,_

'

Author and Editor: Ange l Giraldez.

Directio n and development: Angel Giral de z .

Cover and backcover: Hugo Rodriguez Garcia [pobreartista.coml

Design and layout: Hugo Rodriguez Garcia (pobreartista.coml
Photography: Carlos Llauger Lorenzo, David Seley, Ange l Giraldez.
Illustration: Ignacio Hern andez, Javier Vidal, Maritxell Aleman.
Accounting and tax advisory services: Maria Araujo Troche.

Collaboration: Juan Lois Rey

Sculptors: Fausto Gutierrez, Antonio Moreira, Javi Urena y Jose Roig

Special collabo ration: Corvus Belli S.L.L. Acrylicos Vallejo S.L. Harder 6 Steenbeck,
Customeeple, Warsenal, Luxumbra S.L.
Translation: Gutier Lusquifios Rodriguez, Feliciano Bethencourt Herrera.
Editing: Jeremy Breckbill.
Print: Agencia Grafica SLU.
'lfinity, all related characters and their distinctive likenesses are trademark of Corvus Belli SLL, and used with

�«missi on. TM 6 C 2015 Corvus Belli SLL. All rights reserved.

·•e toral or partial reproduction, copying, ma nipulation, alteration, conveyance, broadcasting, or any other use of the

•ents of this book, for whatever purpose, Is expressly prohibited without express prior permission from the author .
tS8N: 978-84-617-4715-3

a..&al Deposit: VG 576-2016

 Painting miniatures from A to Z
Angel Giraldez
Masterclass
Volume 2

CONTENT:

1. INT RODU CTI ON . . . . . . ..... . . . . . . ..................... ..... . . . . . ....... 4 7. TE CH N I QU E S

2. TH E AN G E L GI RA L D E Z METH OD I N D E P T H NON META L L I C ME TA L , 2 ND PA RT ......... 31
COAT I N G ......................................................... 7 WEAT H E RI N G (RUST, SCRA TCHES,
PLA CI N G T H E H I G H LIG H T S A ND SH A D E S...... 8 P I G M E N TS, ETC.) ..... . ... . . .... .... .
. . .. . ... . . ..
. . ... . 37
OU TL I N E S...................................................... 9
VOL U M E S........ . . . . . . ......... ................. .............. 10 8. MA STE RC LASSES
How T O P A IN T PA N OC E CA NI A ... ............. 42

3. COLOR TH E ORY . . . . . ....... . . . . . . . . . . . .... . . . . . . . . .......... 12 How T O P A IN T ARI A D N A . . . ......... . . . . . . . . . . . . 54

4. P RODU C T S U SED .... . ............... .

............... . .... , 17 How T O P A IN T Yu J1N G . . . . . . . ....... ............ 76
'

5. TI PS How T O P A IN T HA QQISLAM .................... 92

BRU SH H A N DLI N G . .. . . . . . . . . . . . . . .... . . . . . . . . . . .......... 19 How TO PA IN T NOM A D S....................... 10 8
PA IN T D I LUTI ON .................... ...................... 20 How TO PA IN T T H E COM B IN E D ARM Y .. 118
How TO PA IN T ALEPH......................... 128

6. AI RB RU SH I N G How TO PAI N T TOH AA . . . . . ....... . . . . . . . . . . ..... 134

PA RT S OF A N A I RB RU SH ............................. 23 How TO PA IN T ME RC E NA RI E S............... 142
AIRB RUSH H A N DL I N G . . . . . .. . . ...... . . . . . . . . . .... . . . . . . 23 (AU T H ORI ZE D BOU NTY HU N T ER)
DI LUTI ON . ........... ................ ..
. ...... . , ............. 27
.. A CH ERONTIA M OB I L E B RI G A DA SQUAD . 150
AIRB RUSH HA N D L IN G GRA P H . . . . . . . . ..... . . . . .... 28
[LEA N I N G . . . . . . . ..... ................... ..................... 29
 •

. ,· ·."' '
I'm back!

And it is thanks to you all! Without your support and trust in my work this Volume Two would not be

possible, and I am very grateful for your interest!

I would like to welcome the newbies to this new miniatures painting adventure. You will discover my view of

this hobby that has been my job since 2003.

Miniatures painting has allowed me to travel, learn, and meet people, many of whom have become friends.

During those travels I was also able to meet some of you and learn what your painting concerns and

opinions are, and how to try to solve them, because your opinions are really relevant to me.

Volume One was a big success. I was astounded by its great reception, and that it has become a reference

book in the miniatures painting world. Its sales were incredible; it broke records and its popularity reached

countries that I could have never thought of. This creates a challenge that I have meditated on quite a bit:

will Volume Two be better? Allow me to answer with a YES, because everything is possible.

The first book allowed me to grow on a professional level, to learn from mistakes and most of all challenge

myself to improve. And this is something I wanted to show in this new book.

I will give you an example: do you remember your first painted miniature? And now you see your newest

one and say, ·Hey I have improved1· Well, that is the same feeling I had when I started writing this new

book.

You are going to find an in depth expansion of my painting method, an explanation of how to determine

a miniature's volumes, and how to place light and shadows, as well as new information on Non-Metal

Metallic techniques and the appearance of a new technique, weathering! Also in this volume you will find

the beloved Tips section and a new airbrushing section, where you will discover the fascinating world of the

airbrush.

The last section is composed of the masterclasses, entire processes with many pictures and text explaining

in detail the best method of painting, as I say, from A to Z, start to finish. And there is no better way to

demonstrate the masterclasses than with the miniatures of Infinity and some sculpts inspired by the Infinity

universe.

To conclude, I would like to say that this new book has required many more hours of work than the first

volume. I have spent weekends working against the clock to successfully complete this project and for it t o

b e helpful t o you, so I can say there is a piece of myself i n this book; I hope that it reflects all the dreams

and love that I put into writing it.

nA book to help painters"

Angel Giraldez
 •

T H E ANG E L G IR ALDEZ M E THOD I N DEPTH

In Volume One I explained that my method combines airbrush and bristle brush. Now, I would like to state this is a
methodology I have been developing for years in an attempt to get the best qualities of both tools, combining them to save
time when painting and to achieve really amazing results.
A question you frequently asked me is, "Can the bristle brush be used instead of the airbrush to paint some parts of a
model?" And my reply is always the same, yes. However, for several reasons the result wouldn't be the same. The first
reason is the time required; you would need more time to paint an area using a bristle brush instead the airbrush. For
example, it is easiest to use the airbrush to blend, because this tool allows us to do it faster while getting a gorgeous result.
If, instead of the airbrush, we used a bristle brush that area would require more time to paint. It is not worth it to use a slow
tool when you can use one which speeds up the painting process. Some of you don't have too much time for miniatures
painting, and only can paint a few hours at a week. So, saving time is a good reason to consider the airbrush as a friend and
ally.
Whether you are wargamers, professional painters, or just someone who likes painting as a hobby, always use the best tool
for each task you want to perform.
It is really important-necessary even-that you never forget that without practice no method works. You can watch a lot
of painting DVDs, read any amount of books, but if you don't practice you will never improve your painting skills. Practice
makes perfect.
For that reason, I would like this book be a motivational resource for you to practice and paint more. And don't forget if you
have any doubt you can find me on my social media channels or contact me through the e-mail address found in the Tips
chapter.
Now that this brief introduction is over, it is time to go deep into my method.

6
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PR I MER COAT I N G
One of the most important steps of the painting process is the primer Then, I apply two or three thin layers of Grey Primer to the highest
coating. We must dedicate however much time is necessary to areas of the miniature, where more light falls on the model.
achieve a good primer coat as it is the basis of all the painting work
to follow. Don't forget that "with a good start you get better results". What are the advantages of applying two colors of primer?
Throughout my many years of painting I have tried several methods This method of primer coating saves time and allows us to see the
of primer coating, searching for the best for my painting method. general volumes of the model-the highlights as well as the shades­
much faster. The Grey Primer is applied to the highlight areas while
·
I use two different types of primer coating colors: Black Primer the Black Primer covers the shade areas.
#73.602 and Grey Primer #73.601.
First, I apply three or four thin layers of Black Primer to the whole What could happen if we just prime only with Black Primer?
surface of the model. It is very important to let each layer dry before Black Primer makes seeing the volumes at first sight difficult.
applying the next one. This is way I get a thin primer layer to avoid Moreover, Black Primer makes working with colors such as yellow,
hiding any of the miniature's detail. white, and red more difficult because it requires you to apply
several layers of paint to get the desired tone. However, all these
NOTE: Don't forget that thick layers of paint can hide the disadvantages can be avoided just by applying a coat of Grey Primer
details o'f the model. after the black one.

7
 �,�,BREAKING MYRULE
� Sometimes, it is necessary to break the rules,
PLACI NG
and this happens when you need to apply other techniques to
get a different result with a miniature. For this reason, I prime
THE HIG HL I G HTS
some miniatures using only white. Why do I this? And, when Is It AN D SH ADE S
necessary to do it?
When considering the colors I will use on a model, if I realize that How do I decide where to place the shades and the highlights?
many washes will be required to get the final result I want, then Well, this is probably one of the most important sections of this
I usually prime with white. The reason why I use white primer book, and the most difficult to explain. But I will try to do it in just
in such situations is due to the method of painting. I start the three easy steps.
painting process using the white primer as the final highlight,
then apply washes to darken an area to create shades. It will be 1. When I paint miniatures I imagine a spotlight pointing from
easier to see how I do this by looking at an example. above, a technique called zenith lighting. The areas In which
that light falls highlighting the general volumes of the model are
NOTE: Don't be afraid of changing any technique you read In where you will have to apply the highlights. A good way to easi ly
this book The best way of improving your technique is trying check that is priming with black, and then applying a priming
new ideas and adapting them to you own style of painting. coat of grey. It is very important to hold the airbrush in the same
way as you can see in the picture, so when applying the Grey
Primer, the grey will cover the areas where you have to apply the
highlights.

2. When you only apply the zenith lighting it is likely that some
parts of the model will require more highlighting. So, I usually
apply some general highlights to get a better definition of that
area.

3. Once I finish painting a model, I usually make a general check

to adjust highlights and shades. To do that, I apply some points
EXAMPLE:

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. THE ANGEL GIRALDEZ METHOD· .....

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of l ig ht to highlight some part I want to be more noticeable. NOTE: In these examples you can see i n a general way where
Also, I apply shades to darken that areas I want to provide with the highlights and shades are placed. You can also notice that
more depth, Increasing the contrast effect. I continue to adjust highlights and shades can vary depending of the position of the
high l ights and shades until get the desired result. This l ast step model.
is highly influenced by your experience as a painter. The more
miniatures you have painted, the more experience you will have,
and the better the painting result will be.

HIGHLIGHT

SHADE

O UTLI NE S
Another technique you have to consider is outlining, which helps provide a better visual definition of the model's details, so shades and
highlights are even more contrasted.

HIGHIIGHTOLJTlINES SHADEOUTLINES
This is done to the most exposed areas of the miniature, such This is made in the wrinkles, grooves, and the innermost areas
as the edges of fabric:, armors, or blades. It has the function of of the miniature. It is used to prevent visual confusion, providing
emphasizing that area. Always use the final highlight color when better definition by dividing the different areas of the model.
performing this type of outline. Always use the final shade color when performing this type of
outline.

9
INTERPRETING VOLU MES
The volume interpretation of a model depends on the location o f the lighting source. You can check this asseveration in the following
examples:

Example 1
Light comes from the righ t side. Light comes from above. Diffuse light.

,,

Example 2

Lig ht comes from th e left side. Ligh t comes from above. Diffuse light.

�ust changing the direction of where the light comes from, the volumes vary and you can get your model to look different from the box
ar� even while using the same color pattern.
So ;he most important issue when painting volumes is the source of light.
 . . .. . - ·•i.·--=- .. ,.,,___
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--

THE ANGEL GIRALDEZ METHOD .

... . . ·.. .

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In this graphic there are several geometric shapes in which you can see how they change when receiving light from different sources.

NONMETAilIC EXAMPLE·

BlACKAND WHITE EXAMPIES

11
 •

COLO R THEO RY
Color Theory is one of the most important sections o f this book, as it is necessary for improving our painting skills.
When I started painting I didn't care about this theory, but finally I understood this knowledge is fundamental to any
painter. Unfortunately, I learned about the theory the hard way, mixing colors and studying how they combine, trying to
find the best combinations. This was a long process I could have shortened if I had read about Color Theory before.
Now, after this long introduction, you are probably asking, "What is Color Theory, and more importantly, will this theory
really help me to improve my painting skills?" I can reply to the last question with total confidence: yes, of course!
There are a lot of books explaining Color Theory, with long and broad explanations covering all aspects about the
theory. However, they provide too much information; most of the stuff compiled in those books will be not useful to a
miniature painter, and they will only confuse you. What really interests me is you understanding the most useful parts
of the theory in this first step of your learning process. This will allow you to acquire more knowledge gradually.
To ease you into this theory I have written a summary of the most important parts, taking only what it is really
necessary for painting miniatures.
 ---- �·:.

COLOR T HEORY C OLOR W HEEL

Color Theory is a group of basic rules concerning the mixing of The Color Wheel is a visual representation of the primary colors
colors to get a desired effect. (red, yellow, and blue), and how they combine to create all the
existing colors. It will help us to understand the relationship
between the different colors when painting, for example when
we want to combine them.

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 COLOR TH.EORY'·· .·. . . ;_ .·, J .... � .
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COLOR
Color is the sensation caused by the reflection o f light off matter when transmitted by the eye to the brain. The matter absorbs all
wavelengths that compose light except those belonging to the color we are seeing, which are reflected. White light can be produced
by combining cyan, magenta and yellow pigments, creating a neutral color.
Colors are divided into primary, secondary and tertiary.

PRIMARY COlORS

Primary colors are YELLOW, RED, and BLUE, without these three colors there ls no other color possible. You can consider them the
kings of the colors.

SECONDARYAND COMPLEMENTARYCOLORS

Secondary colors are those you get when combining two primary colors.
GREEN, ORANGE, and VIOLET are secondary colors and, at the same time, they also are complementary colors of the prima ry color not
used in the mix. The graphic below will help you understand this easily.

MIX COMPLEMENTARY

+
 �-- ...

COLQ"i:� JffEO R Y.
�:...··· ....
.�..... �� -�··

Knowing the relationship between primary and secondary colors will greatly help us in getting good color results when painting. For exam­
ple, if we are painting a yellow layer, then we have to use its complementary color, violet, to shade it.
I encourage you to try mixing these colors on your palette to check the results.

TERTIARY COLORS

Finally, the tertiary colors are violet red, orange red, orange yellow, greenish yellow, greenish blue, and violet blue. Those colors are
obtained by mixing a primary color with a secondary one. We will frequently use tertiary colors to harmonize the color patterns of our
models, so it is very important to know where they come from. I encourage you to try mixing these colors in your palette as a practical
exercise.

+ +
-

+ +

+ -
+
-

LUM INANCE
Luminance is the amount of light each color has, and it is possible
to differentiate the luminance of colors by their contraposition to
other colors. For an example, yellow is a lighter color than blue,
or green is a lighter color than brown. For us as painters, it is
really important to be conscious of this because when we have to
lighten our miniatures we must use colors that have yellow in the
mix, for example: sunny skin tone, ice yellow, light livery green,
etc.

SATUR ATE D AND

D ESATUR ATE D C OL ORS
A saturated color is a pure color which has not been mixed with
white or black, while a desaturated color is the color mixed with
white or black. The more a color is desaturated, the more muted
it becomes until it reaches a grey scale.
SATURATED
NOTE: The human eye perceives saturated colors before

II
others. We can use this effect to make relevant parts of the
model stand out. For example, saturated colors are used to
differentiate armies: Noma ds are mainly red, and PanOceanians
are blue. These are both very s atu rated colors, which allows us
to ide ntify them at first sight.

DESATURATED
15
 --- :-. . : .:. --

WARMANDCOOL COLORS
Colors also cause emotive reactions in the people viewing them. The cool colors, blue and its derivatives, are considered calming and
relaxing but also express loneliness and distance.

On the other side, warm colors, yellow, red, and their derivatives, are considered exciting colors, expressing dynamism, strength,
cheerfulness, and proximity, evoking the sun and fire.

