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PAINTING·WHITE DWARF 490

Birchwood Glade by Rebecca Robson

July 2023·pp. 108–109

THE SHORT VERSION

Rebecca Robson uses silver birches to inform an army embodying nature’s wrath. Separate light and dark subassemblies receive different primers, allowing Contrast and drybrushing to produce cracked pale bark, dark green bodies and bright blue fungi efficiently. The approach keeps the tree inspiration clear while giving leaves and supernatural forms their own colour roles.

AT THE PAINTING DESK

Paints in this article

Every named colour below is searchable across the archive.

Grey SeerApothecary WhitePraxeti WhiteChaos BlackIncubi DarknessKabalite GreenSybarite GreenCastellan GreenAthonian CamoshadeStraken GreenStegadon Scale GreenSotek GreenTemple Guard Blue

Only explicitly named paints used in the feature are indexed.

EXPLORE RELATED TOPICS

Assembly & preparation Painting techniques

Back to the original

Find this article in White Dwarf 490, pp. 108–109.

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

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CommunityWD 490 · pp. 4–7

Contact

Readers share therapeutic painting, custom Imperial forces and enthusiasm for several generations of Warhammer games. Ian Balzer links Space Wolves and his Sisterhood of the Wolf through their colours; Fiona Gosschalk’s rainbow Skink Oracle combines bright blends, non-metallic gold and tiny galactic patterns. The replies explain a pale Death Guard recipe and briefly place the major alien species in the era of the Horus Heresy.

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PaintingWD 490 · p. 4

Painting Question: The Pallid Hand

Tom Moore’s Death Guard armour starts from white and gains a warm aged finish through Skeleton Horde, Ushabti Bone and pale drybrushed and edge highlights. The answer distinguishes this newer recommendation from Tom’s earlier Seraphim Sepia shading. Brown recess stains, sponge-stippled grime and selective blood finish the worn appearance without hiding the light armour.

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LoreWD 490 · pp. 8–11

Worlds of Warhammer: Story Seeds

Phil Kelly explores how small battlefield incidents and brief background references grow into major characters, factions and whole games. Ghazghkull’s origins in Andy Chambers’s army, the long development of Ynnead, early Kill Team and the first mentions of the Horus Heresy illustrate different routes from seed to setting. He also explains how collaboration with sculptors allows apparently mysterious prophecies to foreshadow planned releases, then encourages readers to preserve their own gaming stories.

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