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’Eavy Metal were as keen as anyone to get their hands on the new Space Hulk
miniatures, so we asked Anja Wettergren to paint Sergeant Lorenzo and show us
how to achieve a perfect finish on your Blood Angels.
PAINTING THE ARMOUR
Anja’s technique is to choose one
area of the miniature and work on
that until it’s finished, before moving
on to another part of the model. This
requires extra care, so that you don’t
get paint on already finished areas.
Anja started with the Terminator
armour, as this was the largest single
area on the figure – defining the
colour palette for the whole model.
Red is a strong primary colour, but is
not the easiest colour to paint, so
we’ve included some top ’Eavy Metal
tips in the box below.
or this edition of Space Hulk, Alex Hedström has
provided us with a plethora of fantastic Citadel
miniatures all exclusively made for the game. To get
you gaming as fast as possible, the models come in two
colours: a rich, dark red as befitting the Terminators of the
Blood Angels Chapter and a deep purple, for the
Genestealers. However, such great-looking models are
crying out for an expert paint job.
So we turned to ’Eavy Metal’s Anja Wettergren for a
special Space Hulk Masterclass, to show you how to get
the best finish on your Space Hulk miniatures. The subjects
of our Masterclass series are normally character or
centrepiece models and this month’s figure is no exception.
Each of the Blood Angels in Space Hulk, is a distinct
character with a detailed history and an important part to
play in the Sin of Damnation campaign.
With this in mind we could have used any of the
Terminators for this article, but we settled for Sergeant
Lorenzo. Before Anja got started she brushed up on
Sergeant Lorenzo’s background, as she was keen to apply
some techniques that might reinforce Lorenzo’s personality
as a dependable veteran who still seeks redemption for one
failed mission that happened over six hundred years ago.
To start with, Anja carefully removed the Sergeant
Lorenzo components from the frame, and stuck them
together by adding a small dab of Plastic Glue into the
sockets before pushing the parts together. When dry, the
model was undercoated with Chaos Black Spray.
You Will Need
For the techniques featured in this article, Anja has used
the following colours from the Citadel Colour, Wash and
44 WHITE DWARF
Stage 1: For the basecoat, Anja
used a 1:1 mix of Blood Red and
Dark Flesh. This was applied in
thin layers until a solid coat of red
Stage 2: Next, Anja added black to
create a 2:1:1 mix of Chaos Black,
Blood Red and Dark Flesh. This
was then carefully applied to the
recessed areas of armour.
Stage 3: For the initial highlight,
Anja used a 3:1 mix of Blood Red
and Dark Flesh, painted onto the
edges and raised areas of the
Stage 4: Pure Blood Red was then
layered on top of the previous
stage, to build up the highlight.
Stage 5: Next, Anja applied a
highlight of pure Blazing Orange,
painted over the Blood Red of the
Stage 6: For the final highlight a
2:1 Blazing Orange to Vomit
Brown mix was used, carefully
brushed on to the very edges.
Stage 7: To tie all the layers
together, watered-down Baal Red
was painted over the armour.
Stage 8: Anja then finished by
retouching the highlight with the
mix from Stage 6 once the wash
Wash: W Foundation: F
Chaos Black Spray
Dark Angels Green
Red hasn’t always been an easy colour to paint. Being a
primary colour and a notoriously thin pigment, it has
always been difficult to highlight and shade, and to
cover darker tones, but the addition of Mechrite Red to
the Foundation range has really helped with these
problems. Eagle-eyed readers will notice that Anja
hasn’t used it on Lorenzo’s armour; this is because
’Eavy Metal use a tried and tested method for painting
Blood Angels that they have developed over the years.
Anja has used a mix of Dark Flesh and Blood Red as a
personal preference to give her that bit of extra control
over the exact pigment, proving that ’Eavy Metal
painters really are perfectionists!
As already mentioned, red can be hard to highlight
satisfactorily. One of the reasons is that mixing red with
white gives you pink, which doesn’t work as a highlight.
It’s best to highlight reds, especially when painting
Blood Angels, with oranges. Lighter highlights can be
achieved by adding neutral, ruddy tones to the oranges,
such as Dwarf Flesh and Elf Flesh.
Reds don’t necessarily have to be shaded with black
or dark washes either. Green works for shading red
because it is situated on the opposite side of the colour
wheel. By the same token, a blue wash can give red a
purple tone, which will cool the colour, taking out
some of the severity if needed.
