells, and placing them where the colour shifts were a bit blobby. This is all down to how thinly and how controlled I was with the shading. A few loose brush strokes can look a real mess, and then clean up as easy as anything, but a balance has to be kept between tidying up and painting the shades out, so be careful.

To highlight, I re-used the paint from the 3rd well to glaze into the parts that I had already decided would be the light areas. A final highlight from the 2nd well was the end of the painting on the legs. I hadn’t used the 1st well at this stage as I felt it was too pale for her, but I had plans for this later…

After the legs I worked on the midriff and her left arm and hand. I used exactly the same method as before, but the abdomen has some nice areas of interest to apply highlights to, as you can see. I’ve shown some shots of the abdomen before I did a final tidy up to illustrate what I mentioned above, but it was a nice easy fix. ☺

Painting – Face and Hair
I would usually paint the face and hair last on a model, but I decided in this case to paint her face before the rest of the skin, purely because I was experimenting with the skin tones that I used on the rest of her. So, the recipes in the previous section apply exactly the same with the face, and I’ll refer to the same wells in the palette as before too.

The Face

With a face, I will always start with the eyes. The reason for this is that I don’t want to meticulously blend the skin tones to the face, and then ruin it with a stray brush stroke painting in the eye!
So, the first thing I did was establish the position of the pupil and outline the eyes. Because she has heavy mascara in the concept art, and the sculpt itself has two lines above the eyes which are too low to be brows, I marked in just under these and blobbed the pupil position in using the red/brown mix that I used earlier for the thong/shirt/tops of boots (always thrifty with the paint I use, and helping with harmony in the long run!). A bit of careful refining and shaping and I have the shape of the pupils about right – this needed a bit of touching in with deck tan to tidy up. I then took a dot of black and a dot of the red/brown and, using the very tip of a well blotted brush, I very finely lined the eyes, dotted in the pupils and filled the top lashes. I then added a bit of brown highlight, which was a mix of deck tan and battledress green (again!) to the side of the pupils and a final specular reflection in the form of a tiny white dot. This is something that needs some practice both in terms of brush loading and paint dilution, and in terms of technique and steadying your hands. I can only say to try it on your thumb nail or a bit of card to get the feel right before touching the model.

The face itself was painted really quickly after this.
First I put a base colour coat down, using the paint from the third well on the palette – which I had deemed to pale for the base colour of the body if you remember? This part was why I had painted the rest of the skin the same, but I am usually quite happy to make my faces at least one tone lighter than the rest of the skin to accentuate the focus onto the face.
The base tone took two or three passes to get on nice and flat, and the paint used on the brush was minimal because I didn’t want to flood the edges or more importantly the eyes!
Once I had the base colour in place I did the first highlights, which was from the second well. I painted under the eyes, down the length of the nose and each nostril – my technique for this is a well blotted brush which I use the flat of to run along the edges of the nose – just above the brows, lightly above the top lip and philtrum and a hint into the part of the chin that forms a V between the corners of the mouth and the point of the chin.

Second highlight is really fine, concentrating on small amounts just under the eyes, directly beneath the pupils – to draw focus – along the edge of the top lip, the end of the nose and the tip of the chin.

Next, a very quick glaze over the cheeks and chin using a mix of the third and fourth well to bring it together before shading. This glaze must be thinned and ideally applied nice and quickly to avoid any stripes in the skin tone.

After this, and once the glaze is DRY, I glazed beneath the cheek bones, under the chin and neck and up towards the hair line on the forehead using first the paint from well 4 and then from well 5.
Because she is fairly low on contrast, the only other toning was done across the nose using the paint from the second from darkest well. Again this needed to be REALLY thin, and was applied from cheek toward the nose on either side. I say this because if I had painted it from the ridge of the nose down towards the cheeks I would have got tide marks and pooling.
The lips were filled in using the same colour, less dilute, and then the darkest colour on the palette was used on a very fine brush to line just under the bottom lip, between the lips, under the nose and all around the edges of the face to divide it from the hair and helmet.
This is basically the end of the face. The shot with the hair blocked in still looks a little rough, but that is because I wanted to get the head fixed to the model before I did any tweaking.

I didn’t really do any progress shots for the hair, partly because the area is so small and partly because I find that painting hair can tend to be rather organic in method, although technique is pretty much always the same.
First of all I blocked in the hair with Battledress Green mixed with a hint of tanned flesh. The paint here was a touch thicker (about 50% paint and 50% water). The important thing here is just to be careful around the edges!
Let that dry and then glaze all of the hair with two thin coats of agrax earthshade to fill the grooves in the hair mostly, but also to reinforce the shading near the edges next to the skin.
As a final shade I used some GW nuln oil and just pushed that into the lowest folds and underside of the hair where it was textured.
Next, using the original paint mix, I re-established the raised areas of the hair, concentrating on the top half of the hair, and using the flat of the brush mostly. I only used the tip of the brush for the parts of the bobbed hair that flicked out under the chin, or were partly hidden under the visor.

The first highlight was a 50/50 mix of the base colour and P3 Rucksack tan. This was applied up to the area I call the “halo” on the head, which I’ll quickly explain…

The best thing to do right now is look at a photo of some models with nice shiny hair like in a L’Oreal advert…

The area that I call the halo is the shiny bit that you see around the curve of the head. As you can see, the lightest part is there and not the top of the head, where you might expect; then the parting of the hair is dark, as is any area under the chin that isn’t facing forward; any bits that flick out are highlighted in a similar way to the halo.

Applying this to the miniature, the highlight line of the halo is halfway down the fringe, so I painted – again using the flat of the brush – from dark to light in a couple of decreasing layers.
Next highlight was more of the same with pure rucksack tan in a smaller couple of layers. Third highlight was 50/50 rucksack tan and deck tan in a smaller area still, then a final small highlight – almost a point – of pure deck tan.
Any tidying up was done after this and the final thing done was a thin glaze of GW gryphonne sepia. This just gave the hair a more yellow caste to knock back the highlights a touch, and to bring it all together.

And that is the hair and face. No doubt throughout this part you keep seeing the horns on the helmet and you are thinking “what the hell did he do there, and why hasn’t he explained?”! Well, this was simply the dark red/brown from earlier, shaded with a couple of coats of Nuln Oil, and highlighted with deck tan, using the flat of the brush to get the combination of the edge highlight and increasing sized highlight at the point of the horns.

Painting – Non-Metalic Metals
Non-metallic metal painting is a technique that makes some people nervous, but it really shouldn’t.
There are reasons why “true” metals can be more advantageous to paint with, most specifically if you want a quick finish on tabletop pieces and also on larger models where any change in lighting can dramatically alter the effects of the model. However, at less than 54mm scale I think that non-metallic metals (or NMM) can be perfectly acceptable and possibly better at creating a high impact look to the metals, especially if you are not just doing silver/steel or gold finish.
What NMM always needs though is high contrast from dark to light, an appreciation of the “gloss” of the metal involved – i.e. it it a dull or polished metal – and some impression of where light is falling upon the model.

The way that the concept art has been coloured looks like she has a metal helmet/mask which isn’t glossy, so I’ve decided to treat that a bit like brushed steel, without too much high reflection allowing me to concentrate on the complicated surfaces, and to get some interesting colour in to avoid the metal looking too flat and grey. There are tassels on the cloak which got the same colour treatment, along with some little metal toecaps to her boots and her bracelet to her left arm.
Her right arm has a more glossy red metal effect, and this colouring is carried into the weapon stem, but less shiny looking. Instead we have linear designs and icons along the length of the handle.
Finally, the weapon blade is very “white” – what we can see of it – so I’m going to assume that this is a high reflection blade.

The colours for the helmet, tassels, bracelet, toecaps and weapon blade were the same, but just applied in a slightly different manner in each case.
Those colours were as follows – P3 Coal Black, P3 Trollblood Base, P3 Trollblood Highlight, P3 Bastion Grey and VMC Silvergrey. Other than this I used some Agrax Earthshade wash, Nuln Oil wash and some white for final highlights. You can see the transition that I quickly blended out on my wet palette before I started. If I were a watercolour painter I would perhaps look at these colours to paint a stormy sky, which is sort of what can be seen in the background of Lokman’s concept art.

