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PAINTING·WHITE DWARF 310

Hair and Beards

October 2005·p. 78

THE SHORT VERSION

Seven colour recipes cover black, several browns, blonde, ginger and white hair, with a separate stubble method. Textured hair can take initial drybrushing, while flat sculpted areas need fine directional lines to suggest strands. Each recipe combines restrained highlights with a suitable ink wash and renewed edge colour. Stubble instead uses diluted paint in tiny marks because ink tends to collect too heavily in small recesses.

AT THE PAINTING DESK

Paints in this article

Every named colour below is searchable across the archive.

Chaos BlackCodex GreyBlack InkScorched BrownBestial BrownBubonic BrownBrown InkSnakebite LeatherChestnut InkVermin BrownBleached BoneVomit BrownGolden YellowYellow InkDark FleshFiery OrangeSkull White

Only explicitly named paints used in the feature are indexed.

EXPLORE RELATED TOPICS

Painting techniques

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Find this article in White Dwarf 310, p. 78.

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

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PaintingWD 310 · pp. 58–59

Painting the Land Raider

Brown chalk is worked into the blue hull’s recesses as an alternative to an ink wash, with varnish recommended if the model will be handled. Brazen Brass and Shining Gold build the ornament, brown-black ink deepens it, and Burnished Gold and Mithril Silver finish the edges. Similar curling gold designs decorate black gun casings. Patient hand-painted scripture and custom transfers complete the narrative surface.

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PaintingWD 310 · pp. 72–75

Painting the Mob and Bad Moon Glyphs

Snot Green highlighted with Goblin Green establishes the skin, while several pale browns over Snakebite Leather vary the tunics. The Nobz receive more attention to details, Chestnut Ink on selected metal and Shining Gold highlights. A four-step glyph builds offset black and Bleached Bone circles, then restores a little skin colour inside to complete the crescent. Bone replaces yellow in key markings so they stand out from the clothing.

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PaintingWD 310 · pp. 76–79

Painting Faces

Matt Parkes describes display-level human faces through ten skin stages, carefully positioned eyes and a range of hair colours. Thin paint and intermediate mixes create gradual transitions, while ink choices alter the expression and character. Teeth, tattoos, warpaint and scars add distinct personalities without overwhelming the underlying face. The examples repeatedly use the same head so the effect of each choice can be compared directly.

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