Master Class 1

Clanrat: Start to Finish Lesson One: Basecoating Paints: As listed, or equivalents

Elf Skintone (Vallejo Game Color) Royal Purple (Vallejo Model Color) Calthan Brown (GW/Citadel Foundation ­ Discontinued) Deneb Stone (GW/Citadel Foundation ­ Discontinued) Chaos Black (GW/Citadel Colour ­ Discontinued) Sick Green (Vallejo Game Color) Plate Mail Metal (Army Painter Warpaint)

THINNING THE PAINT Paint taken straight from the pot/bottle is unsuitable for painting, and needs to be thinned with either a painting medium, or water, or both. Unthinned paint will be too thick: it will obscure detail, dry patchy and irregular, cause excess wear on your brushes, and will not flow smoothly.It is good practice to keep your water jar filled with clean water. If the water looks too cloudy, wash out the jar and change the water. I changed it once halfway through this stage, but it's up to you to decide how much or how little you want to change the water. There is a knack to thinning paint. Depending on what effect you wish to achieve, the paint/water ratio can change drastically. Thin the paint too much and it will separate into individual particles and/or become runny and useless; too little, and the paint will drag rather than flow. For these basecoats, I would suggest a ratio of almost 1/1, with slightly more water than paint. However, depending on how thick your actual pot of paint is (it differs from pot to pot), this ratio may be useless. You must find out for yourself what is a workable consistency, and the best way to do that is by practice. In this stage, you are aiming for a smooth­flowing, ever­so­slightly transparent consistency. The paint should flow, but not run away uncontrollably. It should leave a decent layer of coverage that doesn't obscure detail, but will probably require two coats for solid coverage. If at any time you feel the paint is dragging, simply wet your brush, and mix the water into the paint to improve the consistency. APPLYING PAINT TO THE BRUSH When painting, it is important not to get any paint in the ferrule (the metal part of the brush which holds the bristles), as the paint will dry and cause the brush hairs to split. To avoid this, do not allow the paint to get too high up the bristles. When you have made a usable consistency on your palette, load up your brush, and wipe a little off onto the kitchen roll to stop the paint flooding the model. BRUSH STROKES Use straight, controlled strokes all flowing in the same direction and with the contours of the model. Never, ever "stab" paint as it will ruin the brush and achieve nothing. Never paint "against the grain" of the model. For example, it is no good painting strokes horizontally across areas of vertical detail (such as a skirt's folds). Think about which direction the strokes should be for each area of the model. NOTE Although this is not really relevant to basecoating, where you want the entire model to have an even layer of paint, it is important to realize that the last part of the miniature your brush touches will leave the strongest area of colour. In principle, it's not unlike buttering bread: your brush drags paint along the surface of the model, and then leaves what remains where you lift your brush. Paint towards the areas you wish to have the strongest colour. Once the paint starts to drag or run out, load up the brush again. Make sure your paint is thin (add more water if necessary), and don't forget to wipe off the excess. Clean and dry your brush thoroughly before using another paint. Paint these basecoats in the order I have given:

BASECOATING FLESH Make up a mix of 2/1 Vallejo Game Color Elf Skintone and Vallejo Model Color Royal Purple, and thin with water to a usable consistency. Apply over areas of flesh and hair. You may need to use two coats for good coverage. Be tidy, but don't correct your mistakes just yet. The paint is still wet, and will only smear if you try to fix things now. We will clean up all mistakes in the tidy­up stage at the end of the lesson. Make sure all areas of flesh and hair are painted. Leave to dry thoroughly before painting the next stage. BASECOATING BROWN CLOTH & WOOD Using the same methods as before, apply Games Workshop/Citadel Foundation Paint Calthan Brown onto the cloth areas, as well as to any wood, such as a weapon shaft or shield, if your model has one. Leave to dry thoroughly before painting the next stage. BASECOATING BANDAGES Using the same methods as before, apply Games Workshop/Citadel Foundation Paint Dheneb Stone onto bandages. Leave to dry thoroughly before painting the next stage. BASECOATING BELT AND BLACK CLOTH Using the same methods as before apply Games Workshop/Citadel Colour Chaos Black onto cloth and the belt. Leave to dry thoroughly before painting the next stage. BASECOATING WARPSTONE AMULET Using the same methods as before apply VGC Sick Green onto the warpstone amulet, if your model has one. Leave to dry thoroughly before painting the next stage. BASECOATING METAL Using the same methods as before, apply Army Painter Plate Mail Metal to all metal areas, including the weapon, and the shield's trim and boss, if your model has a shield. Be sure to use your metallic water jar for cleaning your brush and thinning the paint. Leave to dry thoroughly before painting the next stage. BASECOATING HAIR/FUR Using the same methods as before apply GW Chaos Black to the hair/fur. The line between hair and flesh is abstract so you must paint on the border yourself. I find it's best to paint the root and work towards the tip using thin, even strokes to simulate fur. Leave to dry thoroughly before painting the next stage. TIDY UP Look over all the areas of the model, and see what needs tidying or another coat of paint. Be extra critical. Using your base colours, tidy up or recover the parts of the model that require it. If you get this stage looking as neat as possible, all the other stages will work so much better.

Lesson Two: Shading With Washes

GW/Citadel Wash: Leviathan Purple (discontinued). GW/Citadel Colour: Blazing Orange (discontinued) GW/Citadel Colour: Vermin Brown (discontinued) Army Painter Strong Tone Ink or GW/Citadel Wash: Devlan Mud (discontinued). Army Painter Dark Tone Ink or GW/Citadel Wash: Badab Black (discontinued). Glaze Medium (optional, but worth it)

"Why can't I use the current Citadel Shades?" GW's current line of Citadel Shades, introduced in 2012, do not mix well with water, and are therefore unacceptable for our purposes. Thinning these current Citadel Shades with water will leave a horribly grainy, streaky finish, which tends to settle on the raised areas rather than in the recesses, resulting in the exact opposite of the smooth, flat finish that we are aiming for. THE PURPOSE OF WASHES Washes are used to add shading to a model by settling mainly in the recesses of a miniature. Straight from the bottle, a wash is usually too strong and will provide too sharp a contrast, so we will thin the wash with water in a ratio of roughly 1:1, using slightly more wash than water. Never use a ratio with more water than wash, as it will separate. MAKING WASHES If you have no access to the ready­made washes listed above, I find making a wash using paint, glaze medium, and water to be acceptable. However, it's tricky to achieve the right balance. To approximate the pre­made washes listed above, mix a drop of paint and a drop of glaze medium, adding enough water to make the mixture transparent. The ratio should be roughly: 1 part Paint : 1 part Glaze Medium : 4­8 parts Water The more water you add the more the paint is likely to separate into particles and dry unevenly. The glaze medium will stop this happening, but only up to a point. If the water content becomes too high, separation will occur, so practice with ratios first.

Purple wash (Leviathan Purple) can be made by using GW Liche Purple or VMC Violet paint Black wash (Dark Tone Ink) can be made using black paint Dark brown wash (Strong Tone Ink) can be made by mixing dark brown and black paint.