We’ll start with the helmet…

The first thing that I did was paint the whole of the helmet with Bastion grey that contained a hint of Coal black. This was a fairly rough couple of coats, done using reasonably thin paint, concentrating on making sure that I was extremely tidy where the helmet was in contact with the hair and skin, because I really don’t feel like repainting my faces! I didn’t add glaze medium as I wanted a bit more control, and because I was using mostly P3 paints they tend to hold together OK on the wet palette.

Why switch to a wet palette at this point? Partly I didn’t want to clean my well palettes out, partly because I knew that I was using slightly smaller quantities of paint, and partly because I can mix on the fly that much more easily when using a wet palette.

Once the rough coat had dried I applied a couple of washes of agrax earthshade all over the area, let that dry and applied some nuln oil into the deepest recesses, including the eye slits and mouth grille.
This gave a nice slightly varied ruddy brown look to the metal which was a good base to work up from.

First paint coat was to use the Bastion/Coal black mix again to just tidy any blobs of wash, and establish where the highlights would go. After this I switched to a mix of the Bastion grey with some Trollblood base (a good and fairly desaturated pale turquoise blue). I applied a couple of thin coats of this, concentrating on establishing the highlights and creating the transition from the brown of the base colour (which is now effectively the shade) and the blue of the metal mid-tone.

The next mix was the trollblood base and some trollblood highlight. Never at any stage with this NMM would I use the coal black or trollblood base on their own as they would be too strong a colour, and I want to keep the “stormy sky” palette going. I will be using the more high contrast look later on…

So a couple of smaller thin coats of this new mix were applied, being careful now to fully establish the highlights while not getting paint into the shaded recesses so that the effect builds up nicely.

I felt that the helmet was looking a bit too blue after this, so I did a careful glaze coat of trollblood highlight with a dot of glaze medium, to smooth the transitions up to this point and knock back the blue a touch too where I felt it needed it – not everywhere, as you can see.

Moving into the real highlights now, I mixed some silvergrey and trollblood highlight and started to place the finer highlights and light spots. Also I established the edge highlights to the cylinders around the helmet and along the blades either side. These were done using the side of the brush again, and because I was using quite wet paint I allowed it to spread a little on to the top surfaces so that I could add the finest highlights to this later.

The penultimate highlights were done using a couple of passes of thinned silvergrey. It was important to keep this reasonably thin and build it up as it avoids that harsh “lumpy” edge highlighting that is often seen in mini painting.

At this stage I took a good look at the helmet and figured out where I needed to tone back the colours, or increase colour, and of course tidy up any rough bits where I got highlights where shades should be!

I quickly painted the tassels before I glued the head in place, using the same colours and processes. I tried to make the circles in the middle of the tassels a bit gem like, but they are tiny, so I didn’t spend too long mucking around with them, just get the overall colour right, with the shades and highlights in the right places!

With that done I glued the head into place and, once dry, I did the bits of toning and sharpening of shades. Once happy with that I took my brush with the finest tip (a size 1 out of interest rather than a more likely size 0 or smaller even) and touched in the final highlights in white, which are the top edges everywhere, some bottom edges, and the appropriate edges of the mouth grille. The very, very final thing that I did was use a tiny glaze of the white towards the very front of the mouth grille part that is acting as like a visor above her face. This was done purely to create a touch of additional focus on the face. You might also notice that the highlights on the parts holding the helmet horns pretty much line up with the halo line of the hair. This is not an accident – Because she has such heavy eye makeup, I didn’t want the eyes to get lost on the model, so the highlighted skin under the eyes coupled with this line of halo and metal highlight create interest. The final bit to the visor is the cherry on the top in terms of focus! ☺

The bracelet was treated in the same way as the cylindrical parts of the helmet, working up to a fine white linear highlight at the top. The toecaps were done in the same way as the tassels because they were so tiny.

The blade of the weapon was actually done after the arm and rest of the weapon, but I’ll explain it now purely because I used the same colours…

I decided to make the blade more shiny looking, but I didn’t want it to look too much like classic metal, while maintaining the “stormy sky” colours.

First of all I painted the blade completely in a 50/50 mix of Bastion Grey and Trollblood highlight. While waiting for this to dry I decided to break up the blade into a smaller underside edge and larger top section – like some kind of bird’s beak – as there is some definition in the sculpt to do so, and then paint in a light to dark transition on top, with the opposite underneath. Then I would reverse this procedure to the back face of the blade.
This is a slight break from the look of the concept art, but the position of the sculpt meant that the blade was tilted at a slight angle. Now I apply a principle with much of my shiny NMM that the darkest part of the metal is closest to the light and vice versa, and then the edges get fine highlights and flare spots can be added if appropriate. It is kind of counter-intuitive, and in theory conflicts with what I did with the helmet, but this is where I am differentiating between shiny and satin metals.
Anyway, back to the paint…

The base colour is now dry, so I painted in the first shade of 75/25 Bastion to TB highlight. This was thin and covered the whole of the area that I was shading, working from the mid-tone into the shade in decreasing strokes until I had established a shade position. The paint here needs to be really thin, so I did use a dot of glaze medium to help avoid puddle stains. Also, the brush needed to be almost dry when applying, as too much paint will stain the area and require more repairing later.
Next colour was solely Bastion grey glazed on in a decreasing area in 3 or 4 passes, allowing it to dry well between passes as this colour darkens as it dries.
I applied a couple of glazes of 50/50 TB highlight and TB base as a toning colour at this point, but I wanted to use this to emphasize the highest part of the shade, rather than the deepest part, as if it is reflecting a bit of the sky.
Next shade was 75/25 Bastion to Coal Black, working into the deeper shade, then 50/50, 25/75 and “finally” pure coal black right into the shade.

This wasn’t actually the final shade as I added a little extra shading using the VGC dark flesh used earlier on in the skin. I first took a really really thin glaze (basically a dot of paint onto a really wet brush quickly swished on the palette and then blotted before applying to the model) of the dark flesh on its own and painted 2 or 3 layers over the whole of the shade area, starting just inside the mid-tone area and into the shades. Allowing it to dry thoroughly between strokes meant I could tell when there was just “enough” staining of the area.
After this I took a glaze of 50/50 dark flesh and coal black and applied this into the deepest shades. This gives a deep, rich black due to the interaction with the teal colour beneath. If I had used black it would have gone completely flat an undone the work done in the blending.

Highlighting was slightly simpler. First a broad glaze of 75/25 TB highlight/Bastion grey, again from the middle and now away from the shade. Care needed to be taken to avoid getting the highlight onto the shaded areas below and above, so the brush was blotted well in between strokes and pooling on the model was definitely avoided. I also tend to use the flat of the brush to drag the paint diagonally, causing the paint to gather against the midline of the blade, extending the finer part of the highlight, but pushing the majority of the highlight paint towards the tip of the blade.
Using this same technique, but in ever decreasing strokes I next highlighted in pure TB highlight, 75/25 TB highlight/Silvergrey, followed by 50/50 and 75/25 ratios and then a (not quite) final highlight of pure Silvergrey.
The final highlight on the edges was done in pure white. I also applied this along part of the midline towards the end of the blade and like the helmet I added a little glaze of white right at the tip and right at the inner curve detail where I had painted the handle in very darkly (for added contrast impact).

I unfortunately didn’t take many in between photos for this stage. This is largely due to the fact that the area is quite small, and because the colour changes in the red can be problematic to show.

The colours used for this area were: VMC Silvergrey, P3 Frostbite, GW Red Gore, GW Scab Red, P3 Coal Black and GW Nuln Oil.

First of all I painted the arm and handle with a mix of Scab red, Red Gore and a touch of Coal Black. This gave a deep, darkish red colour that I could reasonably easily work up and down from. A couple of thin coats went on nicely. I then glazed in a mix of coal black and Nuln Oil to the recesses and joins, just to pick out the details.