E :Je can warm or cool any color just by adding different proportions of primary colors to the color mixture.
 ""C
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ACRYLICOSVALLEJOPAINTSAND BRUSHES c
Once again I have at my disposal all the Vallejo Acrylic products to paint the miniatures in this book: all of their Model Color,
n
Game Color, and Game Air ranges. Choosing the right paint will make the best paintjob possible.
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NEW!AG MUG
The mug that will make you paint like an •angel" or just let you take a break ;).

HARDER&STEENBECKAIRBRUSHES
The German company Harder 6 Steenbeck is back to participate in this project. The quality and unique technology of their airbrushes
allows them to reach areas that other brands cannot.

ANGEL GIRALDEZ INFINITY INFINITY CR PLUS EVOLUTION AL PLUS

PAINTRACK AND BASES BASESANGEL GIRAlDEZ- WARSENAL

ANGEl GIRALDEZ- ClJSTOMEEPLE
Bases designed with Customeeple for Infinity.

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 •

TI PS
When I travel to teach masterclasses and demos I have the opportunity to talk with many people who come me with their
doubts. Also, I receive daily questions from my social networks followers about their painting problems, which gives me
first-hand knowledge of the more frequently asked questions, and how better to solve them.

Sometimes it is pretty easy to answer to their questions just by using little tips and explanations. This is why I compiled
all the questions I have received and divided them in two main groups: Bristle brush handling and paint diluting. This new
lips section is an expansion of those in the Tips chapter from Volume One.

DTE f you have any paintin g questions or problems you need to solve, just write me at the email ad dress below:
- ge � raldez(Olgmail.com
 T I P S_

BR ISTLE BR USH
H AN DLING
When painting your miniatures it is important to know that not
every part is painted the same.
Let's see some examples

1. When we paint edges or locks of hair it is important to paint 2. To paint plane surfaces, draw the brush in one direction and
with the side of the bristles and not with the tip, as holding the apply thin layers. This way we get a good coat.
brush in this position will make it easier to apply the paint.

3. Ifwe want to make splash marks we have to do them with a

hard brist le brush. Wet the brush with the paint and then use a
finger to bend the bristles back and release them. This app lies the
paint in little splashes.

NOTE: The bristles of the brush must be dry.

19
4 When using the stippling technique, position the bristles of 6. If we apply a wash, then the dilution must be four or five drops
the brush perpendicular to the surface you're painting. This is a of water per drop of paint, this is very similar to when we apply a
damaging technique for the brush because we have to smash the glaze.
tip of the brush against the painting surface.

7. When painting a zone like the one in the example, an arm with
hexagons or the tubes on the legs, you have to take into account

DILUTI O N that the paint must be a bit thicker than usual. This way we will
avoid the paint running into the crevices.

One of the most important parts of applying paint is to know

the dilution proportions. First we have to know the differences
between the ranges of paint, for example the difference between
Model Color and Game Color. Even though they are very similar,
their properties are different and the best way to understand
them is to experiment with them to discover their consistency.

Also take into account the following: glazing effects require a

different dilution than painting a base col or.

S. When we paint a miniature, dilute the paint to the consistency

of milk. The paint must flow and when we apply layers of paint
they must be thin. It is difficult to give an exact number of water
drops; the ideal practice is to add drops one by one until the paint
flows. Then you will have the perfect di lu ti on.

8. If we have problems when applying washes, Vallejo has

• specific paints with the perfect dilution ready for us to apply
directly to our miniatures
.

2D
-
AI R BRUSHING
When we talk about airbrushing in miniatures games, the general consensus is that using an airbrush is complicated. The
truth is that like everything in life, when you try something new it tends to be difficult. If you don't see the desired results,
it is also frustrating. That is a feeling I know very well; I haven't forgotten my beginnings as a rookie in the painting world.
However, bit by bit and with a lot of practice, I managed to improve my skills. I will never tire of repeating this sentence:
"Practice makes perfect".

In the first volume you could see that my method is based on airbrushing, and I demonstrated the steps needed for the
mixed technique of airbrush and bristle brush. Now, in this second volume it's necessary to include a section in which I
can explain using the airbrush in detail.

In this book I will explain how to use the airbrush, techniques to dilute paint, general tips, and how to clean the device. I
know that many of you are laughing while reading the word "clean". Those who know a little bit about me are aware that I
don't clean the airbrush often, but that is a fault of my personality, not a good technique. I have to tell you that you should
in order for it to last as long as possible.

hope this book encourages all who are starting to use the airbrush to try it out and not be afraid of making mistakes.
PAR TS OF AN AIRBR USH

<:[IJlJJ 0 1 5 127912
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0,15mm 127920
0,2mm 123730
0,4mm 123740

AI R BR USH HAN DLI N·G

One of the most important things you have to consider while handling an airbrush is the way you hold it.

The tip of the index finger must rest on the top part of the trigger for better control and accuracy; we have to feel the trigger.

• •

23
With the correct position we can use the other hand to steady
the mi ni a ture
when painting.

Working on a tall table improves stability and accuracy.

Hold the airbrush one inch away from the miniature.

We rest our wrist of the hand that is holding the miniature on

the edge of the table while the elbow of the other arm must be
next to our side. This way, we will move the arm holding the
miniature over the edge of the table, as a guide, while the arm
holding the airbrush remains still.

The position of the airbrush will depend on the part of the

model we are going to paint; always try to choose the b est
angle.

24
A good exercise to improve our accuracy with the airbrush is to
practice on paper. However, practicing with actual models will
return the best results.

1. Instead of priming the miniature in one go, we are going

to work with separate parts. First, we will prime an arm, trying to
not cover other parts of the miniature, then we will go to one leg,
then to the other and so on and so forth. This is a basic exercise
that-without even realizing it-helps us control the flow of paint
through the air cap.

2. When applying lights we have to keep reducing the area 3. To make dots a lot of pressure is needed, which require
highlighted. we will pick a miniature that has a plain surface and us to make short strokes to the trigger, where the needle goes
we will start applying highlights and reducing the area that we down and back only a little bit. This exercise can be practiced on
want highlighted. To do this, you must bring the trigger back less the palm of our hand.
and less. We can use the quick fix system to block. the recoil of
the needle so we can simply press the trigger.

25
4, Another note when highlighting is that we can control s. Sometimes we make mistakes while doing color
the color intensity. We can do this by controlling how many layers transitions, but we can practice how to solve that mistake.
of paint are applied to the same area, as more layers intensifies We will paint a blunt transition on our miniature and then we
the color. We will apply several layers to see how the color gets will correct that transition by applying thin layers just to the
more intense. overlapping parts. This way we will unify that color jump. We
have to stroke the trigger down and then back a bit.

•
With these small exercises we will improve our skill level.

DILUTION
The dilution of paint depends on what we want to paint, whether it's a base color, highlights, etc. As an example, let's consider the
Game Air range. I tend to add one or two drops of thinner or water to Game Air colors.

With this reference, when we want to dilute any of the other ranges, like Model Color, Game Color, etc., it will be a lot easier.
What's most important is that the paint flows well.

If we are going to use the Game Color Extraopaque or Game Color paints, then I advise using a thinner, given the composition of
this range. Those are thicker paints and the thinner will help us get the needed fluidity.

As I already told you in Volume One the pressure I work with is 1.8 -BAR.

27
AI R BR USH H AN DLIN G GR APH IC
l" position
This is recommended when you want to prime a model quickly,
to apply the base color of a big model such as a TAG, or when
you paint a scenery piece. Since these are all plain surfaces you
are not required to be precise.

70%
70%t �
-
_, I..-

znd position
This is one of the most used positions. With this position you will
have more control of the airbrush, which will allow you to paint base
colors more effectively, as well as the first highlights and shades.

J�
15%

-
-
50%t �
-

�11 .
_,I..-

J
3'0position
This is the most precise position, providing the most control This position is hard to control, so I advise you to practice until
over the airbrush. You can use it to paint points of light, the last you get the position perfect.
highlights, and very small parts of the model.

5%
40% +i:4
-
- I..-

4•h position
In this position, you have to remove the rear cap and loosen the This is a very good position if you want to apply a weathered
nut that holds the needle, then press down the button and move effect, simulating dirt and mud.
the needle. In this position the paint Hows like a splash, as if you
were applying the stippling technique.

100% +};.._
-
..., I..-
CLEAN ING
There is a quick way to clean our airbrush when changing colors When we feel that the airbrush is completely jammed, we will
without dismantling it and putting it in water. We just have to have to unscrew the head and take the air cap out to clean it.
pull the trigger down and move the needle back and forth, which We will need an interdental brush, a nozzle cleaning set, and the
removes the majority of the paint. airbrush cleaner.

Sometimes the airbrush tends to jam a little and you just have When we finish our painting session we must clean the airbrush
to dismantle it. I f this happens, we can put the airbrush in water thoroughly. To do this correctly, we have to dismantle the entire
but then we will have to pour a little of airbrush cleaner into the airbrush and use the interdental brush with a bit of airbrush
airbrush and press the trigger down. This will remove those cleaner on every part.
pollutants from the air cap.

....
-

29
TEC HN I QUE S
In Volume One I explained five tectiniques: NMM, glazes, washes, stippling, and points of light, all of them basic techniques
that you will frequently use when painting. For that reason, I strongly recommend that you re-read them as I will be
constantly referring to them in this volume's masterclasses.

In this new volume I will explain the weathering technique, a useful technique that will provide your models a realistic look,
simulating mud, dirt, and dents, just by working with pigments. It's an easy way to get a weathered effect.

In addition, I will expand upon the NMM technique, but using incomplete "sketches" of three painting examples with their
color recipe to paint gold, silver, and bronze.

The Techniques section closes the theoretical part of the book. The Masterclasses section follows it, where you will get to
pract ce all you have learned here.
NON METALLIC METAL SECOND PART
In Volume One I explained the theory of Non Metallic Metal (NMM) and provided an example by painting armor using the technique
with silver. Now, in Volume Two I am going to show you some more examples with other rnlor recipes so you can create different Non
Metallic Metal effects. These are quick sketche.s to help you understand where highlights and shades must be placed.

SILYER NMMSKETCH

NOTE: I have s eve ral recipes to paint silver NlvlM. I showed you 3. The second highlight is White with a bit of the mixture from
one of them inmy prev i o us book, but now here's a new one. the previous step. I focused on applying this second highlight to
the same areas as the previous step, but covered a smaller area.
1. I applied the base rnlor with three thin layers of Dark Grey
#70.994. 4. Next, I used a mixture of 50% Black #70.950 and Dark
Prussian Blue #70.965 to outline all the gaps of the armor. This
2. To provide the first highlight I made a mixture of 70% Dark step is useful to visually separate each armor plate.
Grey and 30% White, applying it to the bulkiest areas -shoulder
pads, helmet, and legs- trying to not completely cover the base NOTE: This step requires a bristle brush with a good tip. It f s
also important that the paint flows well so i t reaches and fills all
color.
the gaps.

31
s To outline all the edges of the armor I applied White, which 7. Take a look to the shoulder pads. I placed the highlight in the
helps to visually define each armor plate. As in the previous step, center and the shades In areas on the side. In the same way, I
a good bristle brush is required. This is a complicated step, but if highlighted the chest on Its highest areas and shaded in its lowest
you do it well you will get an outstanding result. areas.

5. This is my favorite step, and the one which makes the biggest 8. Finally, I applied pure White to provide a more intense
difference. I started shading with Dark Prussian Blue and Black in highlight, getting a strong, bright effect.
the lowest areas, trying to get a contrast between highlights and
shades.

BECl�E
DARK GREY
•
WHITE
It
DARK PRUSSIAN BLUE
•
BLACK
•
GOLDEN NMM SKETCH

NOTE: The steps required to paint a gol d en NMM are the same
as with the silver technique, only you have to change the colors
used.

This is the recipe I used in the NMM set of Acryl icos Vallejo, and
you can find all the colors used here in that set. 4. I used a mixture of 50% Black and Sepia Ink #72.091 for the
crevice outlines.
1. The base color applied is Heavy Brown #72.153.

2. The first highlight re quired Heavy Goldbrown #72.151. 5. Then I outlined the edges with White.
,

3. To provide the second highlight I made a mixture of 60% 6. And the last step is to apply shades with Sepia Ink and Black.
Heavy Goldbrown and 40% White.

33
 RECIPE
HEAVY BROWN
•
HEAVY GOLD BROWN
•
• •
WHITE

SEPIA
•
BLACK
•
• •
 �
.
-

- • , _. ...
-: • • ...
t. J.6,( hi �JQ bl E.S
_

�-. --

- - -
·� . .

BRONZENMMSKETCH

NOTE: The process to paint a bronze NMM is the same as in

the previous sketches.

1. The base color applied is Mahogany Brown #70.846. 4. I then used a mixture of 50% Black and Hull Red #70.985 to
outline all the gaps between the plates to provide them a better
visual definition.
2. The first highlight is applied with Orange Brown #70.981. It is
very important to apply this smoothly as we only want to provide
5. Then, I outlined the edges with White.
a slight touch of the orange color to the model. If we provide an
excessive amount of this color, we will get a very different result
6. The next step was to apply a glaze with Orange Brown to
with a strong orange appearance. smooth all the color transitions.

3. To provide the second highlight I made a mixture of 80% 7. Finally, I sha ded the miniature applying a shade of Hull Red and
Sunny Sklntone #70.845 and 20% White. then a shade of Black.

35
 BECJeE
MAHAGONY BROWN
•
ORANGE BROWN
•
SUMMY SKINTONE
• • •

WHITE

HULL RED
•
BLACK
• • •
WEATHE R I NG
And now, the largely awaited weathering technique in Volume Two! Chipped paint, rust, scratches, mud-all these effects will provide a
touch of realism to your TAGs, Remotes, and any other model you want.
In Volume One I applied a weathering technique in the "After the Battie• masterclass, but now I am going to explain this technique in
depth and show you other ways to get these kind of effects.
Acrylicos Vallejo has a very good range of paints and pigments to make the weathering process easy. You will find them very helpful
when applying these techniques.

Next, I applied the necessary highlights and shades.

FlAWSANDSCRATCHES
Finally, using a damp brush I scratched the area where I wanted
1. To simulate scratches on edged areas I added paint to my to get a scratched effect.
brush and unloaded some of it on a piece of paper. Then I rested
the brush on the edge of an armor plate and dragged it to apply 4. You can combine these three different methods of simulating
the paint. scratches to get outstanding effects.
NOTE: You can ap ply washes to unify the different scratches
.
2. To simulate bullet impacts or grazes however, I painted lines with Sepia Ink #72.091, bro w n, or reddish colors. Smoke #70.939
is a good color to simulate rust dribbles.
of irregular dots with a dark color such as a mix of Black #70.950
and Hull Red #70.985. Then I highlighted the lower area of the
scratch with a lighter color to get a three dimensional effect.

3. To get a chipped paint effect I used Chipping Medium #73.214:

First, I applied the base color.
Then, I applied two layers of Chipping Medium.

-
---

37
38
PIGMENTS MlJD
Pigments are used to simulate the weathering and the dust, mud, 1. I mixed the pigments with some water and then applied them to
or smoke ac:cumulation produc:ed by time and natural aging. the area.

2. To get the wet mud effec:t, I mixed the pigment with some
varnish and ink.

3. I use the airbrush to apply mud splatters. To do this, I applied the

mixture with the bristle brush, and then with the airbrush I pressed
the button to expel some air, splattering the mixture over the area.

;41�: �
":·�

39
VERDIGRIS

This technique is very easy; you only need to apply Verdigris #

72135 directly to the area you want to paint, because this color
has been especially created to provide a verdigris effect.

This set contains two different types of blood; Flesh Blood #72132 and Dried Blood #72133. There are several ways to apply these
colors:

1. The classic way, using the bristle brush.

2. With a hard bristles brush.

3. Using the airbrush.

. ..

/ �... �
/
. '
..

. ' ·J
· �
.. ·· ....
·

j··�.·
� :.
:
. . .. .
. �.
.
4'.' . •
..
I . \: · : �

THESPECIALEFFECTSET
The Special Effect set is a very good pack, containing several special colors conceived to easily recreate blood, scabs, vomit, rust, and verdi ­
gris effects.
41
 -
--
1P'f"w�-
;:-yv:-=r

-·--- - .