This said, the ready­made washes have better transparency, so it's better to use them if you can. APPLYING WASHES A wash should cover the whole area you intend to wash. Don't concentrate it on the recesses, as it will create unsightly tide­marks. Use a medium amount on the brush, but don't flood the model. A big, pregnant drip on the end of the brush is no good, but neither is a piddly little streak. Blot any excess onto your absorbent kitchen roll before application. Application should be controlled, and care should be taken not to get any wash where you don't want it. Believe me, a purple blob on a white bandage is going to show through and ruin your next stages of careful painting. Go with the grain of the model, as discussed in the last lesson. However, where in the basecoat lesson I told you to allow your mistakes to dry and then fix them later, here it's important to rectify your mistakes immediately. Anytime you've made a mistake, load up your brush with water, dab off the excess, and suck up the mistake with your damp brush tip. You will have a 10­20 second window to get rid of the mistake before it stains, so work quickly. Cover the whole area in the wash and please please try not to go over the same area twice, as the wash effect is cumulative, and repeated applications will darken the area rapidly. You may be tempted to apply the washes to different areas one after another, rather than allowing the entire model to dry before proceeding. I'm not recommending this, because people are using different models with different areas of cloth, metal, and skin, and applying a wash to an area next to a spot that's already wet can cause the washes to bleed into one another, resulting in a mess. The best practice is to allow the entire model to dry before moving on to another area, and this class is, after all, about best practices.

WASHING FLESH Thin Leviathan Purple 1:1 with clean water, and apply to the areas of flesh. Allow to dry thoroughly before moving onto the next stage. You may notice a tide­mark on the heel to our right. This is what can happen if you do not apply the wash evenly. WASHING BANDAGES Thin AP Strong Tone Ink 1:1 with clean water and apply to the bandages. Allow to dry thoroughly before moving onto the next stage. WASHING BROWN CLOTH Thin AP Strong Tone Ink 1:1 with clean water, and apply to the brown cloth. Allow this to dry thoroughly before moving onto the next stage. WASHING METAL AND WOOD Thin AP Dark Tone Ink, and apply it to areas of metal, and to any wood areas that may be present, such as shields or weapon shafts. Allow the model to dry thoroughly before moving onto the next stage. BEGINNING THE ILLUSION OF RUST: BROWN WASH By adding a brown wash, we can create an extra dimension of colour to the metal and create the illusion of rust. Wash thin GW Vermin brown onto all the metal. The paint should be very thin indeed: 1 part paint to 4­8 parts water, if necessary. Using a dot of glaze medium will stop tide marks forming. Unfortunately for me I rushed this stage and forgot the glaze medium which led to an uneven, unnatural finish and a clear tide­mark. Leave the model to dry thoroughly before moving on to the next stage. COMPLETE THE ILLUSION OF RUST: DIRECTED ORANGE WASH Accentuate the rust with Blazing Orange. Don't wash the entire area this time, be selective and sparing. Try to concentrate in grooves, and joints, and around rivets by pushing the thin paint into these areas with the flat of your brush. Leave the model to dry thoroughly.