Looking at the concept art again, the metallic highlights are not so defined, but on the model it will need to be a bit sharper. The detail of the armour here is slightly different to the concept art (only so much space on a model!), so I’ve taken a hint of artistic license in the position of the reflections and shading.
First part of the highlighting was to place the reflections using Frostbite with a hint of Red Gore. I actually made this much larger than the final look, as I wanted the brighter red to blend up to the final highlights by glazing later. Red can be notoriously difficult to highlight, particularly if you want to make it metallic looking. What I have found is the best thing is to NOT to try and mix in the highlights too much, because you will get problems with pinks and oranges that you don’t necessarily want. Really what you DO want is a “brighter” version of the red and some specular highlights.
What was important though was that I had a sharp edge to the right hand side of the highlights. This was important because I was going to place the darkest shades up against that light edge to create the contrast needed to look shiny metallic.

With that highlight placed, I glazed away from the sharp edge to the left using first pure, very dilute red gore, then scab red, then the initial base mix until I had a smooth blend.

For the handle, I didn’t place the highlights, instead I used a 50/50 mix of Frostbite and Scab Red (it makes a less pink mix than the red gore) and very carefully painted in the lines on the top half of the handle and around the circular bit at the top that look like measurement marks. Once these were in place I glazed the whole area with pure scab red to dull it down and sort of merge the design into the surface.
The rest of the handle was highlighted using glazes of scab red and then red gore, with edge highlights of the 50/50 mix and then smaller finer edge highlights of pure frostbite.

The shading was quite straight forward. First a 50/50 mix of coal black and scab red was glazed into the armour and the handle working from light to dark in decreasing strokes to build up the depth of the shading, next pure coal black glaze and finally a thin glaze of Nuln oil right into the recesses and in a thin line against the side of the reflections on the armour.

The last bit was a really fine line of silvergrey in the reflections and across any top edges that might need just that extra hint of brightness to the highlight.

Done.

Painting – Finishing Touches
The Feathers

I mentioned earlier that I blocked in the feathers with P3 Coal Black. With all of the painting in the surrounding areas done, I tidied up the coal black and then applied a quick glaze of coal black and a touch of black to the recessed parts of the feathers, and in between.
Once dry, I re-fixed the base colour and allowed that to dry. Highlighting was a simple, but careful, process. First a 50/50 mix of Deck Tan and Coal black was made up and I drew in the stripes, using my fine tipped brush mentioned in the previous freehand article. Then I made up a 75/25 mix of deck tan/coal black but more dilute. Blotted the brush well and made tiny little strokes towards the edges until a highlight became visible. Finally I took some diluted deck tan and did the same, with a concentration on the edges and beside little recesses. I didn’t go any higher than this as it would have made the feathers look too shiny and head into the metallic territory!

The Shoe Hearts

These little hearts are actually quite nicely detailed, so I used the colours from the arm armour. Base of scab red, quick shade of scab red and coal black glaze, final shade of coal black glaze. Quick highlights of scab red and final of scab red mixed with frostbite.

The Little Blade on the Weapon and Gloves

This I quickly painted by mixing coal black and black as the base colour. Highlighting was done by adding tiny, increasing amounts of deck tan up to about a 50/50 mix of base colour and deck tan. I didn’t go any higher with this as I felt that it was more a part of the handle than a separately defined blade. I shaded the area with a mix of black and scab red.
The exact same process was used for the gloves.

This is essentially the end of the painting of the model itself. I had a couple of tidy ups to do around the model, some additional dark lining here and there to define parts a little better – using either nuln oil or coal black, but be careful with the nuln oil as it can make stuff look dirty if you don’t control the flow properly. There are a couple of final additional freehand crosses and designs like the one in the circle part of the weapon.

The Base
Now, I have to admit to two things with the base:

I had an initial idea for colours which didn’t work and I had to start again.
The second version was done almost entirely using an airbrush. This means that some of the colours used in the base are really airbrush “only” paints. I’ll do my best to explain what the colours are so that if you are brushing on normally you can use normal model paints.

OK. Confessional over. Let’s get to what I did do.

The brief for the base was to use the standard base, insert and the stone face that the Architect comes with. Simples.

So, first of all the stone face was removed from under her foot because there was no way I could mask the whole painted model to paint that area. I glued the stone face in position and covered the point where the foot and face meet with a dot of blue tac, so that the glue will take better later – gluing paint to paint isn’t going to make for strong joints, believe me!

Once glued on, I used some Tamiya concrete paste around the edge of the stone face, to close any gaps between the base and face, and to add a touch more texture to some of the surface.
When the sandy paste dried, I primed the whole thing with black.
Once dry I sprayed the majority of the top with a couple of thin coats of Tamiya Nato Black – a near black with just a hint of blue/grey to it.

Now, to start the highlighting process with such a flat surface I needed to create a point of focus. The solution for me was to infer that a fairly strong light source was falling in front of the model. With an airbrush this process is pretty quick. With a good sized brush this can be done relatively quickly too, and can be an ideal opportunity to try out wet blending.

So, 1st highlight was done using Tamiya Sea Blue (a very dark blue with a hint of teal – try VMC dark sea blue mixed with VMC dark Prussian blue). This was a circle laid down to cover approx ¾ of the area and sprayed directly down onto the base. Subsequent highlights required altering the angle to increase the highlight effect against the stone face.

2nd highlight was more Sea Blue but with a drop of Tamiya Deck Tan (just like VMC Deck tan… lol!), and placed at a slight angle so that the shadow started to form on the face. This needed 2 or 3 light sprays to build up the colour.

3rd highlight was approx ½ sea blue to ½ deck tan in a smaller circle and slightly heavier angle.

4th highlight was approx ¼ sea blue to ¾ deck tan in an even smaller circle with a final small highlight of pure deck tan.

Once this was done, in truth it was much too bright and nowhere near smooth enough (largely because I was pretty new to airbrushing and the Tamiya paints, which had a tendency to brighten up and go extremely matt as they dried. Not a problem though, as this is not really any different to what I would do with a normal brush where I often will tone back colour shifts using glazes.

So, I just worked backwards form the above, but much more dilute – the original colours were approx 50/50 paint to thinner ratio, but the glazes were more like 20/80 paint to thinner, and have to be careful not to load too much at a time and allow the thinner to dry well between passes. In fact, I got bored waiting for the glazes to dry and painted the underside of the outer base for fun! ☺

Once I was happy with the transitions, I had a nice shift, but it was a little bit stark looking, so I took some GW sepia wash and sprayed the whole area lightly which added a bit of warmth to the area.

Once dry, I considered the painting completely finished, so it was time for the absolutely final parts, which were to glue the model in place, glue the outer base to the inner base and just add a couple of tiny Silflor tufts around the edges of the stone face.

And that is that! ☺ This has been a really enjoyable model to paint, with plenty of challenges and a decent bit of planning ahead needed, but I have been very pleased with how close I did manage to get the colour scheme to the concept art. If you have stayed with me right through then thank you, and if you have painted her in the same way, I hope that it works out well for you and I would be very pleased to see how you got on.

Cheers all,

Scott ☺

The Finished Model

Pinup Preacher Painting Guide


By Scott Hockley

Intro
Hi all,

This is a third installment of pinup painting guides. The style of this guide will follow that of the Forsaker, and again I would say that if there is any techniques mentioned that you are not sure about , then it would be best to take another look at the full guide for the Architect.

Preparation
This new plastic model is the Preacher, a simpler sculpt than the Forsaker, with more of an emphasis on smooth area of skin, clothing and hair. I clipped the Preacher sprue off and set the rest aside for later as before. The individual parts of the model were in turn then removed from the sprue and popped into a little box (see previous guide about losing bits!!). Each part was then trimmed with a knife to remove mould lines, and lightly sanded with some fine sandpaper/manicuring board. The right foot was then drilled to accept a 0.5mm pin in order to allow easier fixing to the base later. Again, the rest of the model doesn’t need pinning because I am gluing the majority of it together prior to any painting.
For these models it is best to use plastic glue.

For the assembly of his model, I completely built the model, leaving only the hammer loose to attach later.

I airbrushed on a grey primer (just like the previous models), and then airbrushed a light covering of Tamiya Deck Tan to model as this is a much lighter model than the Forsaker.

Colour Scheme
We are working to the concept art again for the Preacher, and I used the MS Paint hack that I showed in the Forsaker guide to help pick out the colours for this model…

The Preacher is much more colourful than the Forsaker, with the strong red dominating the scheme, a nice pinkish peach skin tone, yellow design on the tabard and then the shades are all “warm” black-brown colours. There is also the hint of teal to the hammer and book, just as points of interest.