A Baal Red glaze is highly recommended after all
shading and highlighting has occurred, this will help
blend the layers and give the red the intensity needed
for the ceramite surface of Space Marine armour.
One of the distinguishing features of the
Sergeant Lorenzo model is the flowing
cloak. This was the area Anja focused on
after the Terminator armour. When
painting the cloak and its lining, it
doesn’t matter in which order you paint
the areas; you just have to be careful not
to mark the other side. A steady hand is
needed here, especially when painting
the very edges of the lappets (the
streamers on the cloaks). If you take
your time it won’t be a problem.
Stage 1: The lining of the
cloak was given a basecoat
of Calthan Brown.
Stage 2: A coat of Vomit
Brown, built up over thin
layers, was then applied
over the area.
Stage 3: Bleached Bone was
brushed onto the area in the
same manner as before, using
several thin layers.
Cloak & Loincloth
Stage 4: A 1:1 mix of Skull
White and Bleached Bone
was then applied, but this
was concentrated towards
the edges of the lappets.
Stage 5: For the final
highlight, pure Skull White
was used, applying it to
the very edges.
Stage 1: The gold areas on
the Sergeant were
basecoated with a 1:1 mix
of Shining Gold and
Stage 2: The basecoat was
then given a wash with a
1:1 mix of Scorched
Brown and Badab Black.
Stage 3: A layer of Shining
Gold was then brushed
over the raised areas,
avoiding the recesses.
Stage 4: Anja then painted
on Burnished Gold, again
focusing on the areas of
Stage 5: Mithril Silver was
used for the final highlight,
applied only to the most
prominent areas, to create
the final highlight.
PAINTING THE CLOAK
PAINTING THE CRUX TERMINATUS
Stage 1: The lappets were left
black, before applying an initial
highlight of a 1:1 mix of Chaos
Black and Codex Grey.
Stage 2: The next stage built upon
the first highlight, this time using a
2:1 mix of Codex Grey and Chaos
Black applied to the edges.
Stage 3: Pure Bleached Bone was
brushed onto the lining in the
same manner as before.
The Crux Terminatus is a badge of honour that all
Terminators wear. Within each badge is bound a tiny
fragment of the armour that the Emperor wore onboard
Horus’ Battle Barge. Anja has reflected the importance of
this badge by painting it as stone, alluding to a regal,
almost monumental feel.
Stage 1: The Crux Terminatus was
basecoated with a 1:1 mix of
Scorched Brown and Codex Grey.
The recessed areas were left black.
Stage 2: A liberal wash using a
1:1:1 mix of Scorched Brown,
Chaos Black and Badab Black was
then applied over it.
Stage 3: Anja used Codex Grey to
start building up the layered
highlights, again avoiding the
recessed areas of the badge.
Stage 4: Fortress Grey was brushed
on as a mid-level highlight,
applying the paint to the raised
areas of detail.
Stage 5: Building up the highlights,
the next coat Anja applied was
Stage 6: A highlight using a 2:1
mix of Dheneb Stone and Skull
White was applied to just the
Stage 7: The next layer used the
same mix as Stage 6, but with
more white, to create a 1:1 mix of
Dheneb Stone and Skull White.
Stage 8: Finally, Anja used pure
Skull White on the highest points
of the badge such as the eye and
nose ridges of the skull.
Stage 4: Anja then used a coat of
pure Codex Grey for the final
Most people paint the metal areas first, as they can be
quite messy, before touching up the surrounding basecoat,
but Anja was confident painting the metal after the armour,
painting it neatly. Remember to use a separate water pot
for cleaning and thinning down metallic paint to avoid
contaminating your other colours.
Stage 1: The metallic areas,
predominantly the storm bolter,
were given a 1:1 basecoat of
Boltgun Metal and Chaos Black.
46 WHITE DWARF
Stage 2: Anja then washed the area
with a 1:1 mix of Badab Black and
Stage 3: The area was then
highlighted up, first with
Chainmail, which was applied to
the raised areas and edges.
Stage 4: Finally, Mithril Silver was
painted onto the very edge of the
Anja has painted Sergeant Lorenzo’s face using an aging
technique, to reflect his background as a grizzled 650-yearold veteran. She started off by painting the face as normal,
THE FINISHED MODEL
before applying further highlights using mixes of Bleached
Bone and Skull White. These were applied to the ridges on
Lorenzo’s face, emphasising wrinkles and creases.