Lesson Three: Blending the Fleshtones

VMC Royal Purple VGC Elf Skintone VGC Pale Flesh Glaze Medium

Blending paints is a way to get your layers of paint to merge seamlessly together, from dark in the recesses to light on the raised edges. It's a little tricky to get the hang of blending, but once learned, it will be simple. All that blending requires is patience and a good eye for colour. You will start by mixing up a first colour with some glaze medium and water, and then adding your successive highlights to the mix in tiny amounts. You use a tiny dot of paint on the tip of your brush, and feather it to spread the colour out. GLAZE MEDIUM is used to make the paint more transparent and leave a smoother finish, allowing your blending to look seamless. Glaze medium does not thin the paint, so you will still need to thin the paint with water to make it "travel" better. Finding the right balance of paint to glaze medium to water is something that you’ll have to learn thru experimentation, though I will try to go into as much detail as I can. It's a delicate balance. Too much glaze medium in the mix can leave your paint sticky and useless. Too little glaze medium and too much water will cause your paint to separate into particles, leaving unsightly tide­marks. FEATHERING YOUR LAYERS Before I go into the paint consistency and stages of painting, I will explain how I apply my layers. After a workable consistency of paint has been made up (more on this later), I load up my brush and wipe off most of the paint, leaving just a dot on the tip. I then place that dot on the edge of the area I wish to paint and move it in one direction toward the area I wish to have the strongest colour. For instance, when I paint a sphere and want to highlight the centre, I start on the edge and work the paint toward the centre. When painting a model's nose, I start at the bridge of the nose and work down towards the tip. Think about your highlights before you place them. Think about where the strongest areas of colour would be and then highlight towards these parts. In this technique, it is important to allow your layers to dry a bit before applying the next layer, since semi­liquid paint may "tear" and leave an unsightly darker patch on the model. ACHIEVING THE RIGHT RATIO OF PAINT TO GLAZE MEDIUM TO WATER This is undoubtedly the trickiest part of blending for me, and will probably be the hardest to explain. The ratio of paint:medium to water varies depending on the effect you wish to achieve and the quality and type of paints you are using. For blending these layers (and this is only a general suggestion), use 1:1:3 of paint:glaze medium:water. You may need more water, you may need less. You might even need less medium (I doubt very much you would need more), but the only way to know is for you to try it for yourself and practice. For these stages, you want paint which is free­flowing but not runny, and is slightly transparent. ALTERING YOUR PAINT MIXTURE TO CREATE HIGHLIGHTS You should make up an initial mix, and add a little of the lighter colour to it for each layer to create successively lighter highlights. By doing this, you won't have to make up a new mix for each layer, which would not only be wasteful but also probably not as good, since it would be very difficult to mix the correct strength of highlight. Since you will be using this initial mix throughout, adding to it at each stage, it is best to make up more of it than you think you will need, so that you don't risk either having the paint dry out prematurely, or running out of paint because you don't have enough. The glaze medium will help slow the drying process. As you add more paint to the initial mix, you will probably also need to add more water to keep the ratios equal. You might need to add more glaze medium as well, but only if you think it's necessary. Don't overboard with the glaze medium.

SKIN: LAYER ONE Make up your initial mix. Remember to make more than you think you will need. The initial mix is 3 parts Elf Skintone to 1 part Royal Purple. Add glaze medium and water to make a useable consistency. Apply the first layer to the raised areas. Remember to use only a tiny amount of paint on your brush, working it toward the areas you want to be brightest, and trying to feather the paint's edge out. Don't go overboard. Remember to have some of the previous layer showing through, especially in the recesses. Leave the model to dry before applying the next layer. SKIN: LAYER TWO Add a dot of Elf Skintone to the mix. A "dot" is an abstract amount. You want to lighten the colour of the paint by only by a very small amount so that it's hardly noticeable. Apply in the same way as before, making sure to keep some of the last layer showing at the edges. Leave the model to dry before applying the next layer. SKIN: LAYER THREE Add another dot of Elf Skintone to the mix and apply in the same way as before. Really begin to define the musculature and wrinkles of the model now. Leave the model to dry before applying the next layer. SKIN: LAYER FOUR Add a dot of Pale Flesh to the mix. You may need to add some more water and/or medium by now to keep your mix workable. Apply in the same way as before, becoming very selective and sparing in your highlights. Leave the model to dry before applying the next layer. SKIN: LAYER FIVE Add another dot of Pale Flesh to the mix. Apply in the same way as before, becoming even more selective and sparing in your highlights. Leave the model to dry before applying the next layer. SKIN: LAYER SIX Add another dot of Pale Flesh to the mix, and highlight only the extreme edges of the face, such as nose tip, brow, ear tips, lip, and wrinkles. Also, add sharp highlights on the knuckles, kneecap and the toes. If any other skin area needs a small, sharp highlight (possibly on the arm or leg), then add it, but only on the uppermost raised edges. A quick tiny flick of the brush will be sufficient. You may wish to use a few layers here to make those highlights pop.