Painting Preface
I will mention GLAZING a lot throughout the article. Generally my glazes are around 1 part paint to about 4 or 5 parts water, and often with a drop of glaze medium to keep the blends smooth. Stronger colours are generally MORE dilute in glazing, weaker colours LESS dilute. You can read more about glazes in the Architect guide.

I also mention SPRAYING with my airbrush. You will have your own feel for dilution of paint if you have an airbrush, but I tend to work around 1 part colour to 2 parts water and 2 parts thinner. Just like normal brushing, it is always better to have 2 or 3 thin coats to cover nicely than 1 thick coat, and you are less likely to clog your airbrush!

If you don’t have an airbrush, just brush on as usual. The airbrush just helps to speed up some of the less enjoyable base coating…

Painting the Base

The base was painted in exactly the same fashion as the Architect and Forsaker models, with a point of light slightly in front of her feet. The lightest point was sprayed with deck tan, shading done by successive thinned sprays of sea blue and then Nato black around the edges. The outer rim was just painted in black.

Painting the Skin
The colours used for the skin are shown below…

Painting the skin is not something that I like to do too often, especially when dealing with such strong colours elsewhere on the model. However, there is a lot of skin to the model, and very few difficult to access parts, plus the separation of skin from the other details is mostly very good.
With that knowledge I pressed on with painting the skin as follows…

The base colour was a mix of GW Cadian Fleshtone, GW Kislev Flesh and VMC Dark flesh, with just a touch of deck tan and P3 Ordic olive. This gave a nice peachy colour which I applied to all skin areas in 3 or 4 thin layers until I had a nice flat tone all over.

Shading for this model is reasonably subtle, at least in the visible areas. I started shading by taking the base colour and diluting it into a glaze, then adding small amounts of ordic olive and umbral umber. The emphasis on shading here was under the boobs, under the buttocks, in between the legs behind the tabard, the mid back and armpits. The stomach shading was kept very subtle, mainly just down into the pelvis and left side of stomach, away from her little lantern. The creases under the buttocks got the deepest shade, but this was still nowhere near pure umber.
Highlighting was done using the base colour as a glaze again (which I quickly used to tidy up the shading first), then I added increasing amounts of deck tan and just a touch of dark flesh. I didn’t want her to go yellow, so the dark flesh was used very sparingly. I then built up the highlights, concentrating on the shoulder, boobs, front of her left leg, belly, right hip and face. I also highlighted the little area next to the lantern, as this will get a glow later. The palm of her right hand was painted slightly more pink than the rest of her skin and I did add a little more pink tone as a final glaze made out of cadian fleshtone to the sides of her nose, bottom lip, cheeks and just around the edge of the highlighted part of the belly.

At this stage I also painted in the eyes. They are quite deep set, which I though may be an issue. However, I filled the eye with a small amount of deck tan for the white of the eye, and then used Umbral umber with a touch of black to do the iris. She is looking towards her right hand, so positioning the eyes is slightly easier, and any tidying up is simple enough. I used the same colour from the eyes to thinly draw in her eyebrows too. The sculpt had a natural ridge to draw the side of the brush along. Similarly, I used some highlight skin colour to draw a line just between the lower eyelid and the glasses.

The final thing that I did was paint some skin tone onto the parts of the stockings that would be showing as “sheer” later on.

The Stockings and Lace Trims
The stockings introduce another technique that I have not covered before, which is creating a sheer effect. First of all, the colours used for the stockings were as follows…

The idea of painting a sheer effect is to have the skin colour peeking through the material in question. This is sometimes done to create an effect of wet clothing, but more often is used like this for translucent stockings.

I started off by mixing up a glaze of Khardic flesh and Umbral umber, with a touch of Ordic olive. This pinkish brown was glazed in over the entirety of the stockings, including over the flesh coloured parts mentioned above. I had decent coverage of the skin areas after 2 or 3 thin layers. The skin colour underneath “brightened” up the colour and once I had painte the rest of the stockings with 2 or 3 more thin layers I had a nice smooth transition without the need for any further highlighting. Now I could concentrate on shading, which was done by adding increasing amounts of olive and some black. I then glazed this into the shaded parts, particularly getting a shadow just under the left knee to emphasise the highlights of the mid thigh. The other heavily shaded areas were around the ankles and feet – but not the toes, which were painted in the sheer colours – and the backs of the thighs and into the knee creases.

Once happy with this I painted in the lace parts. The colours for the lace were as follows…

The basic lace colour was a dark red brown made from the Sanguine base, Umbral umber and a touch of both Hammerfall Khaki and Thamar black. This I painted onto all of the trims, shoes, front section of the tabard and the waist band of the tabard/panty combination. I painted some basic skintone into the holes in the stocking tops and carefully shaped the detail of the lace after this. This required a little patience, but is extremely effective when finished.
Highlighting was done by adding a little khaki to the base mix and lightly painting the edges of the details. I didn’t want to go over the top with this highlighting as it gets chalky and becomes difficult to get the transitions right in such small areas. A couple of passes builds up enough highlight in most areas.
Shading was simply a glaze of black and umber together, which was painted into the recesses (other than those in the stockings!), and concentrated on the undersides of the details. I also created a kind of double band around the tops of the stockings at the front by painting a dark line through the highlighted area. Last thing that I did was block in the shape of the glasses with the shade colour. This needed to be done VERY carefully, so as not to ruin her face!

The Clothing
Red is an old favourite of mine to paint, but it can be a bit unforgiving, so patience is needed when shading and highlighting.
The colours used here are below…

The base mix I made up was Skorne Red with a touch of Khador red base. This I painted over all of the red areas in several thin layers until I had a good even coverage.
Next I shaded the red by making up a glaze of Skorne red and adding a touch of coal black. I built this in 3 or 4 passes before I increased the amount of coal black in the mix. If you just keep adding shades, rather than actually building the depth of the shading with red it will just look grubby. So, smooth, slightly increased shades are the way to go. The recesses in the panels got the most shading, along with any folds in the tabard, and at each end of the sleeves. A final shade of approx 1:1 coal black and Skorne red was used in the actual lines in the panels and sleeves using a very fine brush.
Highlighting was done by first glazing a 1:1 mix of Khador red then increasing the amount of Khador red in about 4 or 5 quick passes. This was enough for the majority of the clothing, but where I needed a bit more highlighting I added some Khardic flesh to the glaze and this was painted onto the areas over the boobs, and to the uppermost edges of some of the sleeve panels. Care was needed not to go too pink, and where I wasn’t quite happy I just glazed back with the 1:1 mix used at the start of highlighting.

At this stage I also quickly blocked in the hair with a mix of Umbral umber, Ordic Olive and black, just to help me see what was going on.

The Book, Glasses, Alms Purse and Lantern
I now had the majority of the model painted, so it was time to do the fiddly parts.

First I worked on the book. The colours used here are below, plus I also used some GW seraphim sepia wash…

The book was painted completely with deck tan, and then the cover was painted in an equal mix of deck tan, underbelly blue and coal black. This was very quickly highlighted with a mix of just underbelly blue and deck tan. The whole of the book was then washed with sepia wash to give it an old, weathered look. Nothing more was done at this stage, as I needed to add freehand designs later. The sepia picked out the pages nicely and needed no more work.

The glasses and alms purse were painted with the following colours…

For the glasses, they were already picked out in black, so a shade wasn’t needed. As a result I concentrated only on the upper surfaces (they are tiny, so the undersides wouldn’t be possible to blend in anyway!). The basic colour was a 1:1 mix of Underbelly blue and Hammerfall Khaki. This wasn’t too dilute, as I didn’t want the paint to bleed, and was painted on with the flat of the brush rather than the tip. A first highlight of pure underbelly picked out the areas shown below (bridge of the nose and under each eye effectively). A second highlight was a smaller pass of underbelly and deck tan. Final highlight was pure deck tan in a dot to the centre of each highlighted section.

The alms purse was painted in the same base mix of Khaki and underbelly blue. The highlight was done by adding deck tan and concentrating on the raised folds and corner of the purse nearest the lantern. A final highlight of pure deck tan was applied just to the corner by the lantern.
The shading was just a glaze of underbelly with a hint of khaki.
The top of the purse was painted with skorne red, quickly washed with some really thin coal black and highlighted with some Khardic flesh, just on the edge closest to the lantern.