PAN OCE ANI A

PanOceania is the hyperpower, the number one nation and leader of humanity. The fate of the Human Sphere is decideo
n the skyscrapers of the Neoterran megacorporations. They have the finances to stay on top, and their army has the
most advanced and destructive technology. The "PanOs" demoralize the enemy even before the battle begins, displaying
• e � ultra-new and ultra-cool ultra-technology. Big and menacing TAGs, high-end power armor ready for war, and a great
ar e:1 o'" weaponry make PanOceania not only a powerful army, but the ideal option to paint shiny armor and whimsical!�
1•0 �he Non Metallic Metals technique.
FUSILIERS Step 5
However to strengthen this highlight I added more White #72.701
The most representative color of PanOceania is a very intense to the previous mixture, so I got an even brighter effect on the
blue. In Volume One I showed you how I painted the conversion armor plates.
of the Cutter. Now I am going to explain, in a general way, how to NOTE: I painted the berets in this same step.
paint some of the models in this army. To do so, I will start with
the Fusiliers of the Operation: lcestorm Battle Pack.

Step 1
I strongly recommend that you prime your models in a group to
save time. In this step, I primed the three Fusiliers in my usual
way: first I applied several layers of black and then some grey.

Step 2
I started painting the armor's base color with Dark Prussian Blue a
#70.899, applying thin layers with the airbrush. My advice is to
be patient while applying the layers of paint to get a better result.

Step 3 •
I added 30% Blue Green #70.808 to the previous color to apply
the first highlights to the armor. You have to gradually add
highlights, applying more layers to those areas in which you want
the color to stand out. Just take a look to the shoulder pads for
example.

Step 4
I painted more highlights, adding a 20% White #72.701 to the
mixture of the previous step. You can see the highlight effect is
stronger with this latest application.

43
 •

Step 6 Step 11
I painted the base colors on the rest of the model to save time in Once I finished with the armor I started painting the face, which
the following step. previously painted with a base color of Cork Brown #70.843 and
washed with Black Red #70.859.
Step 7
Next, I outlined all the armor plates with a mixture of 50% Black Step 12
#70.950 and Dark Prussian Blue #70.899. I used this same I made a mixture of 70% Cork Brown #70.843 and 30% Sunn
mixture to apply a general wash to the entire model. By doing Skin Tone #70.845 to paint the first highlights on the face
this, I quickly created visual definition of the clothes. forehead, nose, and cheeks to provide more expression to the
model's face.
Step 8
I highlighted the grey armor plates with White #70.951.

NOTE: A good tip Is to apply the layers slowly, allowing them

to dry before applying the next one, to get a homogenous result.

Step 9
In this step, I outlined all the armor's edges to get a better visual
definition of the plates.

Step 10
Another view.

44
Step 13 Step ZO
By adding a bit of Bask Skin Tone #70.815 to the previous mixture I applied the stippling technique with a mixture of Flat Earth #70.983
I got the color for the second highlights, applying it to the creases and Dark Sand #70.847, applying it more to the wrinkles to provide a
make the face more expressive. weathered effect.

Step 14
I applied several glazes with Cavalry Brown #70.982 to the cheeks
and the tip of the nose to provide more tones to the face.

Step 15
Finally, I painted the eyes and fixed some color transitions.

Step 16
In this step I painted the pants, starting with the base color. The
Fusilier's pants are bicolored, so I painted one part with Chocolate
Brown #70.872 and the other with Old Wood #70.310 (Panzer Aces).

Step 17
I started to highlight the pale part of the pants with Dark Sand
#70.847 applying this color in thin layers.

Step 18
I applied the second layer of highlight with Ivory #70.918, but used
the stippling technique to get a weathered effect on the pants.

Step 19
I highlighted the dark part of the pants with Flat Earth #70.983, trying to
not highlight the deepest areas of the wrinkles.

45
 •

Step 21
Finally, I washed with Black #76.518 to unify the highlights and
shades.

Steps 22 and 23
I painted the weapon and the darker plates with black and
highlighted them by adding white

NOTE I painted them like I was making a grey scale, starting

from black and highlighting wrth white.

Step 24
The next step was to paint the LEDs. I started with Black Red
#70.859 as base color for them.

Step 25
Then, I applied the first highlight to the center of each LED using
Scarlett Blood #72.106.6

Step 26
I added a bit of Orange Fire #72.008 to the previous color to paint
the second highlight, applying it to the same areas but reducing
the area highlighted.

Step 27
Finally I painted the last highlight with a bit of White #70.951, but
just a little dot in the center of the LED.

46
SERAPH Step S
I made a mixture of 50% Dark Prussian Blue #70.965 and Black
One of the most remarkable icons of PanOceania are its #70.950 to outline all the armor plates. I painted the tubes
magnificent and shiny TAGs. In this volume I will show you how I and hands with Black #70.950 to get a better definition of the
painted the Seraph, the perfect model to dedicate a lot of time to different parts.
painting to get the best result this sculpture deserves.

Step 1
As usual, I started by providing the base color, this time with Dark
Prussian Blue #70.965, applied in thin layers to avoid obscuring
any sculpting detail.

Ste p 2
Then, I applied the first highlight with a mixture of 50% Dark
Prussia Blue #70.965 and Blue Green #70.808. I applied these
a
highlights all along the armor, adding more layers to the upper
areas.

Step 3 •
I added a bit of White #70.951 to get the color of the second
highlight. In this step I notice the light source, seeing how and
where the light falls on the model.

Step 4
I added more White #70.951 to the previous mixture to paint
the last highlights. Since more light falls on the head, chest, and
shoulder pads, I applied more layers there.
 •

Step 6
The white parts of the armor required Pale Blue #70.906 as base
color.

Step 7
I added white to the previous color to highlight the armor plates.
At this point we need to do this gradually to get a good color
transition.

Step 8
Then, Ioutlined the white and the blue parts of the armor with
pure white

NOTE: Lhal when outlining the blue plates of th e armor, we can

use two di fferent methods to do so:

1- We apply very thin layers in th e edges, so we can get a

smooth transition.

2- We add only a bit of blue to the white and we outline the

edges with that mixture.

Step 9
Another view.

Step 10
The next step is to paint the tail of the tunic with the airbrush so I
•.

covered the all the painted areas around the tail with transparent
film, masking tape, and Liquid Mask.

48
Step 11
The base color was Neutral Grey #70.992, applied in thin layers
as usual.

Step 12
Then, I applied the highlights with Dead White #72.701, while
removing the protective stuff I added in the previous step to cover
the previously painted areas.

Step 13
Once finished with the white, I painted a cross in the tail of the
tunic with Black #70.950.

NOTE: If you don't have a very steady hand, I recommend

resting your wrists in the table so you can get better brush
con trol.

Step 14
I used a .thin brush to paint thin black lines.
NOTE: Don't worry if you don't get a good result; if the lines
are too broad or not very straight, you can fix any mistake by
painting over it with white.

Steps 15 and 16 (next page)

I painted the weapon and tubes in my usual way, starting from
black and adding white to paint the highlights.

49
Step 17
I used the airbrush to paint the rear part of the Se rap h so it
,

was necessary to cover all the prev iously painted areas w i th

transparent film. Starting from the black base color, I appli ed the
first highlight with Basalt Grey #70.869.

Step 18
I add ed Dead White #72.701 to apply highlights to the back of the
Se raph. I also painted the sword In this
step.

Step 19
I left the Seraph's back unfinished, as I want to paint the wings
too. To do that, I used Liquid Mask to cover and protect the black
areas of the w ings .

Step 20
I app lied thin layers of Dea d White #72.701 to the wings.

NOTE: I strongly recommend patience in this step. If you pull

the airbrush's trigger too much It will expel a splash of pa i nt .

which will rui n your paintjob.

so
Step 21
I outlined all the edges of the armor plates with White #70.951,
and applied black washes to provide them with a better visual
definition.

Step 22
Then I applied multiple washes to the sword with Turquoise
#70.966 and Dark Prussian Blue #70.965.

Step 23
Finally, I outlined the letters with Black #70.950 and the edges of
the sword with White #70.951. I recommend spending some time
performing this step, as you can get a very good result on the
sword, which is an eye-catching part of this model.

Step 24
I painted the numbers and logos using a thin brush.

NOTE; I recommend practicing p a i ntin g numbers and logos in

a piece of paper first.

51
 - .

, H O W T O PA I N T PA N O C E A N I A .
-

AKALIS.SIKHCOMMANDOS AQlJllAGUARD
The most characteristic elements of the Akalis are their green The Aquila Guard uses the same color pattern of the rest of the
helmets and shoulder pads, which set them apart from the other troops, and the only element that differentiates him from the other
PanOceanian units. Following these five easy steps you too can general PanOceanian units is the color of his coat. So, in this brief
achieve this very appealing green color. tutorial I will explain you how I painted the Aquila's coat.

Step 1 Step 1
My choice for the base color of the helmet and shoulder pads was The coat's base color was Russian Uniform WWII #70.924.
Luftwaffe Cam. Green #70.823.
Step 2
Step 2 I made a mixture of 50% Olive Green #70.967 and Sunny Skin Tone
I applied thin layers of Olive Green #70.967 to paint the first #70.845, adding it to the base color, and applied the final mixture
highlights, noticing the light source: how and where the light falls to the upper areas of the wrinkles to provide the first highlights.
on the model.
Step 3
Step 3 Then, I added a bit of Ivory #70.918 to apply the second highlight.
Then, I painted the second highlight with Golden Olive #70.857. keeping it restricted to the coat's wrinkles.
While doing this I kept the light source and the edges in mind.

Step 4 Step 4
By adding Ivory #70.918 to the previous color I got the mixture Since I intended for the coat to have a more greenish color, I applied
to paint the edges and the central area of the shoulder pads, glazes with Olive Green #70.967. Don't forget the more glazes yoo
creating a strong contrast between shades and highlights. apply the more intense the color gets.

Step 5 Step 5
Finally, I applied glazes with Green Ink #72.089 to the shades to The final step_ was to shade with a mixture of 50% Dark Prussian Blue
increase the color saturation on these areas. #70.899 and Black #70.950 to the deepest areas of the wrinkles.

52
SVALARHEIMANISSES

The Nisses are winter troops who wear coats to protect them
from the cold environment. The truth is white fabric is easier to
paint that it seems, and with some patience you can get very
good results.

Step 1
This time the base color is Dark Grey #70.994

NOTE: With th is model I recommend th at you start by painting

the coat, so it won't be necessary to mask any part of the model.

Step 2
I started to highlight the coat with Pale Blue #70.906, applying
thin coats of paint to get a homogeneous paint coverage.

Step 3
Then, I applied Dead White #72.701 to paint the final highlights on
the upper areas of the coat.

Step 4
I used Dark Grey #70.994 to paint the de_epest areas of the
wrinkles to get a better visual definition.

Steps s and 6
Finally, I applied Dead White #72.701 to the upper areas of the
wrinkles.

53
 _,__ -

AR I AD N A
The descendants of the first space settlers, given up for lost and forgotten when their ship disappeared into a wormhole,
the Ariadnans have been forced to survive on a hostile planet full of Antipodes - alien dogs with very bad tempers.
Luckily their ship was filled with USAriadnans - even more bad tempered than the mutts - charged with exploring and
colonizing the territories. To this end they have formed Devil Dog teams, units in the service of USAriadna made from
Dog Warriors and Antipodes. Now that is colonizing!
Accept the challenge of fighting for a faction with American ideals and traditions. Paint their armor with the freedom of
also being able to paint the fur of fierce and wild Antipodes and the impressive Dog Warriors, current military patterns
with futuristic vibes, camouflage, and, if we take a look to the Caledonian, kilts. (Yes you read that right, kilts!) Because
the wild Scottish of the future still like to fight wearing them!
USARIADNAARMYPACK Step 4
I added a bit of Deck Tan #70.986 to highlight the grey areas.
This Army Pack is the perfect choice to demonstrate· how to
paint all the USAriadna models, as you can learn from just a few
Steps 5 and 6
I highlighted the lighter areas of the skin, such the hands, feet,
examples how I paint the khaki-brown colors of the clothes, green
nose, and ears with Ivory #70.918.
armor, camouflage, and NMM.
Step 7
DEVIi DOG I applied several smooth glazes with Flat Red #70.9S7, and to
avoid a high contrast I applied some tones first with Basic Skin
Step 1
Tone #70.81S and later with Red #70.947 to the same parts of
I started by painting the base color of the clothes with Khaki
the previous step, as well as inside the ears.
#70.988, trying to avoid staining the other areas of the model, as
my next step was to paint the Devil Dog's skin and the black-grey Step 8
priming is the skin's base color. I painted the Heavy Pistol and the knife starting from Black
Step 2 #70.9SO as base color, and highlighting with White #70.951. To
I painted the hands, feet, nose, and ears of the Devil Dog with provide the knife with a rusty effect I applied some glazes; first
with Smoke #70.939 and later with Orange Brown #70.981.
Deck Tan #70.986

Step 3
To smooth such a strong contrast between the grey and the Deck
Tan, I applied glazes with German Cam. Beige WWII #70.821 only
where these colors joined. I also applied a general wash with the
same color all along the skin.

SS
 - .

H O W T O PA I N T A R I A D N A .
-

Step 9 Step 14
The following step was to paint the vest. Starting from the base The next step was to paint the metal plates of the inner areas of
color I applied several washes with English Uniform #70.921. the padded parts with grey for the base color, highlighting it with
white. Finally, as the last touch for the padded parts, I shaded
Step 10 them with Basalt Grey #70.869.
Then, I applied glazes with Dark Fleshtone #72.744 to shade the
vest. This is a very dark color, so you can mix a bit of English
Uniform #70.921 in the first glazes, and then apply the Dark
Fleshtone color directly.

Step 11
I applied highlights to the vest with Sunny Skin Tone #70.845,
but used the stippling technique to simulate a weathered effect.
Then, I added a bit of Ivory #70.918 and repeated the previous
technique, but only to the edges of the vest.

Step 12
I applied highlights to the shoulder pads, kneepads, etc. with Dark
Sand #70.847. Don't forget the base color is the Khaki #70.988 I
applied in the first step.

Step 13
Then, I applied a final highlight with Ivory #70.918 to get a better
visual definition.

56
Step 15
My choice for the base color of the leathers was Reflective Green
#70.890, highlighting them first with Olive Green #70.967 and
later with a bit of Sunny Skin Tone #70.845. Finally, I shaded them
with Military Green #70.975.

Step 16
The last step was to paint the pants. Starting from the Khaki
#70.988 base color, I added a bit of German Cam. Beige WWII
#70.821 to highlight the wrinkles.

Step 17
Then, I painted the first camouflage spots with Reflective Green
#70.890.

Step 18
I used Black #70.950 to paint the second spots of the camouflage
pattern, but these was smaller than the previous ones

Step 19 •
I finished the camouflage pattern by painting the last spots with
Dark Sand #70.847.

Step 20
Finally, I applied several washes with Black #70.950 in the inner
areas of the wrinkles to provide more depth to them, getting a
better visual definition of the pants.

57
 -· .

�
H O W T O PA I N T A R I A D N A .

ANTIPODE Step 7
I applied several glazes with Black #70.950 in the darker areas
Step 1 of the skin to improve the blending effect .of the previous step,
Starting from the black-grey priming, I painted the Antipode's smoothing the contrast between colors.
skin with German Cam. Beige WWII #70.821, as I wanted some
parts of the skin to be lighter.

Steps 2 and 3
I applied several washes with Dark Grey #70.994 to the entire
surface of the skin, but especially to the areas painted in the
previous step.

Steps 4 and 5

0
Then, I highlighted those lighter areas of the skin with Deck Tan
#70.986. I applied these layers very smoothly as I wanted to get
a good blending effect. Deck Tan #70.986 was also my choice to
paint the veins, which I painted after the first highlights.

Step 6
I applied Ivory #70.918 to keep highlighting the lighter areas of
the skin, and also to highlight the veins. Then, I made a mixture of
50% Dark Grey #70.994 and German Cam. Beige WWII # 70.821
and applied it to the darker areas of the skin.

58
Steps 8 and 9
This is a difficult step to see in the pictures, as I was correcting
highlights and shades of the skin by applying slight touches with
the brush, forcing the highlights of the fur, and adding more
shades to the skin to increase the contrast.