Stage 1: For the face Anja started
with a basecoat using a 1:1 mix of
Tallarn Flesh and Calthan Brown.
Stage 2: A heavy wash of watereddown Dark Flesh was then applied
Stage 3: She then applied a
midtone, starting with a 1:1 mix of
Tallarn Flesh and Dwarf Flesh.
Stage 4: Anja then followed with
another wash, this time of thinneddown Scorched Brown.
Stage 5: A highlight using a 1:1:1
mix of Tallarn Flesh, Dwarf Flesh
and Bleached Bone was then used.
Stage 6: Anja added more
Bleached Bone to the mix before
applying a further highlight.
Stage 7: For the next highlight Anja
then used pure Bleached Bone,
painted onto the most prominent
areas of the face.
Stage 8: For the final highlight, a
1:1 mix of Bleached Bone and
Skull White was applied.
The cybernetics were painted in
the same way as the metal parts of
the storm bolter. The red lens was
painted using the same method as
for the lumina (right).
The hair was first painted
Astronomican Grey and then
shaded with a 1:1 mix of Codex
Grey and Chaos Black. Skull White
was used as a highlight.
The lumina was first painted Scab
Red, followed by Blood Red and
then Blazing Orange. A 1:1 mix of
Blazing Orange and Skull White
was then applied as a highlight.
Finally a dot of pure Skull White
was added to the top left.
The skull insignia on the left knee
pad was painted using the same
method that Anja used for the Crux
PAINTING THE FACE
Model shown slightly
larger than actual size.
Stage 1: The blood drops
were given a basecoat of
Stage 2: A 2:1 mix of
Warlock Purple and Skull
White was painted in a line
down the side of the gem.
Stage 3: A 1:1 mix of
Warlock Purple and Skull
White was then painted
over the same area.
Stage 4: The highlight
continued to be built up
with a 1:2 mix of Warlock
Purple and Skull White.
The yellow stripes on the cabling
started with a basecoat of Iyanden
Darksun and Vomit Brown. Golden
Yellow was then used as a midtone,
and this was highlighted further
with a 1:1 mix of Golden Yellow
and Skull White.
Stage 5: Finally, a dot of
pure Skull White was
carefully placed on the
highest point of the gem.
The trophies on the Sergeant’s back
were painted using the gold
technique from page 45. The green
gem started with a Dark Angels
Green basecoat and this was
worked up with Scorpion Green
and highlighted with Skull White.
Stage 1: While the sword
blade remained black, a 1:1
mix of Regal Blue and Ice
Blue was used as the base
for the energy lines.
48 WHITE DWARF
Stage 2: Pure Ice Blue was
then applied over the
glowing energy lines.
Stage 3: Next, a highlight
using a 1:1 mix of Ice Blue
and Skull White was used.
Stage 4: A glaze made with
a thin 1:1 mix of Hawk
Turquoise and Dark Angels
Green was then brushed
over the whole of the blade.
Stage 5: Skull White was
carefully applied as the
final highlight onto the
very edges of the blade.
Have you a painting dilemma, problem or question? Well the ’Eavy Metal
team are only too happy to help. You can ask them anything (related to
painting miniatures, of course) and they’ll have an answer. So whether
it’s about consistent basing techniques or how to paint the beard on a
Dwarf, send your query to ’Eavy Metal’s painting clinic. Bear in mind we
work quite far in advance of publication so it will be a good few months
before you see your query in print. Send in your question to:
Willow Road, Lenton,
Nottingham, NG7 2WS,
Studiohobby guru Chris Pеaсh is an expеrtat prеparinga forсе for battlein a
timеly yet еffесtivеmanner.Here hе sharеswith us somе tесhniquеsfor gеtting
your Grey Hunter paсksonto thе tablеtopin no timе.