The freehand of “alms” was painted carefully onto the purse using skorne red and umbral umber. I have covered the principles of freehands in the big Architect article, but essentially the paint used was slightly thinned with water and glaze medium, and my finest brush was used to carefully paint it on. I painted the “S” first and worked back from there, and tested this on a piece of card first.

The little lantern was blocked in with underbelly blue (the top and bottom were done with the colour of the lace details, as was the string of the purse and lantern itself) and highlighted into the middle with a glaze of deck tan. Nothing more at this stage as OSL would be added later.

Freehands, OSL and Book Corners
The colours used in the freehand are below…

There is no easy way to paint this particular freehand to her tabard, as it is rather complex, but this is what I did.

First of all I mixed up bubonic brown and umbral umber and painted the arrow and diamond in the middle of the design. This allowed me to plot out the rest of the panel. Next I painted the fine straight lines inside and all around the panel. The criss cross section at the top and the fairly detailed bit at the bottom were also then sketched in.
I was reasonably happy with the shape of the design, so I painted over the lines with a final mix of Cygnus yellow and bubonic brown. I refined the design, and any stray brush strokes with umber mixed with black. Some sections came together nicely, others took 3 or 4 attempts to get to where I was happy with them.

The same method was applied to the designs on the book, only with a much simpler finished look. I then tidied up the book with a thin glaze of underbelly blue and coal black.

The OSL (Object Source Lighting or glow) was painted in using the following colours…

First of all a thin glaze of Heartfire and bubonic brown was mixed up, and applied thinly to the affected areas. At this stage I just wanted to establish the shape of the glow from the lantern and the little flame in the lantern itself. This is a smaller area than most lanterns that I have done for Kingdom Death models, but correct with the artwork.

The first highlight was a thin glaze of the first mix with some menoth white highlight added. This was mostly just added to the glow inside the lantern and the edges of the purse.

The final detail of the glow was a dot of pure heartfire inside the lantern to signify the actual little flame.

I then did little highlighting and shading of the lantern using first a REALLY thin glaze of underbelly blue and deck tan over all of the “glass” faces of the lantern, with a bit more underbelly blue just under the flame itself and right near the top of the lantern, and then some pure deck tan thinned out and glazed towards the bottom of the glass and to the area immediately above the flame. The actual frame corners of the lantern were painted on using the lace colour and kept extra fine by using the flat of a well blotted brush along the edges of the details.

The brassy corners to the book were painted using bubonic brown, menoth white highlight, umbral umber and coal black.
They were base coloured with bubonic brown and shaded first with umbral umber and then a hint of coal black. This wasn’t done in super smooth blends as the areas involved are so tiny. Just a case of thin paint on a well blotted brush, brushing from light into dark in smaller and smaller strokes.
The edge highlights were done with first a 1:1 mix of bubonic brown and Menoth highlight, then pure Menoth highlight at the brightest final spots.

Hair and the Hammer
The hair was painted with the colours below…

The hair had already been blocked in, but I painted over this with a new base coat mix of Bloodstone, Ordic olive and Umbral umber (approx 1:1:1) which gave quite a rich dark brown. I shaded the folds with umber first, then increased the shading with agrax earthshade, adding additional shading to the centre parting and around the bandana. A final shade of Nuln Oil was applied to the darkest areas and into the middle of the parting.
Highlighting was done by adding increasing amounts of bloodstone to the base colour and applying the “halo” theory of the Architect article. I didn’t paint bright highlights to the hair as the artwork had kept the hair very muted, so only went as far as pure bloodstone. I actually then shaded this all back a touch with one pass of thinned agrax earthshade over the whole of the hair to finish.

The Hammer was painted using the following colours…

The actual base colour of the hammer is a slightly odd one, as it is a kind of yellow silver colour. I decided to start off a bit darker, shade it, then glaze the midtone back in before highlighting and adding the freehand swirls.

The base colour was a mix of all 4 colours at approx equal ratios. This was painted over the entire hammer to leave a solid base tone. I then added increasing amounts of coal black and made this into a glaze. For the hammer head, I glazed the sides so that the shades were in the middle, and then the top and bottom were shaded in opposite to this with the shades towards the outer edges. The highlights were a glaze of dark flesh underbelly blue and Menoth highlight, with edge highlights of first pure dark flesh, then pure Menoth highlight.

The haft and sort of pommel at the other end were painted using the same colours. When I paint cylindrical areas like this I tend to paint a final highlight onto the base colour in a fine line (using the side of the brush) to the front and back. Then I do the same right beside the highlight in the darkest shade colour. I then blend from dark to light using first a glaze mix of the base colour and shade together, then once dry a glaze mix of highlight colour and base colour. If the glaze is correctly thinned it will blend the area quite nicely within a couple of passes.
The pommel bit had a the same principles applied as the head.

The freehand was sketched on with pure Menoth highlight, then underlined with thinned coal black to give an embossed look. This had to be extra thin so as not to overpower the colours in place. I then took a really thin glaze of the base colour and painted over all of the hammer head to incorporate the design “into” the surface.

Final step was to just place a shading glaze of Agrax Earthshade into the recessed band around the hammer head.

After this, I glued the model to the base, and the hammer to the model ready for final touch ins and corrections…

I fixed where the glue spread a bit to the panties, a chip out of the toe and added some eyeliner to her top lid before a final spray of matt varnish, ready for final photography…


This model was a nice contrast to the technically challenging Forsaker, but no less enjoyable to paint, not least because I don’t tend to paint as much “true” red as I used to. This digital version of the sculpt is just as impressive as the original resin, with near invisible joins once fully assembled, and the head without glasses would work just as well as the version above. I wonder which pinup will be next…? 😉

Cheers all,

Scott

Pinup Survivor Painting Guide


Hi all,

Here is my next instalment in the Pinup painting series. As previously, any techniques not fully explained here can be found in the first article for the Architect.

Preparation

This plastic model is the Survivor Pinup This is another sculpt that varies slightly from the concept art in terms of posing, but not enough that I would need to take up any artistic license…

I clipped the model parts off of the sprue and popped them into a little box (see previous guides about losing bits!!). Each part was then trimmed with a knife to remove mould lines, and lightly sanded with some fine sandpaper/manicuring board. The model was assembled and glued leaving the spear and half arm unattached to allow access to the back of the model, and the hair was glued on once the shoulder pads were painted. The little lantern was left off until late on because it would definitely have been broken off by my big clumsy mitts during painting!

I airbrushed on a grey primer (just like the previous models), but not any pre-shading or any other additional airbrushing in this case. In theory I could have airbrushed the skin, but I actually wanted to paint the skin later in this case, which is more my usual way of working.

Colour Scheme

We are working to the concept art again for the Survivor. She has a pinkish pale skin tone with ginger hair – and lovely green contrasting eyes! Other than that there isn’t much more colour to her, as the leather is very dark on the whole. The mask is dark too, but there are some interesting colours which I wanted to make a little feature of later on.

Painting Preface

I will mention GLAZING a lot throughout the article. Generally my glazes are around 1 part paint to about 4 or 5 parts water, and often with a drop of glaze medium to keep the blends smooth. Stronger colours are generally MORE dilute in glazing, weaker colours LESS dilute. You can read more about glazes in the Architect guide.

I also mention SPRAYING with my airbrush. You will have your own feel for dilution of paint if you have an airbrush, but I tend to work around 1 part colour to 2 parts water and 2 parts thinner. Just like normal brushing, it is always better to have 2 or 3 thin coats to cover nicely than 1 thick coat, and you are less likely to clog your airbrush!

If you don’t have an airbrush, just brush on as usual. The airbrush just helps to speed up some of the less enjoyable base coating…

Priming the models

This was done using an airbrush in grey as done with previous models. If you don’t have an airbrush, Tamiya fine grey spray would be what I recommend. Sometimes this can be a little too smooth though, so if that happens I use some matt medium or varnish and quickly apply a wash to the whole model once the primer is dry.

Painting the Base

The base was painted in exactly the same fashion as the previous models, with a point of light slightly in front of her feet. The lightest point was sprayed with deck tan, shading done by successive thinned sprays of sea blue and then Nato black around the edges. The outer rim was just painted in black.