Step 10
Once I finished the skin, I started to paint the knife with Hull Red
#70.985 as base color because I wanted it have a rusty effect.

Step 11
I applied the first weathering effect with Cavalry Brown #70.982
using the stippling technique.

Step 12
Then, I applied Orange Brown #70.981 using the same technique
and in the same areas of the previous step.

Step 13
The neltt step was to apply several washes with Smoke #70.939
but very diluted with water to blend all the previous layers.

59
H OW T O PA I N T A R I A D N A .
-

Step 14
Finally, I applied several glazes with Blue Green #70.808 followed
by more glazes with White #70.9Sl to provide a patina effect
with slight touches of verdigris to some areas of the knife.

Steps 15 and 16
The following is the color recipe of the leathers:
Base color: Flat earth #70.983.
First highlight: Sunny Skin Tone #70.84S.
Second highlight: Ivory #70.918.
Shade: Smoke #70.939 and Black #70.9SO.

Steps 17 and 18
Final result.

60
FOXTROT
When I paint the pouches of the USAriadnan troops I usually
follow the same color recipe and process that I used for the
Foxtrot.

Step 1
The base color was Heavy Green #72.140.

Step Z
Then, I applied a wash with Olive Green #76.519.

Step 3

0
I used Olive Green #70.967 to highlight the pouches.

Step 4
Following that, I added a bit of Sunny Skin Tone #70.845 to
the previous color to apply the second highlights, but used the
stippling technique. Finally, I shaded them with Military Green
#70.975.

• •

61
 - .

- H O W T O PA I N T A R I A D N A _
. · :.

MARAUDER Step 6
Then, I made a mixture of 50% Olive Green #76.519 and Military
Here you have the painting process of the USAriadnan green Green #70.975, and applied it in the crevices to get a better visual
·

armor worn by the Grunts and the Marauders. definition of the armor.

Step 1 Steps 7 and B

My choice for the base color was Heavy Green #72.140, applying I waited until I finished painting the rest of the model to check
it in thin layers with the airbrush. the overall look of the paint job, and then I decided to force the
highlights of the armor a little bit more so it would stand out.
Step 2
The second step was to apply a wash of Olive Green #76.519 and
then a second wash with Black #70.950.

0
Step 3
Then, I applied the first highlights with Reflective Green #70.890.

Step 4
I made a mixture of 50% Reflective Green #70.890 and Sunny
Skin Tone #70.845 to paint the second highlights.

Step 5
I painted the edges of the armor plates with the same mixture of
the previous step.

62
MINUTEMAN

The khaki armor is also common in the USAriadna color pattern. I

will use the Minuteman as an example of how to paint it.

Step 1
First. I painted the base color by applying thin layers of Khaki
#70.988.

Step 2
Following that, I painted the first shades with English Uniform
#70.921.

a
Step 3
I outlined the armor plates with a mixture of 50% English Uniform
#70.921 and Black #70.950 to get a better visual definition of
them.

Step 4
Then, I painted all the edges with Dark Sand #70.847 to highlight
the armor plates.

Step 5
Once the model was totally painted, I checked the general effect
of the painting process and decided to force the highlights with
Ivory #70.918, also applying weathering effects and tones with
pigments.

63
 - .

H O W T O PA I N T A R I A D N A . . �

MAVERICK Steps 9 and 10

A quick way to paint letters is to use stencils. I used the
Step 1 Customeeple ones with the motorcycle. I applied several drops
I started painting the body of the motorcycle with Heavy Green of Liquid Mask to stick the stencil to the body of the motorcycle,
#72.140 by applying thin layers with the airbrush. then I just airbrushed over it. I strongly recommend that you
mask the borders of the stencil to avoid staining the rest of the
Step 2 model; I didn't do so, and you can see the awful result.
Then, I made a mixture of 50% Heavy Green #72.140 and Sunny
Skin Tone #70.845 to paint the first highlight. I used the brush to Steps 11, 12, 13 and 14
paint the edges. Final result.

Step 3
Once the body of the motorcycle was almost ready, I started to
paint the metallic areas with the NMM technique. Neutral Grey
#70.992 was my choice for the base color. •
Steps 4 and S
I added White #70.951 to the base color to highlight it, searching
for a contrast.

Steps 6, 7 and 8
I applied glazes with a mixture of 50% Dark Prussian Blue
#70.899 and Black #70.950 to get a better visual definition. Blue
is a cold color, which provides depth to the shades. I painted the
edges with White #70.951 to get more intensity in the NMM .

64
65
 - · .

I
= H O W T O PA I N T A R I A D N A . ·�
0

DESPERADOES Steps S and 6

Then, I painted the last highlight with pure White #70.951.
Now, we are going one step beyond what we have learned in
Steps 7, 8 and 9
the previous chapter. I am going to explain the most interesting
I painted the shades by applying glazes with a mixture of 50%
processes of the Desperadoes paintjob: NMM, weathering,
Dark Prussian Blue #70.899 and Black #70.950.
pigments, headlamps, and sunglasses.
Steps 10, 11, 12, 13 and 14
Finally, I outlined all the edges and painted thin stripes to simulate
NON M E TALLIC METAL
shiny reflections with White #70.951. This is a relevant step as it
Steps 1 an d 2 provides a more intense NMM.
Starting from a black base color, I began highlighting by adding
White #70.951.

Steps 3 and 4
I kept adding White #70.951 to intensify in the NMM.

66
67
 . .

H O W T O PA I N T A R I A D N A . . ·:

WEATHERING P I G M E NTS

Step 1 Step 1
Before starting, understand that there are two different types The pigments I use to simulate dry sand are Burnt Siena #73.106
of weathering effects: slight and deep. Once I had painted the and Natural Siena #73.105, mixing them with a bit of water to
insignias, logos, and letters, I applied a slight weathering by using apply them.
the base color where I had painted the logo. As this logo was
painted on the body of the motorcycle, I applied Khaki #70.988 Steps 2, 3 and 4
over some areas of the logo, providing the visual effect of slight Final result.
weathering.

Steps 2 and 3
You can get a deep weathering by applying a very dark color. I
used mixture of Black #70.950 with a bit of Smoke #70.939,
applying it to the logo and the body of the motorcycle.

68
HEADLAMP S U N GLASSES

Note: You can replace the colors mentioned i n this brief guide Step 1
with other colors to get different types of headlamps. My choice for the base color was Black #70.950, as my intention
was to highlight from dark to light.
Step 1
My choice for the base color was Deep Yellow #70.915. Step 2
Then, I added White #70.951 to the base color to paint the first
Step 2 reflections of the sungla sses I strongly recommend that you to
.

I paint stripes in both directions with White #70.951 as the take a good look to real sungl asses to understand how the light
reflects off them.
headlamp cover would have an interlaced design.
Step 3
Step 3
I applied a glaze with Blue Ink #72.088 to the whole surface of
Then, I applied a glaze with Yellow Ink #72.085 and then another
the sunglasses, but concentrating in the lowest part of the lenses.
with Candy Orange #62.073 to the lowest area of the headlamp. Finally, I outlined the upper area of the sunglasses with White
#70.951 and painted some small reflections.
Step 4
Finally, I intensified the interlaced design by applying more White
#70.951.

69
 - · .

' H OW T O PA I N T A R I A D N A . . �
0

SPETSNAZ Steps 5 and 6

Then, I highlighted the padded areas of the pants. Starting from
There are not only USAriadnan troops in Ariadna; you c:an find Highl. Russ T. Crew II #70.330 as the base c:olor, I added Deck Tan
units with c:olor patterns different from their warm weather #70.986. To highlight the pants, I added Sunny Skin Tone #70.845
patterns, patterns of c:older and more muted green colors. You to its base color. I used the same color to highlight the shoulder
c:an see in Volume One how to paint the Dog-Warrior's skin and pads and the vest, but I applied glazes with Lime Green #70.827
c:lothes. Now it is the Spetsnazs' turn, a legendary elite troop that to saturate those parts more.
deserves to be ac:c:urately painted.

Step 1
My c:hoic:e for the base c:olor of the armor and the c:lothes was
Luftwaffe Cam. Green #70.823.

•
Step 2
I applied highlights with Golden Olive #70.857, but only to the
shoulder pads and to some parts of the vest. I left the pants
unfinished as I wanted a darker tone for them.

Steps 3 and 4
Before I continued painting the c:lothes, I painted the base c:olors
of the rest of the model to get an idea of the general effec:t of the
c:olor pattern.

70
Steps 7 and B Steps 9 and 10
I applied the stippling technique and washes to paint the leather And now you can see the final result. I painted the small details
areas. Here is the color recipe: and the NMM following the process found in the Techniques
Base color: Flat earth #70.983. section. I also applied pigments to contextualize the model, to
Washes: Smoke #70.939. place it in a muddy forest zone.
Highlights: Dark Sand #70.847.
Shades: Black #70.950.

71
 - .

:.
H OW T O PA I N T A R I A D N A .

TIPS Step 4
Then, I painted thin stripes with White #70.951 as they were
N M M SKETCH reflections on the shield's surface, forcing the highlights in some
areas.
When I have t o paint a plain and wide surface - like a shield
for example - and I don't want to use the airbrush, I sketch the Steps 5 and 6
volumes, noting the highlights and ignoring the color transitions, I used Burnt Siena #73.106 to simulate dirt on the shield, and I
as I will apply glazes to smooth those transitions later. painted some dribbles with Smoke #70.939 to strengthen the
weathered effect.
Step 1
I applied Black #70.950 as the shield's base color, painting the
first volumes with Basalt Grey #70.B69, and disregarding the
brush strokes.

Step 2
I added a bit of White #70.951 to the Basalt Grey #70.869
to highlight it more. In some areas I added more white to the
mixture as I wanted them stand out more.

Step 3
I covered areas in which the transitions were too •blunt• with
washes of Dark Prussian Blue #70.899, followed by more washes
of Black #70.950 to smooth those transitions.

72
HOWTOPAINTTARTANS of the pattern first, then add the squares, lines, and stripes
successively.
Ariadnan troops belonging to the Caledonian Highlander Army -
such as the 45th Highlander Rifles - wear kilts or clothes with These sketches will help you to understand how to break the
their clan's tartan. However, this means we will have to paint tartan down. The following sketches are quick attempts so you
different tartan patterns, depending on the clan we want our can understand the painting process. However, if you spend more
models to belong to. time on the tartan, you will get a better result. Nevertheless, now
we are just going to focus on the process.
The first thing you have to do is to search for reference pictures
of the tartan you wish to paint. Once you have chosen one, you Note that I only use a number D brush to paint these sketches.
have to break it down Into steps; you will paint the base color

l5T SKETCH
Step 1
My choice for the base color was Flat Red #70.957. •

Step 2
Then, I painted vertical lines with Black Red #70.859.

Step 3
I used the same color to paint the horizontal lines

Step 4
Once finished I painted a black square in the join of each vertical
and horizontal line.

Step 5
Finally I painted white lines with White #70.951.
 .

· H O W T O PA I N T A R I A D N A . . -

2N° SKETCH 3Ro SKETCH

Step 1 Step 1
The base color for this tartan was Uniform Green #70.922. My choice for the base color of this new tartan was Japan Uniform
WWII #70.923.
Step 2
I added a bit of Dark Prussian Blue #70.899 to the base color, Step 2
painting vertical and horizontal lines. I made a mixture of US Field Drab #70.873 with a bit of the base
color to paint vertical and horizontal lines.
Step 3
Once finished I painted a square with Blue Green #70.808 in the Step 3
join of each vertical and horizontal line. Then, I added Black #70.950 to the previous mixture to darken it
and I painted squares in the crossings of the lines.
Step 4
I outlined all the lines and squares with Dark Prussian Blue
#70.899. ���gjng that, I painted vertical and horizontal lines with Japan
Uniform WWII #70.923.

��fi1� I painted thin vertical and horizontal lines with White

#70.951 and then more vertical and horizontal lines but with Flat
Step 5
Finally, I painted more vertical and horizontal lines with Flat Red
Red #70.957. #70.957.

74
 1:19ii.,.
- -

· ­
,. ...:!""'
 0

.... ____ _ _ ..

Y UJ I N G
Yu Jing, the Asian Giant, is the second most powerful nation in the Human Sphere. All of the Far East, together under the
flag of what once was China, has formed a single Oriental culture. A technological and industrial power, they hope their
growing economy will be enough to dethrone their eternal competitor, PanOceania.
Ultra-high tech samurais, ninjas of the future, and huge robots with heavy armor are only some of the cards that
the powerful State Empire will use to establish its hegemony over the Human Sphere. They will also be the perfect
opportunity to enjoy painting futuristic armor with a traditional touch. Play with the NMM technique, combining it with the
many types of cloth found on Yu Jing models- without doubt a challenge worthy of Yu Jing.
OPERATION:REDVEIL BATTLEPACK Step 3
I applied tones to the cheeks with a mixture of Cam. Orange Ochre
Operation: Red Veil is the new battle box that c:ontains the new Yu #70.824 with two drops of Orange Brown #70.981 to make the
Jing starter set miniatures, and a great way to start this section volumes of the face stand out. Then, I applied a glaze with Cavalry
explaining the more characteristic: parts of the models I painted. Brown #70.982 to the lower lip and eyelids. This gave the face some
tones.

YUJING FACESTUTORIAi Step 4

I applied several glazes with Flat Earth #70.983 to the eyelids and
When I paint Yu Jing faces I like for them to have a slightly higher cheeks to make them stand out. To avoid losing the orange tone of
amount of yellow in the mixture to differentiate them from other the previous step I applied these glazes very smoothly.
armies. You can see an example of this in Volume One with how I
painted the 0-Yoroi Pilot,.. but now you can learn the steps I use to Step s
paint Yu-Jing fac:es in this tutorial of the Zhanshis. To highlight the face I made a mixture of 50% Sunny Skin Tone
#70.845 and Basic: Skin Tone #70.815, applying it in the nasal bridge,
Step 1 cheekbones, eyebrows and chin.
To paint the base color I made a mixture of 50% Cam. Orange Ochre
#70.824 and Sunny Skin Tone #70.845. Step 6
.
A helpful tip to check the result of all the work you've done on a
NOTE: You can do this step using a brush. but if you are going face is to paint black all around it. This helps you find and correct
to paint several models at a time, it will be fa ster to use an mistakes. In this step I applied more red tones to the cheeks, as
airbrush. well as a new highlight to the eyelids.

Step 2 Step 7
I started the first highlights of the face by applying Sunny Skin Tone As you can see, I painted the three Zhanshis at the same time.
#70.845.

71
YU JINGABMORTlJTORIAL
The most representative color of Yu Jing is orange. All their armor
is painted with a characteristic saturated orange, which makes
their troops stand out in the game table. If you want to know how
I paint Yu Jing armor, you just need to follow these easy steps.

Step 1
I started by applying the base color with Orange Brown #70.981,
and as usual I applied thin layers to avoid obscuring any detail.

Step 2
I used Scrofulous Brown #72.038 to paint the first highlights of
the armor.
NOTE: To get more saturation with this color, we need to apply
several layers. So if you want the chest area to appear more
saturated, you must apply more layers to it than t o other areas.

Step 3
I applied the second highlight with a mixture of about 60%
Scrofulous Brown #72.038 and 40% Dead White #72.701.

Step 4
Finally, I outlined all the edges with White #70.951 and painted all
the armor's grooves with Cavalry Brown #70.982.

Steps S, 6 and 7
As you can see, I used this same technique to paint the Zanshis'
armor.

78
HS!EN COATTlJI0.81[\I Step 9
I painted the white area of the coat with Neutral Grey #70.992,
Beyond his armor, the Hsien has another highly visible element: highlighting later with White #70.951.
the coat which provides this model with an elegant look. The coat
SteplO
is painted with a cold green, which I had to desaturate to make it
stand out among the armor's highly saturated orange.
Tl P: I pa i nted the armor after finishi ng the co at s o I covered
,
NOTE: I p ainted the pants of the Zhanshis in a similar way,
the coat with Liquid Mask to avoid stai nin g it. I then painted the
only I wanted the armor ta stand out mare, so I highlighted them
armor using the same te c h niq ue I used ta paint the armor of the
less and ap plied mare shades.
Terracotta Soldi er and the Zanshis.
Steps 1and2
The base color was a mixture of 50% Periscopes #309 and Heavy
Black Green #72.147.

