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PAINTING·WHITE DWARF 365

Black Orc Flesh

May 2010·p. 98

THE SHORT VERSION

The Black Orc’s complexion starts from a very dark green and builds through increasingly lighter green layers. Yellow and pale green make the final highlight, while red and flesh washes warm the recesses to prevent the face looking inert. This balance retains the nearly black skin associated with Black Orcs while making the model read as a living creature and providing contrast against its red equipment.

AT THE PAINTING DESK

Paints in this article

Every named colour below is searchable across the archive.

Orkhide ShadeKnarloc GreenGolden YellowRotting FleshScab RedOgryn Flesh

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

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Black Orc skin Warm and cool Flesh highlights

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Find this article in White Dwarf 365, p. 98.

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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