Lesson Five: Highlighting the Brown Cloth

GW/Citadel Foundation: Calthan Brown (discontinued) Vallejo Game Color Dead White (pure white, same as old GW/Citadel Skull White) Glaze Medium

Painting the cloth will follow the same basic principles as painting the flesh. Using glaze medium to help the blending, we will first thin the paint to usable consistency, then make an initial mix and gradually add more and more white to it for each layer of the highlights, painting the raised areas and leaving the recesses dark. Sometimes, draped cloth, such as the loincloth in the Clanrat used here, will have no raised areas but will require highlighting. In this case, highlight the whole area, but focus the highlights toward the bottom of the cloth, starting near the top and brushing downward towards the bottom. CLOTH: LAYER ONE Make up your initial mix of Calthan Brown & a tiny dot of Dead White. The initial colour should be hardly distinguishable from pure Calthan Brown. Make up more than you think you'll need, & add water and glaze medium as in the last lesson. Load up your brush, wipe off the excess onto kitchen roll, and apply the first layer of highlights. Remember to focus highlights near the bottom of a drape and that the last place your brush touches will have the strongest colour. Allow to dry before applying the next layer. CLOTH: LAYER TWO Add a dot more white to the mix and highlight again. Remember to keep some of the last layer showing through. Allow to dry before applying the next layer. CLOTH: LAYER THREE Add a dot more white to the mix and highlight again. Remember to keep some of the last layer showing through. If you need to add more water, then do so. Allow to dry. CLOTH: LAYER FOUR Add a dot more white to the mix and highlight again. Remember to keep some of the last layer showing through. You must be very sparing in your highlights now. Allow to dry. CLOTH: LAYER FIVE Add a dot more white to the mix and highlight again. Remember to keep some of the last layer showing through. If your highlight is not bright enough at this stage, simply keep adding white to the mix in tiny amounts and highlighting until satisfied. Always allow the last layer to dry before deciding whether to add more highlights, as paint changes colour when dry.

Lesson Six: Bandages & Stitches, and Metal

GW/Citadel Foundation: Dheneb Stone (discontinued) Vallejo Game Color Dead White (pure white, same as old GW/Citadel Skull White) AP Shining Silver AP Strong Tone ink

BANDAGES & STITCHES: INITIAL HIGHLIGHTS Thin some Dheneb Stone, and highlight the bandages. Use thin, flicking strokes for the bandages' highlights. Don't try to highlight each one: just a few selective highlights will suffice. If your model has stitches, paint them with Dheneb Stone as well. Leave the model to dry before moving onto the next stage. BANDAGES & STITCHES: INTERMEDIATE HIGHLIGHTS & SHADING THE STITCHES Mix 50/50 Dheneb Stone & Dead White & highlight the bandages again. Be even more sparing this time. Very carefully shade the stitches with a fine detail brush and Strong Tone Ink. Leave to dry before moving onto the next stage. BANDAGES & STITCHES: FINAL HIGHLIGHTS Highlight the bandages and the stitches with pure white. Highlights must be extreme and sparing. Leave the model to dry before moving onto the next stage. PRINCIPLES OF EDGE HIGHLIGHTING To highlight the metal areas, we will use a technique called edge highlighting. This technique uses mostly the flat of the brush rather than the point, and creates sharp, thin highlights which work especially well on metal. To highlight the edges of armour, blades, and other metallic objects, first thin the paint to a useable consistency. Then, load up the paint onto a fine detail brush, and wipe off the excess paint. Run the flat of the brush along the edge you wish to highlight. When I say "edge", I mean the sharp point where two flat edges of metal meet. If you cannot run the flat of your brush along an edge­­for instance, if the edge isn't raised enough or there is a risk of getting paint onto other parts of the model­­simply use a small, quick flick motion of the brush tip to hint at a highlight. When highlighting metal, it's important not to go overboard and outline every single possible edge. Usually a tiny highlight here and there will work much better than a lot of highlights all over the place. Think about the highlights and only highlight were the light would fall. METAL: EDGE HIGHLIGHTING Edge highlight the metal with Shining Silver. Be sparing. You can also hint at some sharper metal on the blade by creating diagonal slash marks. Do this by flicking the brush from the centre of a blade toward the edge. If you choose to do this, make sure all the strokes travel in the same direction, but are of varying lengths and increments along the blade, so that they don't appear too uniform.

