And so we’re back, from outer space, to continue this hobby journey. Thanks to everyone who showed interest in the first post in this short series. I hope it’s inspired some of you new painters to pick up a brush and brought some comfort to struggling hobbyists like myself.
It’s been a good few months since I’ve had the opportunity to sit down and paint anything, but I’m preparing to get back to it. I have a new brush, a couple of new paints (including Vallejo’s Fluros) and a number of minis to jump right back in with. But for now, I’m returning to Veridyan.
When we left off, we’d just finished discussing black. Surprisingly, this is one of the most difficult colours to paint or, at least, get looking “right” on miniatures. Now, rising from the glossy blackness of Veridyan’s armour, we begin to paint the gold and metal.
And that’s where the fun begins.
Step 4: Heavy Metal
You’ll notice that, in the original John Blanche artwork (pictured), Veridyan wears black armour with gold trims. Because of the lighting of the blood red ground and flames around her this gold appears different on the various points of her body (see the shoulder trim compared to the kneepads and then the sword). This being the case, I did my best to replicate the effect.
I also ended up attempting Non-Metallic Metal (NMM), inspired by the ‘Eavy Metal box art. As said in the last post, I worked to replicate this as best as I could. Because I had this reference, I didn’t have to dive into my first NMM experience completely blind.
The trick to NMM is, as the name suggests, creating the illusion of light hitting and reflecting off of metal in a realistic way without using metallic paints. This requires a good eye, careful planning, practice with blending… or a bit of luck and washes/glazes. Whatever works for you.
The kneepads, I think, turned out the best of all the metals. They were created by painting on a layer of ochre-ish yellow like Averland Sunset, then washing with our old friend Agrax Earthshade. This paint is referred to as Liquid Talent for a good reason. Washes pool in even the smallest of recesses rather than laying on top of details, creating great texture and shading with a quick brush over. From there, I worked back up to the yellow but, unlike usual, I left shade in very specific places.
When painting NMM, it’s important to exaggerate shadow just a bit. Light would be landing on the rim of the kneepad (all the way around, but particularly on the bottom and top), the top of the skull in the centre and also a bit on the detail within the trim. As such, I left the darker, washed areas with almost all the shade showing through (seen between the “flames” above the skull), while building up the bright areas to almost full yellow. From there, I continued to add layers to the bright areas with a bleach boned colour, then pure white. Again, don’t be afraid to use pure white on the very edges, but keep in mind where the light falls and bounces.
This idea can also been seen in the shoulder pads and fleur de lis patterns scattered around the body. The relatively dark brown of the shaded areas (that is, those places not hit directly by imaginary light) are left brown, while the very tips are highlighted white. I am a little less happy with the shoulder pads, as they ended up a bit thick and murky, almost tinged green for some strange reason. Remember, as the good Lord Duncan says: “PAINT IN MULTIPLE THIN COATS, NOT ONE THICK ONE.” Patience is key. Blend slowly. The smoother the blend the more realistic the metal will look. However, if you want a more exaggerated, cartoony look, by all means go and paint in layers.
The same principal is applied to the areas of bare steel on Veridyan’s armour, except in greyscale. Starting from a dark grey (perhaps Eshin Grey) in the recessed parts of the armour and working up to pure white will create realistic looking metal. I particularly liked how this turned out on Veridyan’s ornate gloves (see left). For a grittier, heavier, meaner looking metal, go straight from dark grey to white/light grey (as seen on the pistol barrel). The harsher the contrast, the harsher the metal. You’ll see this effect used a lot on Ork armies or even my own Iron Wolves. This is when you can add little chips as well for a more realistic effect (simply make small, random stripes of the final highlight colour).
Step 5: The Holy Sword
Now this was the tricky part.
It was tempting to paint the sword in exactly the same way as detailed above, but that would make it blend in far too much with the gold. This is her principal weapon, after all, and a focal point for the whole model (what with it being a long, straight line in contrast to the curves and folds of her armour). Besides, in the artwork, Veridyan’s sword glows a sort of deep bronze under the hellish light. To recreate this effect, I turned to brown rather than yellow.
Starting from a flat base of Rhinox Hide, I gradually added Karak Stone to the mix. Keeping the principal of direct light in mind, I kept the lower half of the sword completely brown (where the light would not hit but which might reflect the ground around). Using my mix of Rhinox and Karak, I gradually blended along the length of the sword, eventually arriving at pure white on the tip. I then gave the whole thing a very light brown wash to smooth out the transitions a bit (a very helpful technique to try, especially if you’re just beginning to blend), before working a bit of white back in to keep it bright. Finally, I ran my brush at an angle over the edges of the sword (even at the bottom) to finish the effect.
To add to the piece and deviate from the artwork a bit (I hate doing what everyone else has done!) I decided to try a “power weapon” effect by painting on lightning bolts in orange (which you can still see in the photo to the right)…
I ended up hating it and having to redo most of the sword. Ah well. We learn by making mistakes, after all. Nothing ventured, nothing gained.
Step 6: The Devil is in the Details
I am, as you might be able to tell, a long-suffering perfectionist. I’ve stripped and re-painted countless minis over the years just because there was one little thing that niggled me about them. I’m also rather obsessive when it comes to the small details in things. I think you have to have a combination of both of these traits if you want to be a miniature painter. It’s just using them as a force of good that is difficult.