Тo help уou musteryour SpaсeWo|vеspaсk for War,Wе,Vе
askedСhris Peaсhto сomе up with a quiсk yet еffесtivе
way to paintyour SpaсеWolvеs in thе
Аlth ou ghСh r i shas u s е da s i m p |i f i е tdе с h n i q u еt o g е t a
forсeon the tabletop,therе,splentyof opportunitуto rеa||y
pus hyou r pai n t i n gs k i ||sp a i n ti n gt h e m a n ус h a ra с tеr
m odе | syou , | ln o do u b ti n с l u d еi n y o u r a r m y .
l n t hе fo| | ow i n еgx a m p I е sС, h ri sh a s u s е dh i s t r usty
you t aki ngt h e i n form a t i oann d s с a l i n gi t u p f o r u s еw ith
thе Сitadе|Spr ayCun. W hеn paintingin batсhеs,
havеto сo nsidеrthе o r derin w hiсh yo u paintthе mo dels.
thе mo dе|sСhao sBIaсk
Сhr is,adviсеis to fir stundеr сo at
and thеn sprayon thе armourbaseсoat.Howеver,on
smoothpowerarmour/it,sbеstto appIythе wash by hand.
Thе nехtstagеis to set up a produсtionlinе - Сhris
rесommеndspaintingthе darkerarеas/suсh as thе fur,first.
Yo u сan thеnstar tto piсk o ut detaiI ssuсh as mеtalliс s,
faсе and any yel|owor rеd arеas.Тhen you just nеedto
basеthem up and they,||be readyfor aсtion.
R Е >H А I R
Step I, To aсhieve a stron7 tone for the hair, iirst
baseсoat it with Vermin Brown.
Step 2, tslazing Оrangе was used to highlight the
hair, foсusing on thе raised strands.
26 WHlтЕ DWARF SPAСEWoLVEs DЕslсN NoТЕs
Step 3. The final highlight was mixed from equal
parts Blazing Оrange and Skull White.
<RЕyH А | R
itep 1. To paint the greу hair, Сhris started with a
baseсoatof pure Сodeх Grey.
Step 2. А highlight was applied to the raised
areas and edges of the moustaсhe using pure
Step 3. А final highlight using pure Skull White
was then used to piсk out the most prominent
areas of the hair.
Step 2. The next stage was to give the armour a
wash using a l:1 mix of Sсorсhed Brown and
Step 3. Pure Space Wolves Сrey was used to
highlight the armour, applying it to the edges and
Step 2. The yellow was then bloсked in with a
1:1mix of Golden Yellow and TauseptОсhre.
Step3. An equal amount of Skull White was then
added to the previous miх. This was used as a
highlight, applied сIose to the rim.
Step 2. Сhris appliеd a heavу drybrush of Vomit
Brown all over the fur сloak'
Step3. A final drybrushof Bleaсhed Bone was
then applied, but this was worked towards the
ends of the oelt ratherthanover the whole area.
Step l, The power armour was given a Senerous
basecoat using a 1:1 mix of Shadow Grey and
Spaсe Wolf Grey,
Step 1, The shoulder pad was first painted with a
baseсoat of Tausept Осhre, The rim of the pad
was painted in the same waY as the armour.
Step 1. When painting the fur on the pelts often
worn by the Spaсe Wolves, startwith a baseсoat
of Sсorсhed Brown.
Аs wе,vеsaid beforeit is thе faсе of a miniaturеthatdraws
the eye to it and so some attentionnеedsto bе spenton
o n a m o d е ls u с h a s th i sonе. NeiI
an d ar ou ndi t ,e sp e с i a ||y
has paintеdthe Wolf Guard,sfaсe in Iightertones,as this
definethe foсal point.
hе|psthе eye immеdiatеIy
When paintinga faсe with suсh a strongexpression,it,s
importantto kееpyour paintthin so thatуou don,tlosеthе
detai|,so it,sbеstto use two or threethin |ayersfor еaсh
stagе.lf the paintis too thiсk you not on|y riskobsсuring
s w iI I
thе de t ai I,but a| s oa d d i n gi n v i s i b l eb r u s h s tr o k e
dеtraсtfrom the finishеdеffесt.
Тhe otherpointto note is how the hair meetsthe faсe.
the two areas;againthis hе|psthе eye
А faint line separates
definethе foсal pointof thе miniature.When NeiI applied
the baseсoat|ayerto the faсе he paintedrightup to the
stageshe didn'twork the
hair,but with the subsequent
paintup to thе edge,thеrebyсrеatinga thin boundaryIine
Тhe tеethwere paintеdB|eaсhedBone.NeiI lеftthe
eyesblaсk and thenfil|еdin thе white of thе еye with
B|еaсhеdBone,leavinga gap in thе midd|еto сreatеthе
pupil _ steadyhandsare neededhеrе!
Step l. Тhe face was basecoated with a 1:l miх
of Vermin Brown and Sсorсhed Brown,
Step2. Next,a 2:1:1 mix of Dwarf Flesh,Vermin
Brown and Scorсhed Brown was used. This was
applied to all but the reсessedareas.
Step 3. Pure Dwarf Flesh was then applied,
brushed onto the face as a mid-tone - once
again it was left out of the reсessedareas.
Step 4. The face was then highlighted, first with
a 1:I mix of Dwarf Fleshand Skull White,
applied to the raised areas.
Step5. А 3:1 miх of SkullWhitе and Bleaсhed
Bone was then applied, followed bу a 1:1 wash
of Gryphonne Sepia and Ogryn Flesh.
Step 6. The eуes and teethwere paintеd with
Bleached Bone, while the highlight was
retouсhed using the mix from Step5.
Step2. The hair was then given tvvoconseсutive
washes of Ogryn Flesh,followed by a highlight
of Dwarf Flesh applied to eaсh hair strand.
Step 3. Bleaсhed Bone was then applied as a
final highlight. тo finish, a glaze of Baal Red
was brushed over the whole area.
Step l. The hair was first painted with Bestial
Brown followed bу a layer of Blazing Orange.
The main part of the
backpack was painted
in the same waу as the
Мuch of the power armour
is obscured bу details suсh
as the pelt - it's much
more prominent on the
rear of the model.
Тherе are a muItitudeof methodsfor paintingpower
armour,many of whiсh have been detailedin White Dwaгf.
The methodemployedby,Еavy Мeta| has evolvedovеr a
good few years and is provеn to be very effeсtive.You start
by buildin8up a f|atсoIour;this is the baseсoat,applied
over severalthin layersuntil you have a so|id,opaque сoat.
А highIightis then appIiedto the edgesof еaсh segmеnt
and a shade in the joints betweenthe seсtions.Тhe Iight
sourсeis assumedto be сoming from direсt|yoverhead,
and so the top edgeshavea more intensehighIight.
on the fist shown in the stepsbelow.You
сan see in the laterstageshow the high|ightis applied
more heavi|yto the top of the fingersand aсrossthe thumb;
this liftsthe miniatureand avoidsсonfusingthe eye with
That,sthe methodin its most generaltermsbut you сan
add to this with additionaIpaint effeсts.For instanсе,we,]]
be takinga с|oserlook at how to infliсtextrabattlе
damagе,sсratсhesand сhips over the page.SpaсeWolves
power armouris oftеnaссentedby ye||owsand reds,as
сo]ours.This is normally
they makegood сontrasting
appliedto the shoulderpads,as we,]]сover in moredetaiI
Iatеrin the artiс|e,and it,snot unknownfor dagsor stripes
on thе armsor legsto be paintedonto the armouras wel].
Тhе Power Armour
Step l. A 1:I :1 basecoatmiх of Kommando
Khaki, Shadow crey and Space Wolves Greу
was applied to the power armour.
Step 4. Pure Space Wolves Grey was worked
onto the edges of the armour| сreating a
d i stinct edge highIight.
Step2. A 1:1 mix of Shadow crey and Sсorched
Brown was сarefully brushed into the reсesses
between the armour seсtions.
Step5. Devlan Мud was washed into the
reсesses between the plates of armour'
90 WH!тEDWARF ,ЕАVYМЕТАLМАsТЕRсLАss
Step 3. Next, a 2:1:1 Space Wolves Grey,
Shadow Grey and Kommando Khaki was
applied towards the edges of the armour.
Step 6. A final highlight using a 1:1 mix of Space
Wolves Crey and Skull White was applied, with
a stronger application on the top edges.
The wolf tails get
Iighteras they taper
towards the end, but
otherwise use the
easy,as the texturеis idеalfor
Paintingfur is reIativeIy
givingyou a p|еasingеffесtwith minimal
effort.However,this is an ,ЕavyМetal-paintedmodе|/so it
Won/tsurprisеyou to |еarnthat insteadof drybrushing
fur,Neil piсkedout the separateсlumpsand high|ightеd
The only exсeptionto this Wasa Very
lightdrybrushin Steps3 and 4, detailedbelow.
lt,sa|waysa good idea to get some real-worldrеferenсe
bеforeyou startpaintingfur. Referenсеbooks on natural
historyare a good startingpoint,as they often havе с|ear,
photosand, as a|ways,the Intеrnеtis a great
tool for findingsuitableimages.
