I’ve finished revamping the main part of the Space Hulk diorama:
I think it looks a bit better now, as the walls no longer overshadow the genestealers.
The slime was made using the same method as outlined in a previous tutorial.
I’ve finished re-working the Necromunda diorama, originally created last year:
I was going to write the title in Spanish, but ‘última resistencia’ would have been a bit awkward to paint. Calligraphy isn’t my strongest point, either.
The Necromunda bridge was based on a fairly sinister one, which spans a track where I walk my dog:
Real-life can sometimes inspire your thought processes – even if it’s just a murky overpass in Hull.
I mentioned in a previous post that I was going to revise several of the other pieces I made last year; but I had an idea for something slightly different.
I’ve finally finished this diorama:
The colours have come out slightly better without the background:
I was going to paint the pyramid blocks as sandstone, but noticed that numerous Tomb Kings pictures depict the stone as a kind of dark, volcanic rock – and thought that this looked suitably sinister:
The hieroglyphic pendant was made from oven-bake clay – it should read ‘Khemri’ in hieroglyphics:
I’m going to revisit some of my previous models, as I think they would benefit from minor alterations. After that, hopefully I will start working on an Inquisitor-based project.
I’m a bit wary about introducing political themes into miniature-painting – partly because politics can prove deeply divisive; but also due to the question of taste.
However, I usually paint models in order to escape from the more unpleasant aspects of life – and these are in no short supply at present; but some things which are happening maybe shouldn’t be overlooked.
There have been proper artists who’ve used miniatures to explore serious themes – such as Jake and Dinos Chapman‘s various depictions of hell; Banksy’s Dismaland model of a crowded refugee boat; or street artists, creating comparatively light-hearted social commentaries.
This isn’t quite what I have in mind. I don’t really want to use Warhammer models allegorically; just to allude at a broader issue, in order to enhance a diorama. I figure that as long as the theme remains understated, then it shouldn’t be a problem. Plus, rather than model a duel where violence is the central subject, I thought I would make a representation of courage, instead.
So, one model is an undead horseman, with a distinctive head of unnatural hair; aiming to make the land of the dead glorious once more:
The other is going to be an Arabian woman:
Araby remains under-represented among Warhammer projects – but I prefer the ambiguous artwork depictions Games Workshop produced, to the Dogs of War/Warmaster models; which tended to be a bit Disney-esque. I don’t want the finished model to resemble the more obnoxious, long-standing stereotypes surrounding Arabs and Muslims; but equally, not to be overly romantic, either. While the motifs of femininity and Islamic culture have obvious points of resonance at present, this is still meant to be a Warhammer project.
The Golden Magus in Dreadfleet is a good example to draw upon here – as he was both on the side of the Grand Alliance; but also a character with mysterious intentions. Less esoteric, perhaps, are Kay Nielsen’s illustrations of 1001 Arabian Nights; which were fantastical and ornate:
I haven’t quite figured-out a base for this duel yet. A desert wasteland-theme seems the most fitting; but we will see.
I tend to avoid too much blood and gore as a rule; but I think it’s fair enough, once in a while:
I will be starting a temporary work position next week, so the painting front may be a bit quiet for a month; but I intend to work on several small projects over Christmas, before starting something a bit more elaborate in the new year.
Probably the last work in progress update, as I’ve finished the models for this diorama now – but have one or two changes to make on the overall base:
I decided not to use Latin for the book’s inscription, as it tends to be a bit overdone – I was going to paint runes, but somehow the model reminded me of the villain from Big Trouble In Little China; so I used Chinese symbols instead. They should stand for ‘redemption’ and ‘revelation’, but if I’ve got them wrong and they say something offensive then I blame the internet.
I’ve finished the model of Karloth Valois, and thought it might be helpful to demonstrate how to apply a colour-fade technique: that is, blending one colour into another. You can create striking effects through mixing contrasting colours; but here I wanted to create an eerie scheme, of black fading into turquoise.
These were the colours used (the one without a label is khaki):
Colour-fading relies on glazing. If you’re not sure what this is, I made a previous tutorial – it consists of applying very thin, transparent layers of paint. The aim is not so much to add a colour, but to alter an underlying one, and smooth-out different layers.
Basecoat – black:
Layer – black + a small amount of turquoise:
Layer – add more turquoise to the previous mix:
Don’t worry if the layers look patchy at this stage, as glazing will smooth them out later on:
You can see that it wasn’t quite pure turquoise at this stage – you can take it all the way up to that, of course; but I wanted to keep the overall tone quite dark:
So, using the same black and turquoise mixture, add a small amount of khaki; and highlight edges/raised areas:
The final highlight is pure khaki, used quite sparingly – I also painted on tears/holes:
As you can see, at this stage, the highlights are quite stark, and look a bit incongruous:
So, glazing will draw the various colours together, and harmonise them. As with any other painting, several thin layers are better than one heavy application. It’s important to let each layer dry before adding subsequent ones (this can be quite tedious, but it avoids one glaze washing away another).
I used three glazes: i) black ii) Thraka green iii) smoke brown:
Although the colours haven’t come out quite right in the photograph, you should be able to see the difference that glazing makes: