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PAINTING·WHITE DWARF 330

Painting Trees: Summer, Autumn and Winter

June 2007·p. 27

THE SHORT VERSION

The tree recipes begin with muted grey-brown bark rather than the brighter brown painters may instinctively choose. Selected leaves receive varied colours before a final drybrush brings each canopy together, producing distinct summer and autumn effects. Bare winter trees rely on the trunk treatment alone, with optional moss, while textured bases can be completed through layered drybrushing and small patches of flock.

AT THE PAINTING DESK

Paints in this article

Every named colour below is searchable across the archive.

Chaos BlackCharadon GraniteDark FleshBestial BrownBlood RedVomit BrownGraveyard EarthCodex GreyFiery OrangeCatachan GreenDark Angels GreenSnot GreenGoblin GreenCamo Green

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

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Trees Seasonal scenery Foliage Bark Drybrushing

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Find this article in White Dwarf 330, p. 27.

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

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PaintingWD 330 · pp. 28–29

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Mark Jones makes the detailed Miners manageable by establishing neat flat colours and leaving narrow black separations between them. Layered skin, washed and drybrushed beards, edged steel and shaded gold then develop each material without obscuring the sculpt. Leather takes a simple two-stage treatment, while candle wicks, pale wax and highlighted bases supply the final details needed to make the regiment coherent on the tabletop.

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Grey walls are progressively drybrushed towards white, while blue-grey roof tiles receive occasional lighter pieces to avoid a perfectly uniform surface. Earthy timber and brickwork are unified with a dark wash that includes matt varnish. The compact recipe uses broad texture treatments appropriate to a large building, leaving its sculpted architectural details to carry much of the visual interest.

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