Painting the Leather

The colours used for the green leather are shown below…

The colours for the brown leathers are as shown…

Further, there were some additional details added to the leather. I used a mixture of colours for stippling…

And then I universally shaded and toned the leathers with the following…

Looking a little more closely at the art for the survivor, you can see that her garments and accessories are made up from a patchwork of different leathers/cloths. So I decided to do about 5 different tones of brown and green.

The green leather – seen on her left boot and shoulder pads – was base coloured in a mix of Ordic Olive, Cryx Bane Base and a little leather brown. I highlighted the boot by adding first more olive to the mix, then some deck tan.
The shoulders were highlighted by adding a mix of cryx bane and deck tan to the original base colour.

The brown leather straps were base coloured in VMC Beige brown mixed with VMC Saddle brown. I highlighted this with pure beige brown. The same was done with the stitching to the knife scabbard.

The bikini, the thigh guard and forearm guard were base coloured in Umbral Umber mixed with VMC Panzer Aces Tank Crew Black. This was highlighted by adding leather brown and deck tan and then glazing in accordingly.

The pole of the weapon was also painted in leather brown mixed with some VMC tank crew black as a base colour, then highlighted with some fine lines of leather brown and then some leather brown mixed with beige brown.

The brown leather of the right boot and glove was a starting mix of leather brown with a little Umbral umber. Highlighting was done with leather brown and then a little deck tan.

With all of the base colours and highlights in place, I wanted to make the leather a little more interesting where possible. So, with this in mind, I set about getting some texture into the leather…

First thing that I did was some stippling. I used each of the stippling colours sparingly on each of the areas. I used an old small brush that had lost its fine point, and diluted the paint about 1/1 with water before blotting it. I didn’t sponge the areas because they were too small. Obviously the lighter browns were used more on the brown leathers, but the green leathers also got a little of the lighter browns along with slightly more of the redder browns.

At this point I also added little scratches and a moccasin-like effect to the boots which is on the art, but not the sculpt. This was done using a very fine brush and some diluted deck tan.

Once this was all done it looked much too light and colourful, but that was the intention, as the shading and toning would sort this out. So, I started the shading process.

The green leather was shaded with Agrax Earthshade, Nuln Oil, a little dilute wood ink and some very dilute black ink.
The straps were shaded with sepia wash, Reikland flesh shade, Agrax earthshade, thinned chestnut ink and a little thinned black ink.
The bikini and darker leather were shaded with Agrax, Nuln Oil and some thinned black ink.
The brown leather boot and glove were shaded with Reikland flesh shade, thinned chestnut ink, a little thinned wood ink and a little thinned black ink.
The pole arm was shaded with thin lines of Agrax and Reikland Flesh shade, then toned with thinned wood and chestnut ink together, followed by some Nuln oil.

Painting the Skin

The colours used are as follows..

The skin here was done with lots of pink tones. I made up a well palette of each of the colours like I did in the Architect guide. Each well contained approx 1 drop matt medium, 1 drop glaze medium, 2 drops paint and 4 or 5 drops water. The matt medium and glaze medium additives help me when I am painting in this method as they get a little more “grip” to the model and help me make sure that I get fewer tide marks when I’m layering, glazing and blending.

The initial base colour was a mix of the Cadian Flesh, Midlund Flesh and Ryn flesh. I painted the legs first, and established the base colour in 2 or 3 thin coats. Once established I shaded with glazes of Midlund, Cadian and Khardic Flesh, building the shading under the buttocks, inner thighs and around the knees. A little VMC Brown Rose was also shaded in as a kind of “in between” tone where I felt that the Khardic had gone a little too dark.

Highlighting was done with glazes of Ryn flesh, then some Salmon Rose and Basic Skintone. The last two were used very sparingly on the legs, concentrating just on the front of her right thigh and top of her knee.

Once I had tweaked the blends around a little, I was happy with the colour in general, so I worked on the top half.

I applied the same principles as the legs, but aside from the cleavage and mid-back the shading was less emphasised and the highlighting more emphasised, with concentration on the stomach and boobs.

I really like the face on this model, as the sculpt is particularly “open”, so I could access the eyes and rest of the face easily. I painted the eyes in first using the following colours…

The whites of the eyes were painted in with deck tan and then I picked out the bottom lid with some thinned VGC dark fleshtone. The top lid/eye liner were painted in carefully with some thinned black ink mixed with a little dark fleshtone.
The green of the eyes was dotted in first with some VGC Scurf green mixed with a little black ink, then a smaller dot of pure scurf green, a bottom highlight of thinned Necrotite green and a dot of light using deck tan with a touch of Necrotite green. The iris was then dotted in with black ink.

The face was then painted with the skin colours and a couple of freckles were added to the cheeks using thinned Khardic flesh dotted on.

The bottom of her right eye still needed a little clean up at this stage, but it highlighted a mistake in the photo that isn’t always obvious with the naked eye.
You can also see the liquid green stuff on the arm. I used this when I glued the arm and pole in place. It was a simple enough fix after this to quickly sand the residue off and touch up the paint around the join.

After this I moved quite quickly to the end of the model, so there aren’t any progress shots. However I’ll go through the painting as it happened.

Painting the Hair

The hair is a new part of the sculpt (compared to the original resin version), with lots of curls, and is a rich ginger colour, so I used the following colours…

The base mix was made up of 50/50 Fiery orange and VMC dark flesh, which I painted over all of the hair. I then highlighted by adding more dark flesh and then deck tan, but not up to pure deck tan in this case – more like 75/25 deck tan to dark flesh.
The shading was started with a mix of Reikland Flesh shade and Fiery orange, then a few successive glazes of Reikland to build the depth of the shading.
Final touch was a thin glaze over all of the hair with Seraphim sepia to tone all of the hair with a little yellow-orange.

Painting the Spear Blade

These were the colour used for the spear blade…

The painting of the blade was a reasonably quick process using my usual NMM method of placing the lightest and darkest parts in immediate contact with each other and blending away from there. So, I made a base mix of equal Trollblood base and Coal Black and painted that on nice and smooth, then started adding deck tan to the mix and glazing towards the decided highlight points in decreasing strokes, so building up the lightness while keeping as smooth a transition as possible, once I reached pure deck tan I added some white paint and carried on highlighting in smaller strokes right into the final highlight points. At this point it was a little too “white” and I had lost too much midtone, so I thinned out the original base mix and glazed back towards the middle of the blade.
Shading was done by increasing the base mix with more coal black – heavily thinned and glazed in a very controlled way, because it can be notorious for staining the lighter colours. Once I reached pure coal black I added some black ink and continued, bringing a nice sharp line up next to the highlight points.
Final edge highlighting was done with pure, thinned, white paint.

Painting the Lantern and the Glow

The lantern was painted using the following colours…

This is a really small part of the model, so also did not take long. First I painted the whole thing with deck tan.
Next I washed the whole thing with several coats of Agrax Earthshade – allowing it to dry thoroughly between coats.
The recesses were then inked in with thin black ink before I highlighted the “lighter” parts of the lantern with a mix of deck tan and Agrax. The glass panels of the lantern were then blocked in with pure deck tan.

The glow was also quite quick with this model, and I decided not to have any OSL glow on the model itself.
The colours used were…

The glow was established using Heartfire with a little white. I painted it in a kind of irregular teardrop shape and then used the side of my brush to apply a little to the sides of the frame of the lantern. I then added a little more white and highlighted the top of the shape of the glow. Final bit was to carefully apply a little line of pure heartfire near the base of the flame, to appear like a candle wick. Done.

Painting the Mask

The colours used for the mask are shown below…

On the concept art there are several pale colours all around the mask, so I decided that some thinned inks over a grey colour would give me a good way of tinting the mask without painting into the details too much.
First I gave the mask a couple of washes of Reikland Flesh shade and Agrax Earthshade to build up the shadows in the recesses. I thinned the washes and removed the worst of the wash from the raised areas with a clean slightly moist brush as I went along. The effect can be seen in the earlier picture of the face.
Once this was done I diluted each of the inks quite heavily and applied them very carefully with a well blotted brush, slowly building up the effect over 3 or 4 passes.