Lesson Seven: Black Cloth

GW/Citadel Chaos Black (discontinued) Vallejo Game Color Dwarf Skin Vallejo Game Color Pale Flesh Glaze medium

NOTE Painting black is quite difficult, requiring you to use your eye & judgement rather than following a set of exact ratios. In the first 5 stages, I added increasing amts of Dwarf Skin to Chaos Black to create highlights. You may need to use more stages—I advise against using less—to achieve your smooth transition from black to warm grey. Follow the rules previously given for painting the brown cloth by painting only the raised edges, painting towards the areas of strongest light, and leaving some of the last layer showing through. Keep the recesses pure black, as otherwise the cloth will begin to look grey. You’ll find it best to mix up workable, thinned amts of Chaos Black & Dwarf Skin on the palette with a dot of glaze medium in each, adding the Dwarf Skin in tiny amts. You must be very sparing when adding the lighter paints to the mix when painting black. It's easy to jump too quickly to an overly bright colour, ruining the transition. In the final stages I added tiny amts of pale flesh to black & highlighting sharply.

Lesson Eight: Highlighting the Fur & Warpstone

GW/Citadel Chaos Black (discontinued) GW/Citadel Adeptus Battlegrey (discontinued) GW/Citadel Codex grey (discontinued) GW/Citadel Fortress grey (discontinued) VGC Sick Green VGC Escorpena/Scorpy Green VGC Livery Green VGC Dead White Glaze medium

PAINTING THE FUR start at the root and work toward the tip in one smooth line. For each successive highlight, start a bit further up, leaving the root darkest. We will be adding successive highlights to an existing mix, so make sure your initial mix is nicely thinned. Although it is not essential in this stage, you may wish to add a dot of glaze medium to the mix, if you think it will help. FUR: HIGHLIGHT I Make up an initial mix of 1:1 Chaos Black and Adeptus Battlegrey. Mix up enough paint to last through Highlight Four, making sure to thin the paint to a workable consistency. Apply the paint in thin strokes on each individual hair, working from root to tip. FUR: HIGHLIGHT II Add a dot of Adeptus Battlegrey to the mix, and highlight again, starting higher up the hair. The mix should look almost like pure Adeptus Battlegrey. FUR: HIGHLIGHT III Add a dot of Codex Grey to the mix & highlight again, this time starting even higher up the hair. FUR: HIGHLIGHT IV Add a dot of Fortress Grey to the mix and highlight yet again, this time higher up the hair than you were before. FUR: FINAL HIGHLIGHT ON EDGES Paint pure Fortress Grey on the extreme edges and tips. Painting the warpstone amulet uses the same techniques that have been covered in previous lessons, but with one slight variation. Here, the warpstone has a dark stripe, making it look like a natural piece of gemstone, carved and polished to achieve a deep sheen. In actuality, it's not the stripe that's painted on, but rather the additional highlights on either side of the area that create the appearance of a dark stripe. WARPSTONE: HIGHLIGHT I Mix 50:50 Scorpy Green and Sick Green and paint the whole amulet, leaving a small diagonal stripe which should be kept dark. WARPSTONE: HIGHLIGHT II Mix 2:1 Scorpy Green & Sick Green & paint the amulet except the for small stripe. WARPSTONE: HIGHLIGHT III Paint the amulet Scorpy Green except for the small stripe. Concentrate highlights towards the edges by painting from the center out to the edges. WARPSTONE: HIGHLIGHT IV Mix 50:50 Livery Green and Scorpy Green, and paint highlights on the edges only, and the lower side of the dark stripe. Keep this mix for the next stage. WARPSTONE: HIGHLIGHT V Add a dot of white to the previous mix and highlight the edges. Add a thin flick on the lower part of the dark stripe. Keep this mix for the next stage. WARPSTONE: FINAL HIGHLIGHTS Add a final dot of white to the previous mix, and highlight on the extreme top edge only. Add a tiny dot of pure white in the top corner of the amulet.

