AN INDEPENDENT WARHAMMER REFERENCE ARCHIVE ONLINE // EST. M026
Index Obscura.THE WHITE DWARF ARCHIVE

PAINTING·WHITE DWARF 330

Painting the Arcane Ruins

June 2007·pp. 28–29

THE SHORT VERSION

Unattached pillars, plinths and the obelisk let one kit serve as a complete temple or scattered remnants. Three finishes suggest different stone: grey granite, pale sandstone and black obsidian with red marbling. Most texture is brought out through drybrushing, but the obsidian uses a sponge to build irregular translucent colour, making the same sculpted surfaces evoke quite different materials.

AT THE PAINTING DESK

Paints in this article

Every named colour below is searchable across the archive.

Chaos BlackCodex GreyBestial BrownFortress GreyGraveyard EarthBubonic BrownBleached BoneBlood RedSkull White

Only explicitly named Citadel paints and mediums are indexed; unnamed colours and third-party products are not guessed.

FOLLOW A THREAD

Arcane Ruins Granite Sandstone Obsidian Sponge marbling Modular scenery

Back to the original

Find this article in White Dwarf 330, pp. 28–29.

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

KEEP EXPLORING

Another page to turn.

Back to the archive →
EditorialWD 330 · Inside cover

A Battlefield in Every Hobbyist’s Home

Grombrindal welcomes a complete range of plastic scenery that can furnish a battlefield without requiring every feature to be built from scratch. Although the buildings chiefly express the Empire, hills and woods can serve all three principal games. The editorial also celebrates the character of the new Dwarf Miners and heroes, connecting a better-looking table with equally distinctive armies to fight across it.

Warhammer Fantasy BattlesDwarfs
June 2007Read summary
TacticsWD 330 · pp. 24–33

Wargames Terrain

The feature treats scenery as both a believable landscape and a powerful influence on play. Hills, woods, obstacles and buildings should be arranged with enough open ground for manoeuvre, avoiding implausible clusters or rigid symmetry. New kits illustrate those principles, while Gav Thorpe’s advice explains occupation, march blocking and countermeasures. The chapter on building design and painting shows how a convincing physical setting can strengthen a game’s story and tactical decisions together.

Warhammer Fantasy Battles
June 2007Read summary
InterviewWD 330 · p. 26

Warhammer Scenery: Designing the Fortified Manor

Colin Grayson explains how digital geometric modelling and organic sculpting combine to make an unmistakably Warhammer building. Bricks, timber and metal begin as simple shapes before texture, wear and warped surfaces give them character. Religious symbols and improbable structural details tie the manor to the Empire, turning what might have been generic scenery into a specific part of the setting.

Warhammer Fantasy BattlesThe Empire
June 2007Read summary