Steps 3 and 4
Adding a bit of Sunny Skin Tone #70.845 to the previous mixture
was the way to get the right color for the first highlight.

Steps 5 and 6
Then, by adding a bit of Ivory #70.918 to the mixture of the
previous step I got the color of the second highlight.

Steps 7 and 8
I started to shade the wrinkles with Periscopes #309 and a bit
of Black to get a better visual definition of the coat. In this step
I applied the shades like they were glazes, as I wanted good
control of the shading effect.
 all of these areas of the model. Then, I applied several points of
NINJATUTORIAi
light to areas where I wanted to get more visual attention from
The Ninja is a good model to explain how to apply points of the viewers.
light when painting. Her color pattern is mainly black with some
touches of orange. You probably think this is a pattern that Steps 6 and 7
doesn't stand out, but after applying some points of light you will For the orange areas I applied the same procedure that I used
change your opinion. with the Zhanshi armor. However, I applied more shades with
Black to intensify the effect of depth because I was searching for
Step 1 more contrast between the different areas of the model. To get a
Starting from a black base color, I applied the first highlights with different tone in the arms and tubes, I applied glazes of Turquoise
Dark Grey #70.994, applying thin layers of this color to control #70.966. Finally, I enhanced the points of light by adding more
the highlighting effect. white.

Step 2
Then, by adding Dead White #72.7Dl to the previous color I
painted the sernnd highlights, forcing the rnntrast between
shades and highlights.

Step 3
I used a brush to paint the orange areas, applying Orange Brown
#70.981 to check how the general painting process was coming
along.

Step 4
In this step, I outlined all the areas of the jumpsuit and the armor
with Black #70.950 to get a better visual definition.

Step S
I used White #70.951 to outline all the edges of the jumpsuit, the
armor, and the tactical bow to get a better visual definition for

80
GOIJIA TUTORIAL
The GCiijia is an impressive model which deserves a detailed
explanation. During the painting process I focused on the
highlights and shades, as these are the most important steps
when painting a big armored model. With this tutorial you
will learn how to correctly place highlights, get a good visual
definition, and paint the NMM.

Step 1
I started painting the base color with Orange Brown #70.981.

Step 2
Scrofulous Brown #72.038 was my choice for the first highlights,
applied in thin layers that I let dry before applying each
subsequent one. Don't forget, the more layers you apply the more
intense the color gets.

Step 3 ,
In this picture you can see how intense the color gets just by
applying more layers with no need to add any other color to it.

Steps 4, 5 and 6 (next page)

I added a mix of 80% Dead White #72.701 to the previous color to
paint the second highlight.
 0

Steps 7, 8 and 9
I used Cavalry Brown #70.982 to apply the shades, as I was
searching for a more intense contrast.

Step 10
Then, I painted all the areas which were not part of the armor
black to check the result of the painting process.

Steps 11 and 12
Visual definition Is highly important when painting a model like
this, so I painted all the grooves which separate the armor plates
with Cavalry Brown #70.982.

Steps 13, 14 and 15

I applied a mixture of 80% White #70.951 and 20% Scrofulous
Brown #72.038 to the edges of the armor plates.

Step 16
I used the NMM technique to paint the calves, tubes, and arms. To
do so, I started with a black base color, highlighting it with Dark
Grey #70.994.

82
83
 0

Step 17 Step 26
Looking for a more intense contrast I added Dead White #72.701 I outlined the edges with White #70.951.
to paint the second highlights.

Steps 18 and 19
The final highlights required Dead White #72.701 as I was forcing
the contrast and I was applying points of light.

Steps 20 and 21
Dead White #72.701 was again my choice to outline all the edges.
This is a little bit of a boring step, but I strongly recommend doing
it, as you will get a very good result.

Steps 22, 23 and 24

The last step of the armor painting process was to apply glazes
with Dark Prussian Blue #70.899 to make the NMM stands out,
and also to paint the grooves with Black #70.950 to get more
visual definition.

Step 25
The painting process of the sword is the same as the previous
steps. I searched for the contrast between highlights and shades
by applying the NMM technique.
85
Step 27 Step 29
Then, I used Red Ink #72.086 to apply some glazes. I followed the same procedure I detailed in the Techniques section
#Golden Sketch.
Step 28
I applied more glazes and added a bit of Scarlett Red #72.712 to Steps 30 to 34
the Red Ink to provide more depth to the shades. Finally, I painted the logos, insignias, and numbers. This is a slow
step, but it worth.

86
YAN HLJO INVINCIBLESTLJTORIAl Step 6
To get good visual definition, I painted all the grooves that
The Yan Huo lnvincibles are very easy models to paint, as the separate the armor plates with Cavalry Brown #70.982.
most of their components are composed of armor plates. For
Step7
this reason they are a very good model for airbrush rookies to
Finally, I outli ned all the edges with White #70.951.
practice with. Veteran painters will paint them very quickly.
I hope this brief tutorial help rookies to lose their fear of using the
Step 8
airbrush.
And here you can check the final result.

Step 1
I started by applying a black prime coat to the model. Then I
applied several layers of grey to make all the general volumes
stand out so I could see where I must place the highlights and
shades.

Step 2
Orange Brown #70.981 was my choice for the base color.

Step 3 •
Scrofulous Brown #72.038 was the color required to paint the
first highlight.

Step 4
I made a mixture of 20% Scrofulous Brown #72.038 and 80%
Oead White #72.701 to apply the second highlights.

all the parts that were not armor plates with Black

87
 0

HACTAOTUTORIAi Steps 7 and 8

In this step I applied several glazes to the calves with Dark
The most characteristic element of the Hae Tao model is its black Prussian Blue #70.899, and to the tubes with Turquoise #70.966,
armor. However, the painting procedure is the same I used with while I painted shades to the armor plates using black to provide
the Ninja: applying strong contrasts and points of light. more depth in the darker areas.

Step 1 Steps 9 and 10

Starting from a black prime coat, I applied the first highlight with I added some highlights and painted several points of light to get
Dark Grey #70.994. more contrast.

Step
By adding a bit of Dead White #72.701 to the previous color I got
the mixture required for the second highlight.

Steps 3 and 4
Then, I added more Dead White #72.701 to apply more highlights
forcing the contrast effect a little bit more. I applied more layers
to the calves as I wanted to get more intensity there. The reason
why I did this step was to differentiate that area more by applying
bluish glazes later.

Steps 5 and 6
I outlined all the edges with Dead White #72.701 so all the armor
plates can be visually differentiated.

88
DOMARlJ BLJTAITUTORIAL Step 6
I added a bit of Sunny Skin Tone #70.845 to the previous mixture
The Domaru Butai is a Heavy infantry regiment that is part of the and stippled the same area to get a texturized effect.
Japanese Sectorial Army, the Nipponese themed army of Yu Jing,
whose color pattern is mainly white with some red areas. The
white is difficult to paint if you are not a patient person, because it
leaves lumps when applied quickly.
I usually work with white in two different ways. One of them is to
start painting with pure white and then shade it. The other way is
the one I am going to explain in this tutorial: starting from grey
that I highlight with white.

Step 1
The grey prime coat was also the base color of the armor.

Step2
I applied highlights with Dead White #72.701. This step must
be done slowly, and you must apply thin layers of paint to get a
homogenous white color.

Steps 3 and 4
I painted the base color of the red areas with a mixture of 50%
Black Red #70.859 and Scarlett Blood #72.106, while I used
Camouflage Green #72.031 to paint the thigh pads.

Step 5
With an old brush I applied a mixture of 80% Medium Fleshtone
#70.860 and 20% Camouflage Green #72.031 to the thigh pads
using the stippling technique.
Step 7 Steps 12 and 13
Then, I applied a glaze with Green Ink #72.089 to smooth the I needed a mixture of Black #70.950 and Smoke #70.939 to apply
previous stippling job. a weathered effect. The technique I used was to rest the brush on
the edges and then to pull the paint to get the desired weathering.
Step s
I added a bit of Ivory #70.918 to the mixture used in step number Steps 14 and 15
6 to paint some thin lines which visually reinforce the texture on Final
the thigh pads.

Step 9
I painted the insignia on the thigh pad with Ivory #70.918. Then I
applied some glazes to the entire surface to visually homogenize
the area.

Steps 10 and 11
Then, I painted the logos and insignias on the armor, the red
0
areas, the katanas, etc.
NOTE: I paint the daixo (katanas and wakizashis) with the
NMM technique. To get the violet tone I applied glazes with Violet
Ink #72.087.

90
IMPERIAL AGENTCRANERANK Step 10
For the second highlight I used White #70.951. Then, I shaded
The Imperial Agent Crane Rank is the exclusive preorder model of with Sepia Ink #72.091.
Volume 2. I really enjoyed painting this amazing elite heavy infantry
unit from Yu Jing's Imperial Service. Here you have a quick painting Steps 11 and 12
guide of this armored enforcer that follows the same painting process The base color of the armor was Black #70.951. I gradually added
of the other Yu Jing models. White #70.951 to the black until I finished with pure white to
highlight it.
Step 1
The base color was Orange Brown #70.981. Steps 13, 14 and 15
I applied glazes with Violet Ink #72.087 and Turquoise #70.966
Step 2 to get tones in the armor. Finally, I applied shades with Black
I applied the first highlight with Scrofulous Brown #72.038. #70.951 to get a better visual definition of the armor plates.

Step 3
To apply the second highlight I used White #70.951.

Step 4
My choice for the first shade was orange Brown #70.981. For the
second shade I used Cavalry Brown #70.982. Then, I applied the
third shade with Hull Red #70.985. ,

Step 5 •
The base color was a mixture of 50% Periscopes #70.309 and
Heavy Black Green #72.147.

Step 6
For the first highlight I used a mixture of 70% of the base color
and 30% Sunny Skin Tone #70.845.

Step 7
Then, I outlined with Black #70.950.

Step s
I chose Heavy Brown #72.153 as base color.

Step 9
To paint the first highlight I used Heavy Ochre #72.150.

91
 ---- ....

.. -:.::-:
�
-
· =:=
� -' .....--

H AQQI SLAM
Haqqislam is the new Islam, modernized and adapted to the times. It proclaims humanism and the Search for Knowledge
and is driven by deep political and social concerns which have helped it recover the scientific and artistic heritage of the
Golden Age of Islam.
The humanist power, Haqqislam boasts the best medics of the Human Sphere, stalwart soldiers, and the wisest
philosophers. But Haqqislam has a dark side when it faces its enemies, employing mercenaries, lethal assassins, and tougt'
and swift bikers. And those will allow you to show off your freehand decorating their amazing bikes, experiencing wi
dessert patterns but full of color! Try stippling to show the wear and tear the sand storms inflict upon Haqqislamite armor.
OPERATION:RED VEILBATTLEPACK Step 5
A simple wash of Olive Green #76.519, with a bit of Black #73.201
The new Haqqislam miniatures from the Red Veil box are simply to dark it, applied to the backpack, boots, and leathers allowed me
splendid. And what better way to explain how I paint Haqqislam to visually define them.
than with these miniatures?
Step 6
Before we continue I recommend that you to take a look at the
Once the job is half done, I started to paint the Ghulam's face. The
stippling technique explained in Volume One, because we are
base color chosen was Sunny Skin Tone #70.845 with Medium
going to use it frequently when painting this army.
Fleshtone #70.860 washes. The jaw, cheekbones, the space
between the eyebrows, and the iow part of the forehead required
GHUIAM INFANTRY more washes than the rest of the face.

Step 1 Step 7
I applied Heavy Brown #72.153 to the whole model as base color. I applied glazes of Cavalry Brown #70.982 to the lips, cheeks, and
Since the Ghulam color +iattern uses only earthy hues, applying the tip of the nose.
this color as a base saved me time bec_.ause I could paint the other
colors over it. Step 8
I prepared a mix of Sunny Skin Tone #70.845 with a bit of Basic
Step 2 Skin Tone #70.815 to paint the first highlights. I applied this
Dark Sand #70.847 was my choice to paint the padded areas of mixture to the top of the forehead, the nasal bridge, the chin, and
the uniform. to the upper area of the cheekbones.

Step 3
I added Ivory #70.918 to the previous color to highlight it.

Step 4
I was interested in seeing the general effect of the color pattern,
so I applied the base color of the boots, backpack, and face.
NOTE: This is a very useful step when you have doubts about
the color pattern, as it allows you to check if the pattern works
well and to fix it If It d o esn t .
'

93
Step 9 Step 13
To finish the face, I applied a second highlight with Basic Skin To apply the first highlights I added a bit of Orange Brown #70.981
Tone #70.81S to the same parts of the face in previous step, but I to the base color of the hair.
highlighted smaller areas.
Step 14
Step 10 Then, I added a bit of Sunny Skin Tone #70.84S to the previous
I used the stippling technique to paint the backpack and the dark mixture to paint the second highlight of the mane.
part of the padded areas. I chose the following colors:
Step 15
Base color: Oark Rust #302.
I then applied the same painting procedure to the male Ghulam
First highlight: Flat Earth #70.874.
troopers.
Second highlight: Dark Sand #70.847.
Tones: Smoke #70.939 and Black #73.201.

Step 11
I followed the usual procedure to paint the boots and the leathers,
but I applied the sti ppling technique to make the final highlights
on the edges to provide a weathering effect. I used the following
colors:
Base color: Uniform Green 70.922.
First highlight: Uniform Green 70.922 + Sunny Skin Tone #70.84S.
Second highlight (stippling): Ivory #70.918.
Shades: Olive Green #76.S19 and Black #73.201.

Step 12
My intention was for the female Ghulam to stand out among the
other Ghulam troopers. So, while I used a dark brown color to paint
the hair of the male Ghulams, I applied an orange-red color to
the woman's mane. I started applying the base color with Saddle
Brown #72.940.

94
TUAREG Step 6
Dark Sand #70.847 was the color needed to paint the first
The Tuareg's turban and coat are the most representative highlights of the coat, but I applied it in thin layers to gradually
elements of this model, which is the second miniature of the build them.
Haqqislam Starter Pack I painted.
Step 7
Step 1 I added several drops of water to Smokey Ink #72.068 to create

Violet #70.960 was my choice to paint the base color. a wash for the grooves. Since this is a very liquid wash I made
several applications, but allowed each of them to dry before
Step 2 applying the next one. I used a hairdryer to speed up this process.
I started to paint the first highlight of the turban with Blue Violet
#70.811. Step 8
I wanted to provide a texture to the coat, so I used Ivory #70.918
Step 3 to weather it, painting thin lines along the edges of the coat.
By adding Sunny Skin Tone #70.84S I got the right color for the
second highlight. Step 9
Finally I applied shades with Flat Earth #70.983 to get a
,

Step 4 contrasting effect. If we want to add visual depth to the grooves

I applied very slight glazes with Violet #70.960 to reduce the we have to add a bit of Imperial Blue #72.720 to this color.
intensit� of some highlights I considered too strong Finally, I
.

applied shades with Imperial Blue #72.720 in the wrinkles to get a

better visual definition of the shapes.

Step 5
The base color of the coat is Cork Brown #70.843, however, at
this point I also applied it to the other parts of the model that
required it to save time.

95
KHAWARIJ Step 6
Finally, I shaded the deeper grooves with Imperial Blue #72.720 to
When I paint red areas on a Haqqislamite uniform I always try get a better visual definition of the turban's shapes.
to get a warm red, a red mixed with yellow. This type of red is
Step 7
different from the reds I use in other armies. The Khawarij is the With an old brush I started to paint the coat using the stippling
perfect model to show how I get this type of red.
technique. The base color was Dark Rust #302.
Step 1
I started with Black Red #70.859, which is the base color.

Step 2
Scarlett Blood 72.106 was my choice to apply the general first
highlights. Don't forget to apply several layers of it to get an
intense red.

Step 3
Then, I added a bit of Orange Fire #72.708 to the previous color to
brighten it. I applied it to the same areas as in the previous step.

Step 4
As usual, the second highlights follow the first, and to get them I
added a bit of Sunny Skin Tone #70.845 to the previous mixture,
applying it to the turban.

Step 5
I used a very diluted Orange Fire #72.708 to apply glazes to the
highlights. This gives me a more lively red. I advise doing this
step little by little to gradually increase the amount of orange, as
the intention is to get a red with orange tones.