Lesson Nine: The Face

GW/Citadel Blood Red (discontinued) GW/Citadel Bestial Brown (discontinued) GW/Citadel Tausept Ochre (discontinued) GW/Citadel Sunburst Yellow (discontinued) GW/Citadel Dark Flesh (discontinued) VGC Bonewhite VGC Ultramarine Blue VMC Royal Purple AP Dark Tone ink Glaze medium

GLAZING is used to change the colour of an area subtly by applying multiple ultra­thin layers of paint to build up a colour gradient. It can be used to add realism to all sorts of flesh, from a red nose and ruddy cheeks to necrotising flesh around a blister. I’ve added multiple thin glazes of blue around the eyes to give them an unhealthy appearance, & reddish­purple glazes around the muzzle & near the roots of any hair on the body & face to make these areas appear sore. When glazing, its vitally important to get your ratios right. You must have a LOT of water in comparison to paint; &, if you are new to glazing, glaze medium is essential. A small amt will stop your paint from separating & allow the ratio to be much more forgiving. The ratios I used were roughly 1 part paint to 1­2 part glaze medium & 8­10 parts water. This is’nt a ratio you should follow religiously: as long as the paint and glaze medium components are roughly equal, and the water component is vastly dominant, you’re on the right track. The final consistency should appear as the intended colour on the palette, but be absolutely useless for anything but glazing with. It should be even more transparent & thinner than a Citadel Wash/Shade. Too much water in relation to paint & glaze medium & your paint will separate into visible particles. If this happens you’ll see swirls and grains of paint in the mix (in which case it's useless). The other important thing to consider about glazing is directing & controlling your brush strokes. Simply "washing" the area will result in a blotchy, streaky finish. Once you have the correct glaze ratio, load up a standard­sized brush, blot it very slightly on a kitchen towel, & then use the FLAT of the brush to push the glaze toward the area you wish to have the strongest colour. Imagine you are sweeping the paint particles toward the area you wish to be strongest in colour. Brush in the same direction a few times, then allow the glaze to dry before applying another. The 1st stage of glazing should be hardly noticeable once it's dry. You must build up the colour gradient by repeating the process with additional glazes until satisfied. If your first glaze is too obvious, you have too much paint in your ratio and should adjust it accordingly. GLAZING DO'S AND DON'TS DO­

Get the right ratio. You glaze must be thin and transparent. Add glaze medium. It will allow you to add more water to the glaze before it separates. Blot the glaze on a paper towel before application so you don't flood the model. Push the glaze, using the flat of your brush & multiple controlled strokes, toward the area you want strongest in colour. Use multiple layers of glazes. Allow each layer to dry before adding the next. Use a low setting, on both blow and heat, if you choose to use a hairdryer to speed up drying times. Stop glazing before you go too far. You can always add more glazes, you can't take extra glazes away.

DON'T­

Make your glaze too strong. If your first glaze is quite noticeable you have probably used too much paint in the mix. "Wash" the area you are glazing. Push the glaze in a controlled manner with all brushstrokes in the same direction. Add a fresh layer of glaze before the last is dry. This will create tide marks and tears in the previous glaze. Use dirty water to make your glaze. Use fresh water each time you mix up a new glaze.

