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PAINTING·WHITE DWARF 309

Spring and Summer

September 2005·p. 65

THE SHORT VERSION

Greens establish a growing forest, with paler yellows and rich reds or browns supplying contrast. The same three palette groups suit spring and summer by favouring lighter or darker greens respectively. The worked archer keeps the inside of the cloak dark so the brighter body stands out, and the guide recommends using the plastic sprues’ vegetation to strengthen the seasonal appearance.

AT THE PAINTING DESK

Paints in this article

Every named colour below is searchable across the archive.

Snot GreenCatachan GreenDark Angels GreenCamo GreenGoblin GreenRotting FleshScorched BrownBestial BrownSnakebite LeatherDark FleshScab RedVermin BrownBleached BoneBubonic BrownDesert YellowVomit BrownBronzed Flesh

Only explicitly named paints used in the feature are indexed.

FOLLOW A THREAD

Spring Summer Palette alternatives

Back to the original

Find this article in White Dwarf 309, p. 65.

This is an original summary. Refer to your magazine for the complete article, rules, images and painting steps.

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CommunityWD 309 · pp. 4–5

Games Day 2005

The final event guide divides the NEC venue into Forum, Arena and Pavilion areas, identifying activities, displays, gaming tables and signing opportunities. It explains how visitors can find the studio, Golden Demon presentations and participation games rather than simply listing the models for sale. The map emphasizes the unusually broad range of attractions gathered under one roof.

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EditorialWD 309 · pp. 6–7

The White Dwarf Team

Guy Haley recounts Bristol Conflict and an unsuccessful Battle Companies challenge, while preparing more Goblin artillery and chariots. Greg MacGregor’s zombie-pirate project accompanies his farewell, Christian Byrne finishes Minotaurs for a Chaos force, and Nick Kyme reports three victories that take the Border Princes campaign. A closing notice also marks Paul Rudge’s departure, making this a mixture of personal hobby results and editorial change.

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PaintingWD 309 · pp. 50–51

Painting the Bridge, Base and River

Grey and white drybrushing over Roughcoat establishes the pale masonry, with green streaks and earthy marks suggesting runoff and traffic. The banks progress from Snakebite Leather through lighter browns and bone before flock is attached. Dark green water becomes Scaly Green and blue mixes near the edges, with white streaks and Ardcoat supplying reflected light and shine. Damaged Gondorian figures serve as weathered architectural statues.

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