96
Step 8 Step 11
I painted the first highlight with Flat Earth #70.983. I insisted on To homogenize the previous work I applied several washes of
using several layers of the stippling technique. It is very important Smoke #70.939 to the entire surface of the coat. This color is a
that the paint Is thick to provide the visual effect of a heavy fabric. little bit thick so it is necessary to dilute It with some drops of
water.
Step 9 I applied several more washes to the deeper areas of the wrinkles
An example of the thickness of the paint. so they would be darker.

Step 10 Step 12
With a mixture of 50% Flat Earth #70.983 and Dark Sand Lastly, I again applied more shades to the deeper areas, first using
#70.847, I applied another layer using the stippling technique, but Violet Ink #72.087 and then painting with Black #70.950. This
this time lighter than the previous one. I tried to emphasize the way I provided a visual depth those areas.
edges to provide a weathering effect to those areas.
Step 13
Some orange lines and cuts made to the coat were the final
touches of the weathering effect.

•
AZRA'IL Step 4
To outline the armor plates I used Military Green #70.975. I
The Azra'il are troops equipped with huge powered armor, which recommend diluting the paint more than usual to make painting
means wide surfaces that allow us to use the airbrush without the plate grooves easier.
having to mask other parts of the model. The painting process
Step S
is very similar to the one used on the Al Fasid, so no surprises
I used the mixture from the third step to paint the edges of the
here. The Azra'il main color pattern is green with a large amount
armor to get a better visual definition.
of yellow.

Step 1
As before, I applied several thin layers of Luftwaffe Cam. Green
#70.823 to paint the base color of the armor.

Step 2
To paint the first highlights I used Olive Green #70.967. This is a
very strong color, so you must apply several light layers of it to
control the intensity of the highlights.

Step 3
I added a bit of Yellow Green #70.954 and Sunny Skin Tone
#70.845 to paint the second highlights.

NOTE: Please note that the neck protection and the chest
have more highlights than the arms. Also, the right leg is more
highlighted than the left one, as this leg is partially covered by
the shield, which blocks l ight from above. Keep this contrast
in mind, as the light does not reach all the parts of the model
equally.

98
Step 6
The final step of the armor painting process was to apply several
washes of Military Green #70.975 and Black Green Ink #72.090 to
paint shades in some areas of the armor to get better contrasts.

Steps 7 and 8
I used the same colors of the Al Fasid's NMM to paint the NMM of
this model.

Step 9
Before painting the shield, I applied Liquid Mask to the shoulder
and, to avoid staining the model, I covered it with transparent film.
Then, I painted several layers of Hull Red #70.985, applying more
layers to the upper area of the shield.

Step 10
A thick layer of Chipping Medium is necessary at this po int in the
process. You must wait until the Chipping Medium is completely
dry before painting over it.

Step 11
The next step was to paint the base color with Dead Flesh
#72.735. Then, using Uniform Green #70.922, I painted smooth
shades to the lower area of the shield.

99
 0

Step 12
With a very old and hard bristle brush that I had previously
wet, I removed paint from the last layer I applied. This creates a
weathering effect on the shield. It is very important to apply this
effect to areas like edges where scuffmarks are more frequent.

Steps 13 and 14
Once you finish working on the Chipping Medium, I advise applying
a layer of Matte Varnish with the airbrush. Then apply washes of
Smoke #72.068 and Sepia Ink #72.091 in the grooves and holes
of the shield. You can also add some pigments to the Sepia Ink to
create a rusty effect.

Steps 15, 16 and 17

Finally, when I finished painting the other parts of the model, I
weathered the armor by applying washes and pigments. This is
a very important step to homogenize the whole model, especially
when painting Haqqislamite models, as I place them on desert
bases. So using pigments is a good way to provide that touch of
dust, sand, and dirt they require.

100
Al FASID Step 7
The Al Fasid is an impressive model but also a very useful one to To do the NMM I started from the black primer, applying Basalt
explain how to paint green armor and how to get the Haqqislamite Grey #70.869 as base color.
NMM.
Steps 8 and 9
To apply the highlights I added White #70.951 to the base color
Step 1
until I got an intense contrast among the shades. I also painted
Luftwaffe Cam. Green #70.823 was my choice to paint the base
some scratches to some areas to simulate the weathering of old
color of the armor, which I applied with the airbrush.
metal.
Step 2
Then I painted the first highlight using Olive Green #70.967, but
applied more layers in the upper gears, head, and chest areas. As
you already know the more layers you apply to an area the more
intense the color gets.

Step 3
To apply the second highlight I added a bit of Sunny Skin Tone
#70.845 to this color, trying to contrast the very highlighted
areas with other not so highlighted areas.

Step 4
Using a thin brush I outlined all the grooves of the armor with
Military Green #70.975

Steps 5 and 6
Then, I added a bit of Ivory #70.918 to the mixture I made in the
third step, painting all the edges of the armor and also some thin
lines in some areas to simulate scratches.

101
Steps 10 and 11
I applied glazes to the N M M using Hull Red #70.985, Turquoise
#70.966, and Yellow Green #70.954 to provide different tones to
the metal.

Steps 12, 13 and 14

Lastly, I applied more glazes to the metal to intensify the contrast
between the different tones. You can see the ammo belt of the
heavy machine gun has green tones, the rivets have brown tones,
and the tubes are turquoise. So we can paint NMM with a simple
grey scale, but applying glazes allows us customize it.

Additionally, in this step I painted the logos and insignias and

applied glazes and weathering effects to the armor to make it fit
with the NMM. It is very important to check the highlights after
this step since painting the weathering effects requires you to
paint some points of light on the armor and metal to make those
areas stand out.

102
DESERT BASES Step 4
In the Tarik Mansuri's Masterclass you can find in the Volume One, Next, another drybrushed layer but with Dark Sand #70.847.
I explained how to make a desert base by using putty, pieces of
Step S
branches, and lichen. This is an arduous task but produces a very
Then, I painted the rocks with German Cam. Beige WWII #70.821.
good result.

However, in this book I am going to explain how to paint these

type of bases by using Warsenal's bases, which are very useful to
those of you who don't want to make your own scenic bases. With
these tips the final effect will be as attractive as a scratch-built
base.

Step 1
First, I primed the base with Black Primer.

Step 2
The base color was Cavalry Brown #70.982.

Step 3
Then, I drybrushed on Ger. Cam. Orange Ochre #70.824.

103
Step 6 Steps 8, 9 and 10
Following that, I applied a wash to the rocks with Smoke #70.939 And to finish, I applied several washes with earthy pigments.
and then another with Black #70.950.

Step 7
I applied a very smooth drybrush with Dark Sand #70.847 to the
rocks.

fl

104
MAGHARIBA Step 4
With a very old brush I removed the paint, to reveal the first
The crown's jewel, the Maghariba Guard, is the most spectacular layer of color I applled at the beginning of the process. Depending
model of the Haqqislamite army. This scorpion-like TAG requires on the pressure you apply with the brush you can get different
special treatment, as we have to work in a bigger scale, so in this weathering effects.
part of the Haqqislam tutorial we are going to go little by little.
Step 5
Step 1 Those were the first weathering effects I applied to the Maghariba
I started painting the body of this TAG by applying several layers using the Chipping Medium technique. I applied more weathering
of Dark Rust #302. Don't worry about staining other areas of this effects later using other techniques.
model, as you will paint them later.

Step 2
I applied Chipping Medium with a brush, as I wanted to make the
weathering effects using this product.

Step 3
Once the Chipping Medium was totally dry, I made a mixture of
50% Dark Sand #70.847 and Old Wood #310 to use as base color
for the body.
Steps 6, 7 and 8 In this step I also applied some washes with Sepia Ink #72.091
I did something new when I painted the NMM of the Maghariba. and Smoke #70.939 to create oil dribbles and stains, then, using
Starting from black, I added Highl. Russ. T. crew II to make the pigments, I applied these colors in the crevices to simulate dry
highlights. This gave the NMM a greenish-grey color. Then, I sand.
added White #70.9Sl to paint the last highlights. During the
highlighting process I added spots and lines to get the effect of a NOTE: Don't be afraid of staining the model, as the Maghariba
weathered NMM. is a great model to experiment with weathering effects such
as rust and dirt. I strongly recommend checking images of real
Once I finished the highlighting process, I applied several brown tanks to see which parts of a tank are more weathered.
and green tones to increase the dirty look of the model.
15
Steps 9 and 10 Final picture.
A good way to get the NMM to look so dirty is to use the brush,
as it allows us to play with the brush-stroke to provide different
shapes of spots and lines.

Steps 11 and 12
The next step was to paint the logos, insignias, and the stripes
of the official color pattern. Then, I made a mixture of SO% Black
70.9SO and Smoke #70.939, applying some more weathering
effects on the body and especially on the edges of the armor
plates, as those are areas where scuffmarks are more frequent.
These weathering effects need to be made smaller little by little
once you begin making them.

Steps 13 and 14
I applied very smooth glazes to the NMM and to the body with
Orange Fire #72.708 and Light Livery Green #72.733 to provide
more intensity in some areas. These are very saturated colors
and work well.

106
107
 �
- .

---- ....

NOM ADS
The world of the Nomads has been reduced to three ships that fare across the stars, without bonds and beholden only to
their own rules. They do what others don't want or can't do. They don't let themselves be subdued by any political power
or great nation. Doctors without ethical borders improve Nomad physical capabilities through illegal drugs or appeal to
their vanity and alter their appearance, such as attaching bunny ears. Why? Why not? Pirates, super hackers in open
war against the Al that controls humanity, space punks; this mishmash of strange people who make the Nomad nation
are ideal miniatures to enjoy painting whatever you come up with. Experiment with flamboyant colors, show off your
freehand skills with tattoos, explore all kinds of textures, skin, scales, tentacles - the possibilities are endless.
NOMADSSTARTER PACK Step 4
The next step is to paint the remainder of the base colors to
In Volume One you saw how I painted the Gecko Squadron, and check whether the painting process is going properly.
now in this new volume I am going to show you how I painted the
rest of the Nomad army. And the best way to begin the Nomads
Step 5
tutorial is with the Starter Pack. Then, I outlined the wrinkles of the uniform with a mixture of 50%
Sunny Skin Tone #70.845 and White #70.951, and then I applied a
Step 1 wash in the grooves to get a better visual definition.
I started by priming the model with black; then I added three or
four layers of grey primer to be able to see the volumes of the NOTE: You ca n check the effectiveness of this step just
model. comparing these two Alguaciles.

Step 2
I painted the base color of the uniform with Scarlett Blood
#72.106, applying several thin layers to get a homogenous base
coat.

Step 3
Then, to paint the first highlights, I added several drops of Sunny
Skin Tone #70.845 to the previous mixture. I painted these first
highlights to the areas where the greatest amount of light falls.

109
 - . .

�
' H O W T O PA I N T N O M A D S .

Step 6 Step 14
This was the first step in the face painting process. I started Starting from the black prime coat, I painted the first highlights
applying the base color with Saddle Brown #70.940. with Basalt Grey #70.869.

Step 7
I applied washes with Dark Rust #70.302 to shade the face, and
also some washes with Black #70.950 in the eye sockets.

Step 8
I needed a mixture of 50% Saddle Brown #70.940 and Medium
Flestone #70.860 to paint the first highlights.

Step 9
Then, I added a bit of Sunny Skin Tone #70.845 to the previous
mixture to apply the next highlight to the face.

Steps 10 and 11
I got the color of the final highlight by adding a bit of Basic
Skintone #70.815 to the mixture of the previous step. The fac:e
expression, forehead, cheekbones, and nasal bridge stand out
thanks to this final highlight.

Step 12
I painted the Grenzer's coat using the same procedure I applied to
the Alguac:iles' uniform.

Step 13
I masked the coat with Liquid Mask because I used the airbrush in
the following steps.

uo
Step 15 Step 22
Then, I added a bit of Dead White #72.701 to the previous color to Now, I'll explain how I painted the Mobile Brigada's armor.
increase the highlight effect in the same areas, but reducing the started by applying the base color with Scarlett Blood #72.106.
painted area.
Step 23
Step 16 To paint the first highlight of the armor I made a mixture of 70%
I kept adding more Dead White #72.701 to apply the final Scarlett Blood #72.106 and 30% Sunny Skin Tone #70.845.
highlights.
Step 24
Step 17 Searching for more contrast, I increased the highlighting effect by
Then, I outlined all the grooves of the uniform and armor with adding a bit of Ivory #70.918 to the previous mixture.
Black #70.950.

NOTE: Please note that the armor has more highlights than
the uniform, as we must differentiate the materials and the
armor needs to be brighter.

Steps 18 and 19
The ne�t step was to outline all the armor edges and the wrinkles
of the uniform with Dead White #72.701.

Steps 20 and 21
I used washes to paint the LEDs. First, I paint them with White
#70.951 and then I started to apply washes with Blue Green
#70.808, and also with Turquoise #70.966 to shade them. Finally,
I outlined the edges with White #72.701 to simulate the LED's
reflections.

111
 --

: H O W T O PA I N T N O M A D S _

Step 25 Step 34
I outlined all the grooves with Hull Red #70.985 and painted the Following that, I painted the edges and the inner area of each LED
other parts of the model with Black #73.201. with White #70.951.

Step 26
Using the mixture in the 24th step, I outlined the edges of the
armor to get a better visual definition.

Steps 27 and 28
Using Ivory #70.918 I brought attention to some edges. Then
I applied some shades to the armor with Black Red #70.859 to
increase the contrast.

Step 29
I painted each hexagon one by one with Neutral Grey #70.992.
This is a laborious work, so you need to be patient.

Step 30
I highlighted them with White #70.951.

Step 31
I painted the weapon adding white to the black to highlight it.

Step 32
I painted the LEDs of the Mobile Brigada's armor differently than
I did other Nomad models. My choice for the base color was Blue
Green #70.808.

Step 33
Then I applied a wash with Turquoise #70.966.

U2
Step 35 Step 37
To help me finish faster, I usually place the models on their bases Cavalry Brown #70.982 was the color I chose to paint the first
when I paint them. highlights.
Since I use the airbrush to paint the bases of the Nomads models,
I applied Liquid Mask to the feet to avoid staining them with Step 38
overspray from the airbrush. Then, I applied the second highlight with Orange Brown #70.981.

Step 36 Step 39
I shaded with Black #72.751.
My choice for the base color was Hull Red #70.985.
Step 40
The final result.

113
 - -

· H O W T O PA I N T N O M A D S .
-

TATTOOS

When painting tattoos it is very important to follow some

preparation steps before putting brush to model. The first is to
get reference pictures to use as a concept design. Then you have
to breakdown the construction of that tattoo into different steps.
First you must make a sketch to know how much space it will
take up and to get an idea of the general shapes. Then you have
to build it little by little until you get the complete tattoo.

-Example of how to draw a cross tattoo.

-Example of how to draw a star.
-Exa mpl e of how to draw a skull.
-Exa mples of the tatt oos I painted on the Jaguars.

114
FACES Steps 9 and 10
I added a bit of Black 70.950 to the mixture of the "shaved head"

A good way to provide personality to your troopers is to vary their effect to shade the head, to produce the visual effect of having
skin tone. I will explain two new skin painting recipes to you using more hair there.
these two Alguaciles as examples. Then, I applied several glazes of Cork Brown #70.981 to increase
the balding effect.

1° E X A M P L E
Step 1
The base color was Cork Brown #70.843.

Step 2
Then, I washed the whole surface with Black Red #70.859 and
Flat Earth #70.983 but focused on the lower area of the face. The
next step was to paint the sockets with black.

Step 3
I added Sunny Skin Tone #70.845 to the base color to increase
the highlighting effect.

Step 4
I added several drops of Basic Skin Tone #70.815 to the previous
mixture to further the highlights.

Step 5
To get the shaved head effect I had to add a bit of Dark Prussian
Blue #70.899 to the base color.

Steps 6, 7 and B
I added tones to the cheeks and forehead with a mixture of
orange Brown #70.981 and a bit of Flat Earth #70.983 .

115
H O W T O PA I N T N O M A D S .
-

2° E X A M P L E
Step 1
This time, the base color was Mahogany Sand #70.846.

Step 2
In the second step I applied very smooth washes with Hull Red
#70.98S.

Step 3
Then, I added Medium Fleshtone #70.860 to the base color to
apply the first highlights.

