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Monthly Archives: April 2014

Chaos Dreadnought – Work In Progress

The Future Sound Of London – Papua New Guinea

This is the old chaos dreadnought, released back in the mid-’90’s. A lot of people dislike this model, but I like the archaic, clunky gothicism.

Large models are best planned-out before painting, and tackled in sections – otherwise they can turn into an interminable slog. Currently, I’m in the process of painting the metallic areas:



You can see what a difference weathering makes, adding a sense of age, depth, and more subtle tinctures:


Both the gold panels in the foreground, and in the background, were painted with the same bright gold colour – but washes of brown, purple, and black make all the difference, I reckon. Normally, I try to achieve the glazed colouration in seamless layers – but I thought I’d vary the techniques, using stippling as well as layering in order to add a kind of textured effect:





Normally, I wouldn’t weather metals quite so heavily – but I think the textured, grimey effect is really evocative.





Painting red here was done using the same method as on the Khorne Terminator.


Some useful odds and ends from around t’net:

Massive Voodoo’s handy tutorial on making simple gaming bases.

LesKouzes’ really unOrky and pretty Carbonizator.

Hope River’s tutorial on painting freehand space designs.

The Illustrated Adventures of Two Space Age Boys and Their Graffiti Cat.

Walter Potter’s Curious Victorian Taxidermy.




Chaos Terminator (Khorne): Step by Step painting guide

Foster the People ‘A Beginner’s Guide to Destroying the Moon’

This tutorial is aimed at beginners, really. The aim was to create a dark, but intense Khornate colour; and with it being a rank and file model, to achieve this with a fast, straightforward method. The problem is that red can be a difficult colour to get right, partly because of its delicate pigmentation, and partly because it’s difficult to highlight red without turning it into orange or pink.


As a couple of pointers from the outset here, with army-painting, it’s helpful to concentrate on neatness. Also, sometimes people don’t understand what glazing is: glazes are very thin solutions of paint, which are mostly water with only a very small amount of paint added – used as a kind of veneer to add tints to underlying colours. By contrast, washes are slightly thicker, and used to shade, or to add a kind of relief-effect to raised areas.

Undercoated with grey spraypaint – not for any particular reason, it was just to hand:




1. Foundation



Red areas – dark brown/red (Rhinox hide)

Metal areas: because metallics can be quite flimsy paints, it’s helpful to paint the intended areas of silver with grey, and gold areas with yellow ochre. This makes it much easier to gain a consistent coverage with metallic paint. Also, I was using alcohol-based paints, which can be very fiddly, and the grey/ochre undercoats act as a good guideline.

2. Metals


Paint metal areas with gold and silver.


→ Wash gold and silver all over with dark brown (Smoke). Several thin layers are better than one heavy layer.


→ Shade recesses with thin wash of black.


→ Glaze: silver with purple, gold a burnt sienna colour (tank brown). The aim here was to avoid resembling imperial armour by being too bright and clean, but also avoid being too grimy like Ork or Nurgle armour.


→ Edge highlights: silver with a bright silver colour, gold with gold, then gold + bright silver.


3. Red

Building-up main body of red, before shading, highlighting, then glazing. Going from base of dark red, to mid-tone at this stage:


→ Dark red (Burnt Cadmium red).


→ Mid-tone red (Burnt Cadmium red + Red Gore)


→ Shade: I) Tank Brown II) Black in the recesses


→ Highlight – during this stage, going from mid-tone to light-tone:
I) Red Gore II) Red Gore + Red III) Red



→ Edge highlight: I) Orange II) Orange + yellow ochre

I wasn’t happy with some of the blending in areas; for example the top of the carapace here is very splotchy:


so I thinned-down red gore and used it as a glaze, to smooth the blends out – I photographed this before the glaze had dried, so it can be seen how it was painted on:


Not strictly necessary, this stage; but helpful.