GLAZING THE SORE AREAS Using the ratios given above, mix up a glaze of 2:1 Blood Red & Royal Purple. Using a standard brush, apply in stages along the bridge of the nose and toward the base of the patches of fur on face & body. I used 3 stages of glazing, but you may need to use more; you definitely won't need less. GLAZING THE UNDERSIDE OF THE EYE Change your water. Mix up a glaze of VGC Ultramarine Blue. Using a standard brush, glaze the underside of the eye, working toward the socket. It doesn't matter if you get it in the socket as we will be painting this later. I used 4 stages of glazing. WASHING THE EYE, TEETH AND CLAWS Wash unthinned AP Dark Tone Ink into the eye socket, the mouth and over the claws of the feet. This will provide shading for the next stages. Be careful and don't flood these areas. Use a smaller brush if you want extra control. BASECOATING THE TEETH AND CLAWS Basecoat the teeth and claws Bestial Brown. Be very careful and use only a slightly thinned paint so you don't flood the model. If you get paint in the gaps between the teeth and claws use multiple washes of Dark Tone Ink to redefine the recess. PAINTING THE MID­TONE ON THE TEETH AND CLAWS Use Tausept Ochre to paint the teeth and claws, leaving some of the previous colour showing at the base. BASECOATING THE EYE Paint the entire eyeball Blood Red. HIGHLIGHTING THE EYE Add a single dot of Sunburst Yellow. Leave a lot of the previous layer showing through. PAINTING THE WHISKERS Using a fine detail brush, add dots of slightly thinned Dark Flesh onto the muzzle. You must be careful to have the paint only on the very tip of your brush, as any more than the tiniest amount of paint will cause an unsightly splodge. Make sure that you touch the tip of the brush down lightly, without bending: if the brush hairs bend, they will make a line rather than a dot. Just a quick touch of the tip is all you need.

Lesson Ten: Tidying Up & Finishing Off This lesson is short but important. As well as completing a few minor finishes, we’ll be redefining highlights where needed, & adding shade into recesses if needed. These little touches will really take the miniature take up a level. GLAZING THE TAIL The 1st thing is to glaze the tail with Blood Red. Use the techniques from last lesson & glaze the tail from base to tip. You may need to hold the model upside down while your glazes are being applied & while drying. Add a very light glaze, just to hint at a colour change, using your own judgement to decide when to stop. DRYBRUSHING THE WOOD If your model has a wood grain texture on a shield (which should be at a "Calthan Brown + a wash of Dark Tone ink" stage), then very, very lightly drybrush the wood with Bonewhite. Brush the tip lightly over the wood grain, going across the grains in order to pick out the detail. Only 2­3, small, light strokes are needed. If the area of wood grain showing is too small to drybrush w/o hitting other areas, don't bothert. The highlights are very subtle anyway, and wouldn't look right on a small, enclosed area. If your miniature has a spear shaft don't do anything to it. Simply leave it at the Calthan Brown+ a wash of Dark Tone ink stage.

FINISHING THE METAL STUDS Use a Fine Detail brush to dot each one with Dark Tone ink. Don't flood the area, but make sure that the ink surrounds the stud, providing a circle of neat shading around the base of each. If you flood the area or go overboard, tidy up your mistake immediately. If you've made a mistake and there's too much ink or ink in the wrong place, load up your brush with water and flood the area, brushing away the ink before it dries. Then use a piece of kitchen roll to absorb the water. Make sure that the area is completely dry before trying again. Once the studs are dry, use a Fine Detail brush to pick out each stud with Chainmail. Use the flat of your brush to strike the tip of each stud. This will be easier than using the tip to pick them out. DEFINING THE FACE I made the face sharper by adding 2 wrinkles underneath the eyes and a small flick of a highlight down the bridge of the nose, using a thin mix of 1:1 Pale Flesh and Elf Skintone. DEFINING THE FUR I added Chaos Black into the grooves of the hair to make the individual hairs stand out. I also re­highlighted some of the tips with Fortress Grey. DEFINING THE BANDAGES You my want to add shading into the join between the bandages and flesh using Strong Tone ink. If you do this, make sure to use a fine detail brush and be extremely sparing. Only paint into the extreme join of both flesh and bandage, and allow one thin layer to dry before deciding whether to apply another, as too much shading will look unnatural. You may want to add shading in between the bandages themselves. Use Dark Tone ink with a fine detail brush, and be sparing. If you want to add a small highlight on the bandages, use VGC Dead White, and touch on only the most extreme highlights. HIGHLIGHTING TEETH AND CLAWS Use VGC Dead White, highlighting the most extreme areas.