Step 4
To paint the second highlight I added a bit of Sunny Skintone
#70.84S to the previous mixture.

Step S
I painted the lips with Magenta #70.945, highlighting them with
a bit of Old Rose #70.944. Then, I applied a bit of Basic Skintone
#70.815 to the skin to highlight it more.

Step 6
In this step I fixed the color transitions, applying glazes with
Medium Fleshtone #70.860 and Mahogany Sand #70.846.

116
CAMOlJFIAGE,CORREGIDOR BANDIT
It is very important to use reference pictures to correctly paint
any camouflage pattern, as they will help us to understand the
shapes and colors that compose them,
For the Bandit, the reference was an urban pattern, the colors of
which are a grey scale and the shapes pixelated,

Step 1
My choice for the base color was Dark Grey #70,994,

Step 2
I painted the first spots of the camouflage with a thin brush,
giving them a pixelated shape, The color I used was German Cam,
Beige WWII #70,821,

Step 3
I made the second spots using Deck Tan #70,986. You have
to paint these spots beside the first ones, just continuing the
pixelated effect,

Steps 4 and S
Then, I painted smaller spots with Black #70,950, Paint fewer of
these small spots than the previous ones, because if you paint too
many you will ruin the pattern. The first and second spots need to
be more noticeable than these. The distance between each spot
must be wide for the pattern to work well.

Finally, I outlined the grooves and wrinkles of the jacket with a

black wash.
COMBI NED AR M Y
The Evolved Intelligence, gifted with the highest knowledge, has a cold and relentless will. Completely merciless, it has
dominated, subjugated, and annihilated entire civilizations. It is a compendium of the most dangerous, brutal, and violent
races. In short, they are the bad guys of the movie and their next target is the Human Sphere.
If you really want to be on the winning side, the Combined Army is your only choice. For painters it provides all kinds of
strange races, different types of textures and skins, and armors of unknown alloys, the colors and effects of which are
only limited by your imagination.
UMBRALEGATES Step 6
Then, since the skin needed more tones, I applied several glazes
One of the most important and beautiful models of the Combined with Bloody Red #72.710, which also smoothed out the strong
Army is the Umbra Legate. For that reason, it deserves special highlights of the previous step.
treatment and must be the first detailed tutorial of this chapter.

Step 1
As usual, I started priming the model with Surface Primer 73.603,
applying thin layers to keep from obscuring any sculpting detail.

Step 2
Then, I painted the base color with Glory Red #72.711, applying
thin and smooth layers with the airbrush.

Step 3
I made a mixture of Bloody Red #72.710 and Sunny Skin Tone
#70.845 to highlight the armor. It is important to apply very thin
layers of paint as we don't want to make the color on the armor
too intei;ise with this mixture.

Step 4
The next step was to add more Sunny Skin Tone #70.845 to the
previous mixture to paint the skin of the Umbra, but leaving the
nooks of the skin unpainted.

Step 5
The next step was to add more Sunny Skin Tone #70.845 to the
previous mixture to paint the skin of the Umbra, but leaving the
nooks of the skin unpainted.

ll9
 .

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H OW TO PA I N T C O M B I N E D A R M

Step 7 Step 12
I painted the padded areas of the clothes the same way I painted Then, I outlined all the edges with the same color of the previous
the skin, like it was something organic rather than a fabric. step to get a better visual definition of the wrinkles.

Step 8
NOTE: I didn t highlight the clothes too much as I d i dn t want
' '
Once I finished with the skin I came back to the armor. Because
them to stand out; I was searching for a contrast between the
the skin and the armor are both painted in reddish colors it shiny armor and th e matte clothes.
was necessary to differentiate them. In this step, I highlighted
the edges of the armor with a mixture of 50% Sunny Skin Tone
#72.845 and Bloody Red #72.710.

Step 9
With Hexed Lichen #72.715 I applied shades to the nooks and to
the lower areas of the armor.

Step 10
Finally, I painted several points of light to provide more shine to
the armor.

Step 11
The next step was to continue painting the clothes. I applied the first
highlights with Dark Grey #70.994 focusing on the upper areas of
the wrinkles.

120
Step 13
I painted the black as I painted the clothes, but provided more
highlights with White #70.951 to get the effect of metallic shine.
As you can see, you can get different effects just using the same
color but forcing the highlights.

Step 14
I painted the LEDs with White #70.951 as base color, and then
applied glazes with Bloody Red #72.710. Finally, I painted a point
of light with White #70.951.

Step 15
I chose Blue Green #70.808 as the sword's base color. However, I
previously wrapped the model to avoid staining the painted areas.

Step 16
Then I added Dead White #72.701 to the previous color to
highlight the sword. I used the bristle brush to paint the edges of
the sword.

Step 17
Finally, I applied glazes with Turquoise #70.966 to shade it and to
create a contrasted effect.

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Step S
MAAKREP TRACKERS UNIT
I outlined all the edges of the clothes with Neutral Grey #70.992
The Sygmaa Maakrep will help me explain how to paint the black to get a better visual definition. I painted an interlaced design on
elements of the Combined Army color pattern, and how to force the shoulder pads to texturize that flat area.
the highlights on the metallic areas even more to differentiate
them from the black clothes. Finally, you will learn how we can
strengthen and change the color of a black area just using glazes.

Step 1
Starting from the black base color, I applied highlights with Dead
White #72.701. I used slight taps on the airbrush trigger during
this step as the surface to paint is small.

Step 2
I painted the weapon by adding white to the black base color to
highlight it. Once finished, I applied glazes of Turquoise #70.966
to the magazine to differentiate it. Then I applied glazes with Hull
Red #70.985 to the muzzle. Finally, as I wanted that part to stand
out, I highlight the edges with Orange Brown #70.981.

Step 3
I started to paint all the edges of the armor with Dead White
#72.701 to get a better visual definition between the plates.

Step 4
You will notice that I applied the same glazes of Turquoise
#70.966 to the grenades that I applied to the magazine. You can
also see that the clothes have fewer highlights than the armor to
differentiate them.

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Steps 6 Step 7
Finally, I applied several glazes with Gory Red #72.711 to some A different view.
armor plates to provide different tones and to make the armor
more colorful.

•+ Sunnyskin tone + White

• Scarlett Red

• Orange Fluo

• Red Ink
• Orange Fire

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DRONEREMOTE Step 6
One of the more interesting things about the Drone Remotes The last step was to again apply glazes with Bloody Red #72.710.
paintjob is how I texturized the inner areas of the Drone, which You can see how the texturized effect beneath the glazes would
are their organic parts. look like it was organic.

Step 1
Starting from the black priming I applied smooth layers of Gory
Red #72.711 to highlight the model, but kept the lower areas
black.

Step 2
I made a mixture of 50% Gory Red #72.711 and Bloody Red
#72.710 to paint the base color of the Drone's inner areas.

Step 3
I applied the stippling technique that I explained in Volume One to
texturize those areas. This technique is based on applying little
dots, which I painted with Sunny Skin Tone #70.845 directly as I
wanted to get a strong contrast.

Step 4
I applied several glazes with Bloody Red #72.710 to smooth the
main part of the previous stippling work.

Step 5
I applied the stippling technique again to increase the texturized
effect to that area. I alternated the stippling technique and the
glazes to avoid the paint from being flat but texturized, so in
some parts the paint looks thicker than in other areas.

124
UMBRASAMARITAN Step S
The Umbra Samaritan is the kind of model that takes your breath Then, I used a brush to emphasize the highlights of the face and
away, so It is a must-include in this Volume Two. One of its most chest wrinkles.
representative characteristics is his reddish-pale skin, which I will
explain how I painted.
Step 6
Finally, I shaded the deepest areas of the wrinkles with a mixture
Step 1 of SO% Sepia Ink #72.091 and Gory Red #72.711.
The prime coat was the usual, however this time I applied more
layers of grey to the skin.

Step 2
Then, I painted the skin again with Oead White #72.701 because
my intention was to work from light to dark using glazes.

Step 3
I started shading the skin with glazes of Woodgrain #70.828,
applying them very smoothly and letting each glaze dry before
applying the next one.

Step 4
I highlighted the skin with White #70.9Sl again to cover the
glazes I applied in the previous step.

NOTE: It is important to apply this highlight with very smooth

and thin coats.

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UNIDRON BATROIDS Step S

I used a mixture of 50% Sunny Skin Tone #70.845 and Ivory #70918
The Unidrons follow the same black and red rnlor pattern of the to highlight the braid and the organic parts, applying it to the highest
Combined Army. These are very easy models to paint, and fyou are
i
areas of the wrinkles.
a gamer, I suggest painting them all together to save tme
i .

Step 6
Then, I applied glazes with Bloody Red #72.710 to smooth the
Step 1
highlight of the previous step.
Starting from a black base color, I added Dead White #72.701 to the
black to highlight the armor searching for the most interesting areas
Step 7
of the model to place the light In this step, I came back to the armor, providing a better visual
definition of the plates with Dead White #72.701.
Step 2
I added even more White #70.951 to the previous mixture to
continue the highlighting. Don't forget you must reduce the area
highlighted each time you Intensify the highlighting.

Step 3
My choice for the base color of the Unidron's braid was Dead White
#72.701.

Step4
Then I made a mixture of 50% Bloody Red #72.710 and Gory Red
#72.711, applying it to the braid and to the organic parts. This step
required several layers, letting each of them dry before applying the
next one.

126
Step s Step 5
Then, I applied shades with Black #72.751 to provide more contrast to I added a bit of White #70.951 to the mixture of step 3, drybrushlng
the armor. the whole surface to get all the details to stand out.

Steps 9 y 10 Step6
Finally, I painted several red stripes and also red glazes to the armor Finally, I applied washes with Hull Red and Turquoise to get a better
to provide more tones and to enrich the model's color range. visual definition in the different areas of the base.

BASES
The bases of the Combined Army's models were conceived as an
organic, extraterrestrial terrain. To get that visual effect, I played with
blue tones and red tones for the shades.

Step 1
I choose Hull Red #70.985 as the base color.

Step 2
Then, I applied several thin layers of Turquoise #70.966 over the base
color, but stopped short of covering it completely, as the intention
was for some of the Hull Red color to show through.

Step 3
I added a bit of Dark Sand #70.847 to the previous color to apply the
first highlight. In this step it is important to apply the highlights in the
same direction to provide more coherency to the highlight work.

Step 4
Then, I ·painted several parts of the base to provide it with a wider
range of colors.

0
 - - �___:.-
--

ALEPH
At the service of humanity, this artificial intelligence controls the data web of the Human Sphere and supervises the majo­
rity of human activity with the only purpose of helping and protecting us - but is it really? Does it have a secret agenda
in which humanity is its puppet? Or does it sees us as a virus to exterminate?
ALEPH features historical recreations leading all kinds of robots and war machines. You know how cool is to paint a future
version of Achilles and a legion of fierce and effective Myrmidons, right? What are you waiting for? Grab _your ALEPH and
start painting all sorts of synthetic tissues, and make gradient colors to illuminate their armor's LEDs or the shine of their
swords.
 H O W T O PA I N T A L E P H

ACHILLES(HOPlITEARMOR)

The new version of the great Achilles is the perfect model to Step S
explain how to paint the white armor so characteristic of ALEPH. Then, I painted the grooves with Violet #70.960 to get a better
However this model is so nice that I will take advantage of it to visual definition of the armor plates. It is important to dilute the
explain how to paint a face and the shining blade of the sword paint enough so it flows easily in the grooves.
too, which I think you will find really interesting.
Step 6
Step 1 Finally, I outlined all the edges of the armor with White #70.951,
I started painting the base color with Deck Tan #70.986, applying which is laborious work, but the final result is worth it.
thin layers with the airbrush. It is very important the color be
homogenous.

Step 2
I applied shades to the armor with German Cam. Beige WWII
#70.821 to get the first contrasts.

Step 3
Then, I made a mixture of 10% Violet #70.960 and 90% of the
previou� color to provide more depth to the shades. This recipe
works well since it uses a cool color.

Step 4
Once I finished with the shades, I painted the highlights with
White #70.951, applying more layers to the chest and shoulders.

129
 H 0 W T 0 PA I N T A L E P H
-�---��
�. �""---- __.�
,...__,._..___. �

Step 7 Steps 12 and 13

I started to paint the face with a mixture of 50% Sunny Skin Tone To paint Achilles' gorgeous mane, I chose Japan Uniform WWII
#70.845 and Medium Fleshtone #70.860 as base color. #70.923 as base color, which I highlighted first with oark Sand
#70.847 and then with Ivory #70.918. Then, I painted the shades
Step 8 with a mixture of Japan Uniform WWII 70.923 with a bit of Dark
Then, to shade the face, I applied thin layers with Flat Earth Prussian Blue #70.899.
#70.983 to the spaces between the eyebrows, the sides of the
nose, and the neck. This is not an intense color, so you can adjust
the depth of the shades. I also applied Orange Brown #70.981 to
the cheeks to give them more intensity.

Step 9
To paint the highlights I added a bit of Basic Skintone #70.815 to
the base color, increasing the amount of this color to increase the
highlight effect. While highlighting, I tried to follow the different
volumes of the face to make the face expressive.

Steps 10 and 11
Then, I added a bit of Ivory #70.918 to the previous mixture to
force the highlight by adding points of light.

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 H O W T O PA I N T A L E P H

Steps 14 and 15
I used the NMM technique to paint the sword. A useful tip about
painting this weapon with the airbrush Is to cover the model with
transparent film to avoid staining it.

Steps 16 and 17
Finally, I applied glazes with Blue Ink #72.088 to modify the tones
of the blade.

Following this step by step you can paint all of ALEPH'S armor.
Here you have the Hector model as an example.

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H OW T O PA I N T A L E P H

H E CTOR: B LACK AND GREY

PARTS OFTHE ARMOR

ALEPH'S armor also has some black and grey parts. I always
recommend painting the white parts first, as they are larger, and
then painting the other parts later. In this example I am going
to explain a painting guide for all the ALEPH and Steel Phalanx
troopers wearing a black and white armor.

Step 1
Starting from a black base color I added White #70.9Sl to apply
the highlights.

Step 2
I kept adding white to highlight it more.
Steps 3 and 4
I outlined the edges with White #70.951 and then I applied shades
with Violet Ink #72.087. Since this is an ink it provides a nice and
interesting satin effect.

Steps 5 and 6
In this step I painted the grey areas. I started painting the base
color with Neutral Grey #70.992, highlighting it with White
#70.951. Finally, I applied shades with Violet Ink #72.087 and in
the deeper areas a bit of Black #70.950.

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 H OW T O PA I N T A L E P H

HECTOR'SSWORD

There are two different methods to paint swords with bright

energy effects, both providing the same result. With Achilles'
sword I used the NMM technique, applying glazes to dye it and
get the energy effect. However, with Hector's sword I applied a
different method, starting from white and applying washes to
create shades, and finally outlining the edges to get a contrast
effect.

Step 1
First, I painted the entire blade with White #70.951.

Step 2
Then, I applied washes with Electric Blue #72.723. I advise you to
do this slowly, letting each wash dry properly before adding the
next.

Step 3
I applied more washes, but now with Magic Blue #72.721 and only
to some parts of the sword, to get a contrast on the blade.

Step 4
Finally, I o.utlined all the edges with White #70.951.

By following this painting tutorial, and the Penthesilea

masterclass of Volume One, you can paint all of the Steel Phalanx
of ALEPH. Here are other ALEPH models I have painted that you
can use as reference.

133
TOHAA
The Tohaa are an advanced alien civilization in open war against the Combined Army, and are the only race that has
survived its conquest. They are the new allies of humanity, because not all the aliens have to be bad, even though their
loyalty and their true purposes for humanity are something that only time will tell.
Tohaa expertise in biotechnology, viral weaponry, and symbiont armor make them a powerful ally and a fun option to
paint. Use the glaze and wash techniques to give "life" to their organic armors and prepare to defeat the Combined Army
or whoever dares to defy you!
SYMBIOBEASTS Steps 4 and 5
I applied several glazes with different Inks, such as Red Ink
The SymbioBeasts are a pair of nicely sculpted models that #72.086 and Sepia Ink #72.091 in the belly, because I wanted to
provide a great opportunity to try new and different painting provide tones to that area.
techniques and color patterns. I painted both official color
schemes; one was more fitted to the official Tohaa color pattern
while the other allowed me to play with greenish-turquoise colors.
I will only explain one of the color patterns as the other _one
requires the same techniques only with different colors.