After this, a final tidy up was needed to a few areas, especially the edges of the bikini, then a spray of matt varnish after gluing the model to the base before final photos…

And so we have our 5th Pinup complete. The lovely pale skin and contrasting hair and eyes on this model make her stand out nicely, so much so that she has been one of my favourites to paint. I hope that you like her and be sure to give her a go too.
Studio Photos!!!

Until next time,

Scott ^_^

Pinup Twilight Knight Painting Guide


by Scott Hockley

Intro
Hi all,

This is another episode of pinup painting guides. The style of this guide will follow that of the last two, and again I would say that if there is any techniques mentioned that you are not sure about , then it would be best to take another look at the full guide for the Architect.

Preparation
This new plastic model is the iconic Twilight Knight. It has had a few minor alterations to the resin version, namely the cloak now has more folds and some more movement too, and the original sword from the concept has been changed for the “official” Twilight sword.

I clipped the model parts off of the sprue and popped them into a little box (see previous guide about losing bits!!). Each part was then trimmed with a knife to remove mould lines, and lightly sanded with some fine sandpaper/manicuring board. The feet were then drilled to accept a 0.5mm pin in order to allow easier fixing to the base later. I also drilled and pinned the neck so that I could paint the cloak separately and access all parts of the model before final assembly. I also found that once the cloak was in position and the head pinned in place that there was a small gap around the back of the neck. I fixed this by first gluing (plastic glue) the cloak and hood together in the correct position, and then once dry I filled the gap with a small amount of Milliput

With the assembly ready for painting, I then built the rest of the model and inserted a pin into the neck, ready to paint entirely separately, as mentioned above.

I airbrushed on a grey primer (just like the previous models), but didn’t do the deck tan pre-shade this time, for reasons that will become apparent later – but essentially it is because the majority of the model is very dark, and I want to make it easier to paint like that.

Colour Scheme
We are working to the concept art again for the Twilight Knight. The cloak is a cool green/blue with warmer shadows, as are the boots, belts, bikini and sleeves; there are some dark golden browns to the knee pads, piping to the bikini, and wrist straps; the skin is pale and creamy, and then there is the pale grey colour of the bandages on her legs and her hair; the sword is metallic green and blue, though I worked it slightly differently to the concept as the sword itself is very different now.

Painting Preface
I will mention GLAZING a lot throughout the article. Generally my glazes are around 1 part paint to about 4 or 5 parts water, and often with a drop of glaze medium to keep the blends smooth. Stronger colours are generally MORE dilute in glazing, weaker colours LESS dilute. You can read more about glazes in the Architect guide.

I also mention SPRAYING with my airbrush. You will have your own feel for dilution of paint if you have an airbrush, but I tend to work around 1 part colour to 2 parts water and 2 parts thinner. Just like normal brushing, it is always better to have 2 or 3 thin coats to cover nicely than 1 thick coat, and you are less likely to clog your airbrush!

If you don’t have an airbrush, just brush on as usual. The airbrush just helps to speed up some of the less enjoyable base coating…

Painting the Base
The base was painted in exactly the same fashion as the Architect, Forsaker and Preacher models, with a point of light slightly in front of her feet. The lightest point was sprayed with deck tan, shading done by successive thinned sprays of sea blue and then Nato black around the edges. The outer rim was just painted in black.

Painting the Cloak
The colours used for the cloak are shown below…

First of all, I airbrushed the whole cloak with a mix of the dark green and sea blue in the first photo. To this mix I added a little deck tan and sprayed the upper surfaces of the hood, cloak and folds, with the emphasis of the light effect falling on the left of the hood (as you look at it), and that same shoulder.
Then I turned the cloak upside down and sprayed the underside of the folds, and all of the inside of the cloak with Nato black and a hint of the green and blue mix.

When the airbrushing was complete, the highlights were too bright, but this was intentional (sorry, I don’t have photos for this, but I shall explain…), as this brightness was used to allow me to glaze in tones to the cloak to add interest.
The first bit of painting that I did with a brush was to make up a glaze of coal black and umbral umber, which I painted into all of the undersides of the folds, increasing the depth of the shadows where I had already airbrushed, but also getting to the areas around the neckline that the airbrush could not reach. Once I was happy with the shading I could bring everything together with glazes.

The “lighter” glaze that I made up first was a mix of Cryx bane base and exile blue – roughly 2:1 of Cryx to Blue – which I made nice and thin. I then painted all of the upper surfaces of the cloak in several thin coats until I had a nice consistent look. I then increased the depth in some of the folds as they went into shadow, and to the lower sections by adding some coal black first to the glaze mix, and then a bit of umbral umber. The inside of the cloak had a little highlighting added by using the first glaze mix on any forward facing surfaces that would be visible once the model was fully assembled.
That was essentially all that was needed for the cloak, as it isn’t a reflective material, so additional edge highlighting would make the material look wrong.

At this stage, I very quickly placed some P3 Trollblood highlight over the face and the body where skin would be visible once the model was built. This was just so that I didn’t waste my time blending areas that would never be visible, and certainly not accessible, once the model is completely built.

Painting the Boots, Bikini, Belts and Sleeves
These were all quite quick things to work on, which were more about careful, neat painting and less about clever colours, as such. I have mentioned previously that I prefer to paint dark and difficult to access areas before lighter areas, as fixing them is easier than fixing large areas of skin if I splash paint in the wrong places later.

The boots were the largest parts here to work on and the colours used are below

The base colour was a mix of the VMC German Tank Crew “Black” (A very dark grey brown) and Cryx Bane Base, which I painted over the whole of the boots. I then shaded with a glaze of the Tank crew black and then with pure black in the folds of the boots and where they meet the knee pads above.

Highlighting was done by concentrating on the front and outer sides of each boot. First I glazed pure cryx bane base, then pure cryx bane highlight, fine edge highlights of trollblood highlight and then a VERY thin glaze over all of the highlights with cryx bane base, making sure that I used a well blotted brush and working from light to dark so that I didn’t get any pooling against the edges of the details.

The arm greaves were also painted using the same colours and same process. The only difference was that there were some slightly larger areas of highlighting, as the final look would make them look like a kind of dark metal.

The bikini thong was painted using the same colours as above too, but the fact that they are so small meant that it was essentially base colour, careful shade to under sides of the string, quick highlight of string on the hip and done.

The bikini bra was painted in two tones, with some golden brown piping. The darker part was painted using the colours below

The base colour was a mix of the VMC German Tank Crew “Black” and VMC German tank crew “highlight”, which was quickly shaded with pure tank crew black. The edges and highlight spots were highlighted with cryx bane highlight. Next I wanted to get some real depth into the overall colour of the bra, both to emphasise the difference between the darker section and lighter section, but also to distinguish the look of the material of the bra from the boots and the other dark parts of the model (of which there are many…). So, I took some brown ink and diluted it, and then painted the whole of the dark section of the bra in about 3 layers. Once fully dry, I then used some diluted blue ink and painted this into the shades and against the edges of the details to give a deep black look, while the lighter part had quite a rich brown over the colours already painted underneath.

The knee pads were painted in exactly the same way as this part of the bra too.

The belts were painted with the same base colours and highlights as the knee pads and bra too, but I used first coal black and then brown ink to shade. The studs of the belts were dotted in carefully using a mix of coal black and cryx highlight.

Once all of these areas were done, I decided to add a little more sharpening and deepening of the shades to the boots and arm greaves, so I added some GW agrax earthshade, and then some brown ink to the darker parts. I avoided the blue ink so as to not look the same as the bra.

The blue part of the bra was painted using the following colours

The base colour was a mix of all three paints, then I highlighted with additional Underbelly blue. After this I glazed very thin pure exile blue over the whole area before shading the underside with pure coal black. Done.

The piping of the bra and the bands around her arms was painted using the following colours

A base mix of equal parts VMC silvergrey and VMC dark flesh was painted all over the bands and piping. A thin glaze of P3 gun corps brown was then painted over all of the areas, with additional layers built up to the undersides, shaded parts and into the lines. Once dry I then continued to shade the darkest parts with diluted brown ink.