Glazing is what brings red to life:


I) Use purple to glaze shady areas II) Yellow for raised/highlighted areas III) Red glaze over all areas of the power armour, in order to unify the layers, and intensify its redness.

When it came to painting the face/helmet, I wanted this to stand out from the surrounding armour, so painted it slightly lighter by leaving out the dark red stage:


Other than that, the method was the same. (I think – I can’t remember for sure).


4. Painting Black

As with red, black is a tricky colour to paint, and there is a multitude of methods. I went for a warm black on the piping areas, and a cooler version on the gloves.

Warm black:


Base colour: black.
→ black + small amount of khaki
→ Wash with dark brown.
→ layer-on the first highlight of Black and a bit more khaki than before
→ Edge highlight: Khaki

Cool black:


Base colour: black
→ Black + dark blue (in equal amounts).
→ Highlight: add a small amount of light grey, and very sparingly highlight raised areas/edges.
→ Edge highlight: light grey


5. Bones/Skulls

Use a suitable bone colour as the base – it really doesn’t matter which paint specifically – in this case, I used Dheneb stone, mixed with a small amount of Khemri Brown; but it doesn’t affect the end result too much:


→ Wash: dark brown (Smoke)
→ Wash recesses with dark brown + black
→ Highlight with base colour (Dheneb Stone)
→ Edge highlight by adding white to this.

If you want this to look weatherworn, glazing is helpful – it also removes any chalky effect. This is purely a matter of preference: for example, green, purple, or ochre will add different nuances. I used a leather colour here.

6. Belt

Base: a drab brown colour (USA Olive Brown):


→ Wash with dark brown (Smoke)
→ Wash recesses with black
→ highlight by reapplying base colour (USA Olive Brown)
→ Edge highlight by adding Khaki to this.
→ Glaze with a leather colour.


7. Orange areas


First, undercoat with white.

→ Base coat: bright orange colour.
→ Wash: bright red colour.
→ highlight: orange + yellow
→ Edge highlight: orange + yellow + small amount of cream (i.e. bleached-bone colour)
→ Glaze with yellow.


8. Painting the Glass Vial

When painting an effect like glass, it’s important to imagine the direction of light, in order to create the impression of a reflection. Basecoat by painting the glass-area with a blue-grey colour:


– in this case, French mirage Blue (I think – I can’t remember off-hand).


→ Shade by washing with black. Then highlight by repainting upper area with blue-grey (French Mirage Blue).


→ Plot fluid line with light grey; then shade just above this with dark grey.


→ The fluid itself was base painted with purple and mauve (Liche Purple + Warlock Purple).


→ Shade by adding blue to the previous mix. Highlight with mauve.


→ Edge highlight: mauve + light grey, and then paint a few reflection lines/blink points with white.


9. Shoulder Pad Freehand

When painting freehand designs, it’s helpful to plan them out beforehand; and important to be open-minded about re-doing/sharpening up the design as you go along.

Firstly, outline scheme with dots, using a light grey colour:



→ Connect dots.




→ Fill-out the pattern.



→ Add shade by glazing with ochre + brown. Paint basic shape of the world symbol, using dark blue.


→ Shade with a mix of dark blue + black. Highlight by reapplying dark blue. Edge highlight with a light blue.


→ Create image of landmasses by stippling dots of light grey.


→ Paint these with a mix of brown + green. Highlight: green. Glaze with yellow.


10. Base

Begin by covering the base in PVA glue, then flocking it with sand. Leave to dry.


→ Dark brown basecoat (USA Olive Brown)


→ Layer earth brown + blue grey (French mirage blue)


→ First highlight: dry-brush earth brown + blue grey + rotting flesh colour. Second highlight: dry-brush with rotting flesh. Final highlight: dry-brush rotting flesh + white.

I then dabbed small patches of a leather-brown colour in random places:


And that was pretty much it:



Not a prize-winning standard of painting – but fast, neat, and an effective way of creating the uniform impact that armies/units need.