I love small details and tiny models (hence Goblins and Squigs) simply because it gives me the opportunity to practice laser-like focus. Painting a little chain dangling from Veridyan’s belt or dotting out small patterns on her robe, man, that’s the good stuff. I’m always trying to step up my game, getting finer and finer as I go along. I’ve ended up with Army Painter’s “Extreme Detail” brush in my collection just for this reason. Next step is, of course, “The Psycho“. (Great brushes, by the way).
When painting extreme detail, I find having a magnifying lamp or even cheap 2x reading glasses incredibly handy. I can’t stress the importance of good, natural light in this process as well. You need to be able to see where your brush is going.
Unfortunately, I can’t give many tips on developing a “steady hand”, as it all comes through practice and repetition. I’m still trying to master the art myself. I can, however, give you a couple of good recipes, which I applied when painting on Veridyan’s smaller details. They are quick, easy and without-frills.
Red (for example, cloth and wax):
Mephiston Red > Wash with Xereus Purple > Mephiston Red > Evil Suns Scarlet > Highlight the very edges with Jokaero Orange.
Purity Seal Paper:
Karak Stone > Wash with Agrax Earthshade > Karak Stone > White > Dot on/scribble some thin lines of watered-down Rhinox Hide to represent text.
Start with Rakarth Flesh > Wash with Agrax. Essentially the same as the purity seals, but leaving more contrast between the washed Rakarth and final white highlight (you can also use Ushabti Bone, a slightly yellower bone colour, to further differentiate the two).
DO NOT start with white. Instead, start with the foundation paint Celestra Grey (seriously, a life saver). To give the impression of a white with depth instead of pure white, only highlight the edges of the armour/hair/whatever with pure white. Use a mix of white and Celestra to create a mid-tone where appropriate. Shade with watered down Nuln Oil (very carefully) if you need extra depth.
Pale Caucasian Flesh:
Kislev Flesh > Shade with Agrax or Reikland Fleshshade > Kislev flesh > Kislev Flesh/White > White on very edges (noses, etc.). Mix in a tiny amount of red to paint the lips (only paint the bottom lip of any scale mini, this gives an impression of make-up or flush without going too far).
And really, that’s all there is to it! To finish off Veridyan, I used these simple, basic tricks over the finer details, making them pop while not taking too long. Of course, there’s room for experimentation even here, like producing more realistic flesh with blue tones and deeper red with greens. For now, though, I think we’ll leave it at that.
Ahh, one last thing on details though: Eyes!
Everyone learning to paint miniatures comes across this problem sooner or later, discovering that even with the thinnest brush in the world it seems impossible to paint realistic eyes. But there are some easy tips.
The biggest mistake to avoid is creating a “startled” look by placing the iris/pupil in the very centre of the eye, detached from the border. In reality, the iris is obscured, top and bottom, by eyelids. In miniature form, all you’ll likely see of the whites of the eye are the very corners. As such, it’s best to paint most of the eye black.
Paint the whole eye black, or very dark brown > Very carefully, paint on a strip of white in the eye socket, leaving a ring of black (suggesting eyelashes) > Over this, paint a black dot, big enough to reach the black edge of the eye, but small enough to leave some white visible on both sides (depending on where the model is looking).
It’s tricky, sure, but eyes are a focal point that deserves the attention. If you do not have the space to paint eyes, however, don’t be tempted to just splash paint over the eyelid. Instead, paint a thin line of wash to give the impression of dark eyes between the eyelids. This looks a whole lot better than bulging, cartoon eyes. Trust me. I have far too many of this sort in my collection from the early days.
Step 7: Watching it all Come Together
And so, apart from a few extra things here and there, Veridyan is complete.
There are, naturally, a number of things I’d go back and change if I had the time and energy. Firstly, I’d take more time on blending the metals smoothly in thin coats. I’d pay closer attention to the proportions and shading of the face and also avoid the gloss wash that turned her black armour all shiny in the wrong places.
Never-the-less, Veridyan was a massive learning curve for me, someone looking to take the next big steps in the mini painting field. I got the opportunity to try out a number of advanced techniques, including NMM and blending, in the safe shadow of a number of reference pieces. Even writing this walkthrough has been an educational experience in itself!
I truly hope you’ve gotten something useful from it, even if it was just a bit of a laugh. You can find the completed model in the gallery section of this site, or by clicking here!
To wrap everything up, in this series we’ve covered or touched up:
- Practice makes perfect and patience is key.
- Accepting and taking on board constructive criticism.
- Pushing yourself and learning from mistakes.
- Proper preparation and cleaning of a resin kit.
- Starting from the lowest or largest area of colour.
- Highlighting black.
- NMM gold and silver.
- Painting in multiple thin layers.
- Detail work.
- Some easy recipes.
Thanks again to everyone who’s supported me in my painting over the years, especially in recent times! Please continue to enjoy my site and check me out on Instagram if you haven’t already. I’m rolling out a number of past projects there at the moment, but expect to see a lot more works in progress and new models next month.