Keeping the backpack
separateallows Nei/ to
paint the tails without
referеnсeallowsyou to paintyour fur
to |ookmorе rеalistiс- for examp|e,the fur on thе baсk of
an animaItendsto be darkеr,lighteningout towardsthе
end and so Neil has rep|iсated
this effесton the two taiIs
danglingfr o mthe baсkpaсk.BleaсhеdBo neand SkuIl
White were usеdmorе hеavilythan on the peltsto aсhieve
Nеil has paintedthe undersidеof thе pe|tsred,starting
with a baseсoatof pure Sсab Red. tortresscrеy was added
to thе mix in gradualstagesas he bui|tup thе layersuntiI
hе was happywith the fina||ook.
Step 1, The fur areas were first basecoated with
Scorched Brown. А solid сoat was created usinя
several thin layers.
Step 2. Bestial Brown was then used to piсk out
the fur, this was more heavily applied towards
the еdges of the pelt.
Step 3. Vomit Brown was used for the next laуer;
the сentre of the pelt was given a light drybrush,
while the fur along the edges was painted.
Step 4. Bleaсhed Bone was lightly drybrushed in
the centre of the pelt, but paintеd onto the
clumps of fur around the edges.
Step 5, Skull White was the final highlight,
applied over the whole pelt with a slightlу
heavier сoating on the edges.
Step 6, Two washes were then brushed over
the pelt; the first was Gryphonne Sepia,followed
by Ogryn Flesh when the first wash had dried.
The pair of wolf
сlaws are a real
the Wolf Guard,
and onсe painted
really bring the
Both sides of the wolf сlaws were painted
with the energy effeсt, as the model,s open
posture makes every angle visible.
Nе i I h as pai nt e da b ri ||i a nf tr е e h a n de n e rg yf i e l dd esign
plаyingaсrossthе woIf сlaws.You,Ilsеe simiIareffeсtson
many ,EavуМetal paintedmodе|sthatfеaturepowеr
Wеaponsin onе form or anothеr.
t h i st е с h n i q u eb y ,b |o tс h i n g ,otnh е
N е i I s t ar t е d
basесoatto the с|aws.Тhis mеansthe paint,whilе
t h i nne dd o wn ,wa s a p p |i е di n a n a I m o s t
re r nai n i ng
roughshodway, lettingthatpaintrun onto the
areaand dry in a naturaI
by the brush(sеeStep be|ow).Whеn dry,this formedthe
basisof the frееhanddesign.Тhе nеxtstagеwas to painton
thе initia|energyIinеs;thesеwere paintеdusingthе pattеrn
We featured an alternative energy field
oaftern in last month's masterclass - this
effect *'ill n,ork with a varietY of сolours,
сreatedin the prеviousstepas a guide.trom thereit,sa
сasеof bui|dingup the freehаndwork bу addingto the
сo lo ur sand mix еs,еaсh
enеr gyI inesw ith thе subsеquеnt
stagеshouldhavea finеr Iinethanthe previousonе. Aftеr
thin g|azеof thе
eaсh Iayеr,NeiI app|iedan еxtreme|y
sameсo|ourand washеdit ovеr the еntirес|aw.Тhis helps
and addsa сеrtainеthеrеal
qualityto the lo o k o f thе mo dеl.
Nеil has paintedthе еner gylinesin a mo r еtightIy
paсkedand densеrpattеrnon the undersidеof the сlaws,
the powerof the wolf сIawsis foсusеdon the
areaof thе weaponthatwi|l do thе mostdamagе.
Тhe Wolf Claws
Step l. Thinned-down Regal Blue was applied to
the wolf сlaws in a haphazard, ,blotchу,fashion,
as desсribed above.
Step 2. Lines were painted onto the claws with
Hawk Turquoise, using the pattern created in the
previous stage as a guide.
Step 3, А З:1 mix of Hawk Turquoise and
Bleaсhed Bone was painted over the lines.
А glaze of the same mix was then applied.
Step4, А 1:1 mix of Bleaсhed Bone and Hawk
Turquoisewas used on the lines, then turned into
a glaze and brushed over the area.
Step5. Next,a З:1 mix of Bleaсhed Bone and
Нawk Turquoisewas used. onсe again this was
thinned to a glaze and applied to the whole area.
Step 6. Finallу SkullWhite was painted onto
the verу edges and points of the сIaws as an
92 WHIТE DWARF
,ЕАVY МЕTAL МAsТЕRсLAss