InterviewWD 378 · p. 7
Aly Morrison argues that matt resin makes sculpted details easier to read and brings a production casting closer to its original master. He compares an original Runelord sculpt with its Finecast version and anticipates lighter material permitting more adventurous poses. His comments capture the designers’ hopes for the new process, including reduced vulnerability to falls and fewer limits imposed by top-heavy metal components.
ModellingWD 378 · pp. 8–9
Chris Peach demonstrates removing Queek Headtaker from his resin frames, cleaning mould lines and dry-fitting parts before applying a small amount of super glue. He discusses brushing away flash, filling occasional bubbles and using gentle heat to reposition flexible parts. Gulavhar’s large wings illustrate the claimed assembly advantage of lighter components, with the existing locating pegs providing a sound join.
Warhammer Fantasy BattlesMiddle-earth Strategy Battle GameSkaven
PaintingWD 378 · pp. 12–15
Joe Tomaszewski explains why detailed castings provide a useful foundation for precise painting while stressing that the craft still depends on practice. Darren Latham’s Astorath contrasts glossy red armour with non-metallic gold, and Matt Kennedy differentiates a Blood Knight’s dark barding from its brighter rider. Further classic characters show varied treatments of crystal, skin, cloth and weapons across the newly recast range.
Warhammer Fantasy BattlesWarhammer 40,0002 paint colours