Games Workshop Citadel Pot de Peinture - Layer Cadian Fleshtone

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In Kill Teamthe Sisters recently received rules in White Dwarf for their own kill teams. We’ve written about them and our thoughts on playing these kill teams here. Lastly is edge highlighting, which you’re probably already familiar with but I’ll establish it now anyway. It involves painting just the edges of something with a lighter tone of the base color. This is good for hard, inorganic materials like metal or plastic where the edges are clearly defined, and it helps them really pop. I’ll also refer to extreme edge highlighting which is just hitting the very corners of an object. Dorado Skin – This is a medium fair skin tone that is almost an exact match for Cadian Fleshtone from Games Workshop, but with much better coverage. Shade it with Soft Skin Wash or Flesh Wash from the core Warpaints range, and add Opal Skin or Pearl Pigment Toner for highlights, or use Kobold Skin from the core Warpaints range. Tiger’s Eye Skin – A medium reddish-brown that is a nuance more reddish than Doombull Brown from Citadel. Mocca Skin or Strong Skin Wash are perfect for shading, while Jasper Skin can be used for highlighting. Note: This paint swatch was hand-painted on structured plasticard over grey primer and Corax White and photographed under a 5500K daylight lamp to provide you with an as accurate colour reproduction as possible. There’s a lot of leather on these leather daddies, but it’s fortunately pretty well defined. I like hitting this up after the skin so I don’t spill any layers of flesh tone onto the comparatively thin straps. We’re also going to be edge highlighting these, as they’re pretty thin and will stand out more with some edging. I used the same technique on the boots and holsters.

Mocca Skin – A dark brown with a reddish hue. It’s similar to Doombull Brown from Games Workshop, but a nuance darker and slightly more violet. Add Onyx Skin for shading, or use Dark Skin Wash. Tiger’s Eye Skin and Jasper Skin work well for layering on top. Glaze most of the leather with thinned Mournfang Brown . Use quite a small brush and drag towards edges in rough lines. This should create some extra texture.It’s much the same process for infantry, however with the red mostly done in a bulk airbrushing session there really isn’t much left to do once you’ve pin washed and edge highlighted

That pretty much covers it. I’m happy with the final model and it wasn’t nearly as much time to paint as I expected it might take. Seraphim Sepia makes things yellow – beware of overdoing this lest your skin take on a jaundiced look. Space Marines – The Space Marines are a faction of the Warhammer 40k universe that are genetically modified superhuman soldiers. The Cadian Fleshtone paint can be used to paint the flesh of these soldiers, as well as to create a variety of different skin tones, making it a versatile paint that can be used to paint a variety of different factions. Mix the Mournfang Brown with Rhinox Hide and glaze again. At this point you should be coverring less than one thirds of it (roughly). Using the fundamentals of color theory, which states that complementary and analogous colors should be utilized to produce a sense of balance and contrast, the choice to include these particular paints was made.Here is my way of painting caucasian skin and faces on Warhammer miniatures, perfectly suited for (Primaris) Space Marines, Astra Militarum, Stormcast Eternals, or any other human figure. When I paint faces, I want a lot of (brush) control, so I use a traditional approach of basecoating, washing, and layering. As usual, I like to use the smallest brush I can find, which is a Winsor & Newton Series 7M 000, but as long as the tip is sharp, with a little bit of practice any high-quality Kolinsky sable brush such as Redgrass Games’ RGG premium brushes will do. Now comes the fun and unusual part. I could describe this mixture with a mathematical formula, but I think it’s easier if I just break it down in a more natural way. I start off with a 50/50 mix of Bugman’s Glow and Gryph-hound Orange. Next I add just a touch of Magamadroth Flame. This is what gives it the majority of the orange tint. It’s also a really strong color, so start off with just a little bit, mix it in, and then add more of if you need to. I just did a little dab of the brush tip basically for mine. Once that’s all mixed I added in Contrast Medium until it was all the the consistency of Contrast paint, then slather it all over the skin of the model! Like all Contrast paint, you want to make sure it doesn’t dry in weird pools. I ended up doing 2 coats on the larger model because I made the mixture too thin on accident for him. If you’re doing a whole army of these I would recommend mixing up a big batch of this in a spare paint bottle.

Add weathering with thinned Agrax Earthshade , Ratling Grime or any other transparent browns you prefer. With pure Ushabti Bone , selectively highlight corners and exposed edges of the leather. Put a dot of this colour where the additional scratched above meet edges too. Time for the wings. Here I’m just going to get away with drybrushing. I do progressively lighter mixes of Celestra Gray and Xereus Purple here, which helps give me a much more muted tone on the wings. We’ll start with Light skin because it’s easiest, and because we’re basically using the same method for all the recipes . Once you’ve got this one down, you can do the others.

Daniel “Skails” Rodenberg

Highlight everything again, this time with a fine line of Skrag Brown and Ushabti Bone mixed 1:1. This is a good mix to throw in occasional fine lines as scratches too. The faces on these models are actually surprisingly well defined for plastics of their age, and extremely expressive. That expression might be one of angry bewilderment, but expression is expression. Some finely targeted washes and a little def brushwork for the eyes and teeth will finish up this most focal point. Contrary to what many pots of paint would have you believe, there is no single “skin tone”. The reason for this is because human skin is a complex, multilayered structure and derives its colour as a sum of its components, much of which is constantly in flux in life. Skin is translucent and “skin colour” is largely a combination of the colours present within the skin – the pigment melanin, red of blood and yellow of fat. If you have had the misfortune of seeing a corpse, then you can observe the sallow cast that develops – the loss of blood from the skin on death leads to a loss of ‘red’, leaving the melanin and fat behind.