ModellingWD 513 · pp. 12–15
Dan argues that a base should establish where a miniature belongs and suggest an event beyond its pose. Six worked environments use spare terrain, cork, sprue, coffee stirrers, slate and modelling putty to turn ordinary bases into small scenes. An accompanying reader question explains Kieran’s softly glazed and weathered Knight-Errant armour, showing how subdued colours and streaks can support a convincing setting.
Warhammer 40,000Age of Sigmar8 paint colours
PaintingWD 513 · p. 96
Luke airbrushes warm shaded white armour and paints blue parts separately or masks them on vehicles. Once the main colours are complete, satin varnish protects them from a heavily thinned burnt-umber oil wash; wet and dry ends of a cotton bud remove excess and blend staining into the surface. Separate recipes distinguish white and blue Legion armour, red Inductii, black Destroyers and bronze details, making the oil process a unifying finish across differently marked units.
The Horus HeresyWorld Eaters16 paint colours
ShowcaseWD 513 · pp. 118–123
The Gods of War gallery brings together a Bretonnian Duchess, a Daemon Prince, Guilliman, a Lamenter, a Dark Angels Judiciar and a Warmaster Iconoclast Titan. Studio submissions add Leila’s urban-camouflaged Banehammer and John’s experimental Katakros, whose magnetised companions can step into narrative games. Painting notes explain weathered tank camouflage, freehand markings and the use of purple shadows to retain orange saturation.
Warhammer 40,000Age of Sigmar9 paint colours