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PAINTING·WHITE DWARF 365

Black Orc Big Boss Masterclass

May 2010·pp. 94–101

THE SHORT VERSION

Keith Robertson combines Black Orc and Boar Boy parts to make a mounted boss, using a restricted selection of kits and small sculpted joins. The painting contrasts a naturalistic striped boar with dark green flesh and heavily weathered red armour. Detailed sequences cover the fur pattern, warm skin, dull metal, cool-shadowed reds and chipped surfaces, then finish with wood grain, bone, brass and the decorated base.

AT THE PAINTING DESK

Paints in this article

Every named colour below is searchable across the archive.

Scorched BrownKhemri BrownOrkhide ShadeDevlan MudKommando KhakiChaos BlackCodex GreyFortress GreyTallarn FleshDark FleshScab RedBleached BoneSkull WhiteBoltgun MetalBadab BlackChainmailKnarloc GreenGolden YellowRotting FleshOgryn FleshMechrite RedBlazing OrangeVomit BrownAsurmen BlueCalthan BrownCharadon GraniteGraveyard EarthThraka GreenBaal RedDwarf BronzeTin BitzMithril Silver

All explicitly named paints in the constituent painting tutorials are indexed; unspecified colours are not guessed.

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Mounted Black Orc Kitbash Striped boar Weathering Masterclass

Back to the original

Find this article in White Dwarf 365, pp. 94–101.

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

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Battle reportWD 365 · p. 13

The Battle for Quenelles

Andy Hall reports an unusually large recreation of the Red Pox attack on Quenelles, with eight Bretonnian dukes facing five Skaven lords. Alessio Cavatore coordinated the game, whose decisive massed cavalry charge gave the Bretonnians victory. Hall nevertheless claims a local success for the Skaven after his Plague Monks reached the walls, illustrating how a narrative mega-battle can produce memorable achievements even for the losing side.

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PaintingWD 365 · p. 25

Painting Knights of Dol Amroth

Duncan Rhodes gives a compact sequence for the Swan Knights’ polished metal, strong blue cloth and cool white heraldry. Black and blue washes define the armour before silver highlights, while progressively lighter blue layers distinguish the cloth. White begins from a grey foundation to retain shadows, with warm flesh and brown leather finishing the model; the shield repeats the same palette to keep the mounted regiment coherent.

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PaintingWD 365 · p. 35

Painting the Ruins

Chris Peach and Chad Mierzwa’s Studio ruins use a black undercoat, sprayed stone foundation and pale drybrushing for a consistent set of buildings. Earth and green in the corners suggest accumulated dirt, while grey drybrushing distinguishes the wooden floors. A separate Angmar version begins with a vivid green foundation before muted stone highlights, and uses hamster bedding for cobwebs to strengthen the haunted effect.

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May 2010Read summary