Step 1
I started by applying the base color with Burnt Umber #70.941.

Step 2
The first step in painting the skin was to apply thin layers of
German Cam. Beige WWII #70.821 with the airbrush
0
Step 3
The first highlight of the skin required Deck Tan #70.986, applied
more to the upper areas. I also applied smooth layers at the joins
of the skin and the breast plate.

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H O W T O PA I N T T O H A A .

Steps 6 and 7
I used Deck Tan #70.986 to paint irregular lines on the carapace.

Steps 8 and 9
I highlighted the carapace first with Flat Earth #70.983, applying
it to areas that are more exposed to the light. Then I applied Dark
Sand #70.847 to provide the second highlights. I highlighted the
carapace of the tail just by painting lines to simulate a streaked
effect. Finally, I applied glazes over the carapace with Livery
Green #72.733. In the skin areas, I forced the highlights of the
muscles with Ivory #70.918, applying smooth layers of this color
as I wanted to get a good blended effect.

Steps 10 and 11
Then, I applied more glazes to the carapace with Livery Green
#72.733, and I painted more highlights to the skin with White
#70.951, to force the effect of tension in the muscles.

Steps 12 and 13
Finally, I painted the other parts of the model.

136
 m

BELLY:
• Basic Skin tone 70.815
• Light Flesh 70.928
•+ • Sepia 72.091 + Red 72.086

SKIN:

• Pastel Green 70.855

• Deep Green 70.970
• Turquoise 70.966
• Black Green 72.090
• Dark Sand 70.847

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H O W T O PA I N T T O H A A .

SYMBIONTARMORSKETCH

Several Tohaa troops wear Symbiont Armor, an organic protective Steps 7 and 8
gear that requires emphasis when we paint it. To do this, we are Since I wanted to get more contrast, I applied several shades
going to play with the color saturation. We will use powerful by washing with Orange Fluorescent #733. Then I used Yellow
colors which will bring focus to those areas. This sketch will help Ink #72.085 for the medium tones, to saturate the color of the
you to paint the Symbiont Armor of all the Tohaa troopers. The symbiont more. Finally, I highlighted even more with Dead White
process is based on washes, which make the highlights stand out. #72.001.

Steps 1 and 2
My choice for the base color was Moon Yellow #72.705. This color
belongs to the Game Air range, however you can also use it with
a brush.

Steps 3 and 4
I applied several washes with Orange Fire #72.708, to darken the
yellow. Note that you must let each wash dry properly, but you
can speed up the process by using a hairdryer.

Steps S and 6
I made a mixture of 5% Yellow Ink #72.085 and 95% Dead White
#72.001 to highlight the upper areas of the symbiont. I added the
ink to the mixture because I wanted to get a more saturated color,
and the Game Color's inks are really helpful with this thanks to
their high level of pigments and the satin effect they provide.

138
KAAURI SENTINELS' SYMBIONT
The Kaauri Sentinels are symbiotech creatures. They have a
symbiont different than the symbiont armors usually found on
Tohaa troops, so here is the process l used to paint it.

Step 1
My choice for the base color was Electric Blue #72.023. Since this
color belongs to the Game Air range, it is more liquid and flows
better over the surface of the symbiont areas, which ensures all
the micro-details will be properly painted.

Step 2
l added White #70.951 to the base color to highlight it. It Is
important the dilution be thick to avoid it flowing into the crevices.

Step 3
Since I Y1anted to get a better visual definition in the symbiont
parts of the model, I applied a wash with Imperial Blue #72.020
to shade It.

Step 4
Then, several glazes with Livery Green #72.033 helped me to
change the tone of the symbiont's color.

Step 5
Once all the other parts of the model are finished, it is convenient
to retouch the symbiont by applying more highlights and
providing a more vivid color if the final result it is not bright
enough.

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H O W T O PA I N T T O H A A _

TOHAAFACE
Step 1
As usual, I started applying the base color, which was Deck Tan
#70.986.

Step 2
Then, I applied several washes to the face with Camouflage Green
#72.031 and glazes with Red #70.926 to the scars.

Step 3
In the next step I highlighted the face with Deck Tan #70.986 but
kept the previous wash in the deeper areas.

Step 4
I painted the eyes with Flat Yellow #70.953 and also applied a
•
glaze to the scars with Red Ink #72.086. Since inks provide a
satin effect, I got a look of fresh blood with the scars.

Steps 5 and 6
Finally, I applied several glazes with Black Green Ink #72.090 to
the rear of the head.

140
TOHAAARMORSKETCH TOHAABASES

This is a sketch to show how to paint the Tohaa armor quickly. Step 1
You can get a better result by spending more time on them. The first step is to prime the base with black. Then I applied a
However, the intention of this sketch is just to show you the color drybrush with German Cam. Beige WWII #70.821.
recipe and how to apply it.
Step 2
Step 1 Following that I applied a second drybrush, but now with Deck Tan
My choice for the base color was German Cam. Beige WWII #70.986.
#70.821.
Step 3
Step 2 Then I applied several washes, first with Turquoise #70.966,
I made a mi xture of 50% Basalt Grey #70.869 and Periscopes followed by some washes with Uniform Green #70.922.
#70.309, and applied a general wash all over the armor.
Step 4
Step 3
I applied more washes with the previous colors. Then I applied
After the previous wash, some parts were much too stained. So I
glazes with Royal Purple #70.810, followed by more glazes but
retouched the base color and then I started to highlight the armor
with Yellow Green #70.954.
with Defk Tan #70.986.

Step 4 Step 5
I used White #70.951 to apply the last highlight, focusing on the I used Dark Sand #70.847 to apply a smooth drybrush all over the
edges to get a better definition of the armor plates. surface of the base.

Step 6
And here you can see the final result.

Note: I h igh ly recommend that you use Warsen a l s Tohaa

'

bases, as they have been s pe ci a l ly conceived for this alien race.

These Tohaa bases are available at the Warsenal o nl i ne shop.

•
0

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AU T HOR I Z E D s·ou N T Y H U N TE R
It is a complicated task to choose just one miniature for the Mercenaries Masterclass, because adding the whole range was
impossible for Volume Two. But who knows, another book could come out in that regard further down the road.

Infinity's mercenaries range has great characters like Avicenna, the Anaconda TAG., or Miyamoto Mushashi. Unlike soldiers in
the main armies, each one has their own distinct outfits, so when I paint mercenaries I have more freedom with color choices
and I let my imagination fly more. When painting mercenaries I try to choose new things that could impress the viewer. So one
of the reasons I chose the Authorized Bounty Hunter was to break free with a new color scheme not very frequently used by
other painters.

The official color scheme of the Authorized Bounty Hunter has blueish green and orange tones, warm and cool colors in the
same scheme, so the challenge was to maintain harmony between the different tones.

The body of the bike was painted with blueish green tones, quite dark with strong reflections in some areas to mark the NMM,
which is very important when looking for contrast. I also applied inks to the shadows to enrich the glazing effect on the bike's
body. For the wheels I added a warm color, reddish orange, because I wanted that part to stand out. This girl rides a very cool
motorcycle, look at it! For the color scheme of the rider I used the same one as the bike: cool tones on the suit and warm
oranges on some of the suit's details to make them stand out, such as the shoulder pads, kneepads, and forearms. These are
small areas that helped me harmonize the whole.

As a side note I would like to mention the hair, because I wanted to give the miniature more color and bubble gum pink comes
out great! See below for a step by step on how I painted this model. I hope you like it.
Step 1 Step 6
I started by applying several layers of Surface Primer #73.602 In this step I added White #72.701 to paint points of light and to
but let each layer of prime coat dry before applying the next one. force the chromed effect of the bodywork. Here, it is important to
create a strong contrast between highlights and shades.
Step 2
The Bounty Hunter's color pattern is based on pale colors, so I Step 7
applied a prime coat of Grey Primer #73.601, as this will make Another view.
painting her easier. However the motorcycle has a dark pattern,
so I didn't apply the grey primer to it.

Step 3
I painted the motorcycle's base color with a mixture of 50% Black
#72.751 and Black Green 72.090. This one Is an ink, which will
provide a satin effect to the bodywork. The more layers you ap ply
the more satin the color will get. I am afraid this step cannot be
properly seen in the pictures as the base color is very dark and
the real color can be seen better in person.

Step 4
Then, I added a bit of Sunny Skin Tone #72.845 to the base color
to paint the first highlight. This is a good color due its brightness,
as it has a bit of yellow in its composition.

Step S
I kept adding more Sunny Skin Tone #72.845 to strengthen the
0
highlights of the previous steps.

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H O W TO PA I N T M E R C E N A R I ES .
0

Step 8 Step 13
I outlined the edges with White #72.701 to get more visual I kept adding more white to the previous mixture to apply more
definition on the plates. I applied thin layers to the edges, but little highlights. In this step we can see how the white is becoming
by little, to get the visual definition I desired. more intense during this process.

Step 9 Step 14
Another view. I applied glazes of Dark Prussian Blue #70.899 to smooth the
blending. This color also gives a different tone to the metal,
Step 10 preventing it from looking too grey. Apart from that but also
I applied glazes with Black Green 72.090 to provide tones to the important, being a bluish and cool color it provides depth to the
motorcycle's bodywork, but in two different ways. If I want a shades.
smooth glaze, then I add more water so when I apply the layer the
color looks lighter. For example, I did this to the edges. However, Step 15
the glazes on the rest of the bodywork are stronger. The next step was to paint the tires with the airbrush, so I applied
Liquid Mask #28.850 to the areas closest to the tires to avoid
Step 11 staining the previously painting work.
I painted the metallic parts first with Dark Grey #70.994, trying to
not stain the previously painted areas of the bodywork.

Step 12
I added White #70.951 to the previous color, painting the first
highlights and emphasizing the main volumes.

144
Step 16 Step 21
I chose Orange Brown #70.981 as the base color, applying several Then, I outlined the edges of the tires with a mixture of 50%
thin layers of it by using short taps on the airbrush trigger. Scrofulous Brown #72.038 and White #72.701 to get a better
visual definition of the details.
Step 17
I applied the first highlight with Scrofulous Brown #72.038. Please Step 22
note that you need to add Airbrush Thinner #71.061 to this color Once I finished with the tires, I removed the Liquid Mask with Blu­
if you use the airbrush, because the Game Color range is thicker. Tack.

Step 18 Step 23
Then, I added a bit of White #72.701, applying it to the middle of I wanted to provide more highlights to the areas between the
tire to highlight it. plates of the bike, so I lined the hard edges with White #72.701.

Step 19
Once I did that, I applied glazes with Scrofulous Brown #72.038.
In this step It is very important to dilute the color more than
usual, as we need to get a very thin layer of paint to avoid
covering the previous highlighting too much.

Step 20
I outlined all the grooves with a brush, applying Gory Red #72.711.
This color doesn't need to be diluted, as it belongs to the Game
Air range, which flows very well.

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H O W T O PA I N T M E R C E N A R I E S _

Step 24 Step 28
Then, I applied Gold Yellow #72.707 to the lines of the previous I chose Light Flesh #70.928, which is a light tone, as the base
step. Note that when you want to paint a vivid color such as color of the face. Then, I applied the first shades with Beige Red
yellow or orange, it is advisable to apply a white layer first. #70.804

Step 25 Step 29
I applied a glaze with Gory Red #72.711 to provide more depth. I kept adding a bit of Flat Earth #70.983 to the previous color to
apply the second shades, providing more depth to the face.
Step 26
Finally, I applied a final highlight with White #72.701 to make it Step 30
brighter. I painted lips and cheeks with Cavalry Brown #70.982, and the
sockets with Black #70.950.
Step 27
Now that I finished with the motorcycle, I will explain how I Step 31
painted the Bounty Hunter. I started painting the base color of all I used Basic Skin Tone #70.815 to paint the first highlights,
the different parts to check he visual result of the color pattern. applying thin layers to blend it well.
Step 32 Step 36
Finally, I applied the last highlights to the face with Light Flesh I used Warlord Purple #72.714 to shade the hair. This color
#70.928. I also used that color to apply another extra highlight to belongs to the Game Air range; it is a very liquid color and allows
the lips. us to apply the shades easily;

Step 33 Step 37
The next step was to paint the base color of the pants with Blue The last step was to paint highlights with White #70.951, so some
Green #70.808. locks would stand out.

Step 34
Iadded a mixture of 50% Sunny Skin Tone #70.845 and Ivory
#70.918 to the previous color. This is an easy step since I didn't
apply shades, because I wanted to keep the base color.

Step 35
Then, I started with the hair. I applied the base color in a previous
step, so I applied the first highlight with Old Rose#70.944. This
was a very general highlighting, instead of painting lock by lock.

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 - .

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H O W TO PA I N T M E R C E N A R I E S .

Step 38 Step 45
I painted the orange parts using the same colors and proc:ess as I made a mixture of 50% Blue Green #70.808 and Sunny Skin
the tires. Tone #70.845, adding it to the base color to apply the first
highlight to the base.
Step 39
Now I am going to explain how I painted the grey parts of the Step 46
Bounty Hunter model. Starting from the blac:k base c:olor, I I added a lot of White #70.951 to the previous mixture applying
highlighted with Dark Grey #70.994 using the NMM tec:hnique. points of light to brighten the base.

Step 40
I painted the second highlights adding White #70.951 to the
previous color.

Step 41
I kept highlighting, adding more White #70.951 and focusing on
the edges.

Step 42
To provide different tones to the grey parts, I applied glazes with
Turquoise #70.966 and Dark Prussian Blue #70.899.

Step 43
The model was almost finished. It only lacked a painted base, so
I applied Liquid Mask to the motorcycle to protect the painted
parts.

Step 44
I painted the base color with Black #72.751 applying smooth
layers with the airbrush.

148
Step 47
I outlined the edges of the base with a thin brush, and painted the
numbers with the same color recipe I used to paint the tires. I also
used masking tape, as I wanted to paint the drilled plate of the
base with a different color.

Step 48
I then painted the drilled plate but applied the same color recipe
as the Nomads bases.

Step 49
Finally, I weathered using pigments and with Verdigris #72.135
from the Game Effects range.

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 L U X U M B R A

AC HERONT I A : MOBI LE BR I G AD A SQUAD

Acherontia, the first bust from Luxumbra, is a model from the Nomads' Mobile Brigada unit. In this brief article I explain how I painted the
face with my airbrush/bristle brush method. However. if you want to know how I painted the rest of the bust, I have to warn you that the
whole guide will be available next year when Luxumbra is released, so be aware!

Step 1
I started by painting the base color with a mixture of 60% Flat
Flesh #70.955, 30% Violet Red #70.812, and 10% Scarlett Red
#72.712.

Step 2
Then, I applied several thin layers of Flat Flesh #70.955 to
highlight the face. The more layers you apply to an area, the more
intensity you get.

Step 3
To make the freckles on the cheeks, I added a 70% Scarlett Red
#72.712 to the base color, applying it with a thin brush. The
next step was to paint shades to the sides and tip of the nose
and eyelids. In this step I applied very thin shades to control the
color's adjustment. To paint the lips I applied glazes of Scarlett
Red #72.712 to shade them, and then I painted vertical lines with
Light Flesh #70.928 to simulate reflections. Finally, I applied
several glazes to the cheeks with the airbrush, adding 30% Violet
Red #70.812 to the base color.

150
Steps 4 and S
With a mixture of 50% Violet Red #70.812 and Sc:arlett Red
#72.712 I applied more shades to the eyelids and the jaw.

Steps 6 and 7
I applied highlights with Light Flesh #70.928 to the key areas of
the fac:e to c:reate a c:ontrast.

Step 8
I painted the eye soc:kets with Oec:k Tan #70.986, then I applied
several washes with Red Shade #73.206 just to the join of the
soc:ket and the eyelid.

Step 9
I used Black #70.950 to paint the pupil.

Step 10
My color choice to paint the iris was Olive Green #70.967.

Step 11 ·
Finally, I painted several points of light with White #70.951.
 ..

ACKNOWLEDGMENT
I can only thank and be proud of all the staff who collaborated
on this project from which I kept learning and improving.
And lastly but no less important, I would like to thank all the fans
who have followed and supported me all these past years. Without
you this project would be meaningless.
Thank you very muchl \ /

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