Final part for this section was to paint the sleeves on her upper arms. This was simply a base coat of P3 coal black, shaded with some GW agrax earthshade and highlighted with a touch of underbelly blue added to the coal black. This section is nearly invisible when the model is fully assembled, and not actually sculpted on the model, so I had to create a faux hem around the armpits and up across the top of the chest where is disappears under the cloak.

Just to note here, the cloak is not glued in place yet, just pushed into place to make more sense in the photos.
These are a couple of more WIP photos without the cloak to show where I was leaving sections and to show that where I made mistakes in painting the dark sections, I could just colour the basic tone back in to tidy up before actually painting that area…

It shows that the odd loose brush stroke can easily be corrected. It also shows that I was hopping around from one area to the next at this stage without necessarily finishing one part before moving onto the next. It is fine to be quite rigid about working section by section, but I do find that I often come back to parts with colours used elsewhere and add extra tones, or additional edge highlighting as things progress.
(Remember, this is a painting guide, not an instruction manual! ^_^ )

Painting the Skin and Hair
The colours used for the skin are shown below…

For her skin, I tried to try to keep this fairly low contrast to the front, and largely a kind of pale tan colour. The back, however, was a different matter, so I painted that very dark as it wouldn’t be visible on the finished model.

I used a 10 well palette for her skin, just like the Architect model and created a glaze mix of 1 part glaze medium, 1 part matt medium, 5 or 6 parts water and then I added the paints. The paints in the wells from light to dark were as follows:
Pure menoth highlight, pure deck tan, 50/50 deck tan and kislev flesh, pure kislev flesh, 50/50 kislev flesh and rucksack tan, pure rucksack tan, 50/50 rucksack and VMC leather brown, pure leather brown, 50/50 leather brown and umbral umber, and finally pure umbral umber.

I then decided to add a very small amount of khardic flesh to every paint well. The reason for this was that I felt that the skin was too yellow when I patch tested it, so it needed more “life” to it.

Once I had done this, I painted all of the visible skin areas with the 50/50 rucksack tan/kislev flesh mix in 3 or 4 thin coats, to get a nice even coverage.
Once dry, I started highlighting, working through the pure kislev and right up to the pure deck tan. This was only on the fronts of the thighs, prominent parts of her hips, stomach and boobs, plus her left hand. Once this was done, I quickly glazed some more of the pure kislev colour over the highlighted areas, but I diluted this glaze some more first, so that it was really thin, and just brought the layers together nicely.

There were two different types of shading done to the skin. On the visible areas this was much more subtle and just about enhancing the volume of her curves. However, the blend into the back was all about getting nice and dark, but without a sharp transition.

For the visible shading, I made up a thin glaze of Ordic Olive and used a touch of this with first the pure rucksack glaze, then again with the rucksack and leather brown mix. I had to be careful not to get too dark with this last shade, so I did have to glaze the base skin colour lightly over the top, and I also decided to make a very thin glaze of the khardic flesh which I added in to the shading of the underside of her boobs, into the armpits and the lower part of the stomach just above the belts.
As a final touch, I used the pure leather brown to VERY CAREFULLY dot in her belly button and to help define the cleavage and under the boobs.

Once I was happy with this I moved onto the transition to the back. For this I painted almost the whole shaded area with the pure umbral umber first, leaving a small gap to the visible skin in which to blend, I then glazed the leather brown/umber mix in to this section, followed by the pure leather brown and the leather brown/rucksack mix. The final blend was the pure rucksack mix, with a bit more khardic flesh added, which I glazed over the edge of the finished skin and the shaded skin to bring it together. This is something I usually do with zigzagging up and down strokes, using a very well blotted brush, while keeping a damp clean brush handy for tidying up any harsh transitions. It is kind of like 2 brush blending, but I would call it more 2 brush tidying! ^_^

Finally, I used the sepia and flesh shade washes in the shaded area to deepen the shadows and emphasise the crease under the buttocks. I did also use a mix of the washes to just edge shade the skin where it touched the leg bandages, bikini and belts.

The face was next. I painted in the eyes first by painting the whites with deck tan, then the pupils with black paint. I added mascara to the top also with black paint. Once happy with the shape, I dotted in some VMC andrea blue to the pupil and a highlight dot of andrea blue and p3 frostbite.

The actual face was painted with the same base colour, and highlighted the same too going right up to pure menoth highlight, with emphasis on the nose, forehead and cheekbones. I shaded with a mix of the base colour and some khardic flesh, to give it a slightly more pink tone, especially to the sides of the nose and the cheeks. Care needs to be taken not to make her look like a clown when making the cheeks pink though! Keep the paint thin and work up and down if necessary.

The lips were painted with pure khardic flesh and a small shade in the middle of flesh shade. The tiny mole on her cheek was done EXTREMELY carefully with a mix of flesh shade and black on my finest tipped large brush. I used a large brush so that the paint stayed wet on the brush without needing to dilute it further, but the brush was still well blotted. If you are attempting this I would suggest that you test it on your hand first, because it can be really frustrating to fix!

The edges of the hair where it touches the skin was then painted with a mix of trollblood highlight and flesh shade. I did it this way round because I didn’t want the flesh shade to bleed onto the face itself.

The little beaded hair band was painted also at this point. I base coloured it with P3 Skorne Red, then highlighted with a mix of skorne red and khardic flesh. I finally shaded it with flesh shade, to pick out the beads and separate it from the hair and face.

The colours used for the hair were as follows

The hair was first painted all over with a mix of frostbite and trollblood highlight. Then I shaded it with pure trollblood highlight to the undersides of the hair and into the folds, then a mix of trollblood highlight and flesh shade in the deepest folds and where the hair comes into contact with the hood and face.

I highlighted first with a mix of menith highlight and frostbite, then thinner lines of pure menoth highlight. Final edge highlights were done with morrow white, mainly just to the front fringe though.

(You can see a couple of tiny loose dots of colour in the close up of the face. I fixed these later.)

The Bandages
I don’t know if these should be called bandages, I guess that you could call them strapping, but they are wrapped all around her thighs, and there is some similar wrapping around the sword near the handle.

For these sections I used the following paints

I made up a base colour of 2:1 deck tan and leather brown, which I painted over all parts of the bandages. I then shaded everything with a wash of flesh shade before painting earth shade into all of the folds. I then re-established the base colour in thin glazes, concentrating on the front of the legs. I added final highlights to the front and top edges using pure deck tan that I thinned to a thick glaze.
Once this was done, I used the flesh shade and added lots of tiny thin lines to the bandages to give a textured look. I built these up a little in places with additional lines of earth shade, and that was the bandages complete.
It was important to keep the lines extremely thin and not use much of the flesh shade or earth shade as I wanted a texture effect, not candy stripes!

The Sword
The sword was essentially painted in two distinct parts, which was the hilt/handle/pommel and the blade. The blade was painted in a “blue” steel and the rest was either the same or in a kind of bronze colour.

The blue steel was painted using the following colours…

The bronze was painted with the following colours…

I had a little reference image for the Twilight sword, because this was different to the concept art, and I wanted to make a feature of the sword, seeing as it is iconic to the sculpt and kind of iconic to Kingdom Death too.

A particularly useful part of this image is the placement of reflections and specular highlights. So, I first painted the hilt part of the sword based on this image.

The base colour of the bronze parts was a mix of Cryx Base and Bastion Grey, highlighted with bastion grey, VMC dark flesh, silvergrey and then final edge highlights of white.
These are such tiny areas that any blending is near impossible, so just thinned successive tiny layers were used.
The creases were shaded then with first Agrax Earthshade then Nuln Oil.

The base for the steel was Ironhull grey mixed with a little Exile blue, then highlight of Ironhull with some VMC dark flesh, then dark flesh mixed with white, and finally pure white.

Shades of exile blue mixed with black, then a mix of blue and brown ink.

The blade was an exercise in patient blending and glazing. I painted the base colour of the blade in the same as the other steel parts and then I decided where I wanted the reflective points to be on the blade both on the front and on the back. I then slowly built these highlights up, right up to pure white. Once happy with these I reduced the highlight area a little with some really thin base colour, then shaded with more blue, then adding black, down to pure black. This black looks flat though, so again I added some more shading with the blue/brown ink.
I had to tweak the contrast back and forth until I was satisfied, and then the painting of the model was complete.

I finally glued her to the base and she was ready for final photos…