4. Attach the built(dry) mini to the base, again using superglue.
5. Using slightly watered down PVA I attach the sand. This is a mix of modelling sand and Chinchilla dust (much finer, ideal for epic).
|7. With the mini based and attached to a holder with poster tack, I airbrush on an undercoat. This is a 1:1 mix of Vallejo Airbrush Thinner and Black Surface Primer. Once complete, I use a hairdryer to speed up the drying time.|
|9. I then airbrush on a 1:1 mix of Vallejo Airbrush Thinner and Gloss Varnish. This protects the airbrushed layers and provides a good surface to paint onto.|
The next stage involves adding many thinned layers of paint to the mini. For this stage I created a simple wet palette. This helps to maintain the paints consistency for a long period.
|16. At this stage shading is added (before any more highlights). I use Caliban Green(C) straight from the pot (wetting the brush with my lips before hand). Dots are placed on and around all rivets, a line of paint is added in the deep shaded areas. Some fine detail areas which require a steady hand and small brush, I just paint over, then with a cotton bud I remove the paint from the highlight areas (much quicker, same result).|
|17. This stage adds hard edge highlights with Moot Green(C) (again from the pot). Its applied to all the green edges and rivet tops. The finished look will be severe, but this will be toned down in the next step.|
|18. A glaze of Waywatcher Green(C) is applied to all the green areas. This is done in an even thin coat, avoiding puddles or too much gathering in recesses; it is not a wash. The results are impressive, all the green areas are harmonised. The layers blend better and the hard edge highlights are toned down.|
|19. Extreme hard edge highlights are added to the green areas with Moot Green(C). Copying step 17, but this time concentrating on hard edge corners and rivet tops. This step really makes the green pop.|
|20. Paint the black areas with a thinned coat of Black paint.|
|21. Apply the decals, once set paint a couple of coats of black paint around them to help blend them in. How I create these decals, let alone how they are attached is a story in its self. I will get around one day to creating a How to guide.|
|22. Highlight the black areas with a slightly thinned coat of Cold Grey(V). Notice that I haven't highlighted the tracks, this is because they will be covered in mud at a later stage.|
|23. Extreme hard edge highlights are added to the black areas with Stonewall Grey(V). Concentrating on the corners and rivet tops, like we did with the green.|
|24. Blue light OSL (Object Source Lighting) is added to the weapon cells, headlights and view-port. Firstly Magic Blue(V) is painted from the pot on all these areas. Then it is diluted and blended around these areas (using a similar technique to applying the green blend). The highlights (more layers of paint) are focussed nearest the light source. Its important only to paint were the light will shine; any blocked areas should be left unpainted.|
|25. More OSL light is added using Electric Blue(V), following the previous step but painting nearer the light source and picking out the hard edges. Even in this pic you can see it starting to look like its shining.|
|26. Extreme OSL highlights are added with Glacier Blue(V), from the pot following the method of the previous step. You could add white after this for a brighter/shinier look, but I like to stop here.|
|27. Actually two steps to basecoat the emblem on the door. The outer gold ring with Hammered Copper(V) and the white Salamander with Wolf Grey(V). Both straight from the pot.|
|28. The second and only highlight on the door symbol. The top left half and bottom right third are painted with Glorious Gold(V) and the main body of the Salamander's head is painted White.|
|29. Damage, Even Space Marines get their armour scraped/chipped/worn. This is added straight from the pot, green areas with Escorpena Green(V) and the black with Sombre Grey(V). Concentrate around edges, areas of high ware and general scratches.|
|30. To give the larger areas of damage some depth, paint inside the previous layer with Charred Brown(V). This is applied from the pot to both black and green areas. The hardest part of this is finding all the damage you previously added, just be methodical.|
|31. The deepest damage is added with Chainmail(C). This is applied from the pot, following the last step, inside the brown areas. Try not to be overcareful about this, its random damage, so use rough strokes, dabbing actions to get a rough effect. You can also use quick strokes of the brush to add deep scratches outside of the brown areas.|
|32. Agrellan Earth(C) is painted/daubed on/and around the tracks and on the base were the tracks would have drove over.|
*Edit - Following comments on the pics regarding the appearance of the mud and some paint tests; I have decided to move stage 32 applying Agrellan Earth(C) back some stages before the Agrax Earthshade(C) wash is added. The wash is then added over the Agrellan Earth, only on the tracks and base making them appear wetter, while the rest of the mud looks dried on. Here is one last pic, the tracks on the right have been washed.