How to model power cables

On a number of occasions, I've been asked to build or convert a model and part of the work includes a psychic hood. Part of a psychic hood is the pair of power cables that run up the sides of the chest.

Until recently, I've always sculpted them out of greenstuff. It's fairly easy to to do and with a little patience, you can get some nice looking results.

1. First you roll out a thin length of greenstuff in the diameter you want your cable. Make sure you have enough to do both sides of the chest.
2. Cut a short section (slightly longer than you'll need) and attach it to the model starting at the top. The excess can be cut away at the bottom where you can hide any potential mistakes.
3. Carefully press the greestuff onto the model, but no so much that you deform it. This is the tricky part of the whole thing.
Use your X-Acto blade (a regular GW sculpting tool is not sharp enough to do this) and cut a series of ribs into the power cord. It will take three passes on each cable. Once on the top (upper most facing surface) first. This will flatten the cable out slightly, but will help it adhere to the model as well. Make sure your blade stays wet so it doesn't pull the greenstuff away from the model!
4. Then cut once on each side of the cable. It's too hard to make the ribs in one pass so it's better to make them using a series of short cuts combined together. And you need to make sure you side cuts line up exactly with your top cut so it looks consistent.

There's really only one problem with this technique though... your cables really do need to be lying on the surface of the model for it to work. They can't be suspended or hanging down.

Actually they can, but it requires using an underwire to support the cables and you have to wrap them with greenstuff and then cut your ribs into it. A huge pain in the backside and not for the faint of heart.

Recently (within the past month) I was able to get my hands on some guitar strings. I went to a local music store, told them what I was looking for and why and asked if they had any "extras" lying around. After they got done laughing at me, they were kind enough to give me a handful of different sizes I could use for something other than playing the guitar. Nice guys they were.

I've always seen cool looking conversions where the person used a guitar string to replicate some kind of ribbed power cable attached to some important point on the model. I've always wanted to be able to do that myself and be like the big guys.

Then I was cruising the FTW blog rolls the other week when I saw this post by Jeff over at Dragon Forge where he mentioned his pewter power cables. Apparently, he's had them for a while, I've just never known about it.
You can get them from his store here.

Anyway, I send Jeff and email asking about his pewter ones. Here's his reply:

I can 100% guarantee you you will throw away your guitar strings after you try these.

Very bold I thought and picked up a set right away. I couldn't wait for them to arrive so I could see just well they would work out compared to other materials like the guitar strings. Once I had everything together, I decided I would try to make a standard Librarian psychic hood with my new materials.

I had some guitar string, some pewter cables and some greenstuff.
I knew the greenstuff method would work, so I skipped right to the guitar string.

What a huge pain in the backside to use.
The stuff is incredibly hard to bend and I can't cut it with my X-Acto knife. To get it into the correct shape, you need to bend it past what you need and hope it springs back into the shape you really do want. I can't believe people actually use this stuff. Thank goodness I know how to greenstuff them in place.

It's also fairly hard to get a nice smooth bend to the guitar string.
I think I'll be setting these aside for something else... like maybe the trash.

Then I tried it with the pewter ones. It was night and day difference.
They're easy to bend, they keep their shape, you can fit them exactly how you want them without having to overbend them and hope they spring back into the correct position.

They cut easily with an X-Acto blade too. It took me no time at all to get one shaped how I needed it and cut to fit for my Librarian test.

The test cable in place

So it comes down to the greenstuff or the pewter ones and looking at the differences between the two different methods.

The greenstuff ones really need a surface to lie on, the pewter don't.
If your cables are lying down on a surface, this is no big deal. If your cables are going to be suspended, this is a big issue.

You have to sculpt the greenstuff where the pewter come ready to go.
This is definitely nice. Not having to sculpt them saves some real time.

Pewter ones will have some mold lines.
Not a big deal, but can be problematic for some folks to get them cleaned off such a textured surface. The mold lines on the ones I got would have cleaned off with little to no trouble at all.

The pewter ones have a consistent diameter, greenstuff may vary.
This is a very nice feature. That's one of the big issues with sculpting them with greenstuff... getting them consistent so they look "right."

The verdict: The pewter ones are definitely worth it. It's going to take me some time to figure out how best to attach them and learn the finer points of shaping them just the way I want, but these guys will give me that added extra realism to my models and save me from having to greenstuff the entire cable. Now I'll only need to greenstuff the attachment points.

Looks like Jeff was right, my guitar strings are headed for the trash.

EDIT: Painting Munky Style was kind enough to offer up a link to his method for making power cables as well in the comments. Since I don't want to deep link, you can check out the comments for the link (cut and paste) to the full tutorial and I've posted a summary here. Thanks Munky!

Using 24 gauge floral wire, he wraps it around a paperclip and pushes it tight into a coil. Once he has it long enough for what he wants to do, he takes the assembly and bends it to shape around a suitable object (the handle of his hobby knife or a pen, etc.) and cuts it's to fit.

Note: I did not mention prices in this post because I got the guitar strings for free, almost everyone has greenstuff lying around and I figured if you're going to be doing this kind of conversion work, the cost of the supplies (pewter cables) isn't going to matter anyway.

UPDATE: These days, if I find myself needing to make any kind of power cable or hose, I use the tube making tool from Green Stuff Industries.

Additional Tube tool reviews:
Masq-Mini Ultimate tube tool review
Green Stuff Industries tentacle maker review

Ron, From the WarpIf you've got any questions about something in this post, shoot me a comment and I'll be glad to answer. Make sure to share your hobby tips and thoughts in the comments below!

21 comments:

Dark Angels FAQ... great

Image from Games Workshop

My thoughts on the new Dark Angels FAQ. I don't know if I should be more excited or not. I guess this is a good thing in the end. To be honest, most of it doesn't apply to me since I play Deathwing and even then, I only use certain weapons (like heavy flamers). But I don't feel as though I'm as excited as some others out there seem to be about the whole thing.

I'm certainly not running out and equipping all my guys with storm shields and cyclone missile launchers as quick as I can.

Don't get me wrong, I'm glad GW is stepping up and getting more "timely" FAQs out for players to use, but all this one does for me is allow me to use the changes I would have already made to my list "unofficially" before in an "official" capacity now. Three plus storm shield saves and two shot cyclones... who wasn't using those before? Besides, GW tells us to play it how we want and as long as your opponent agrees, why not?

I'm still on the fence about the smoke launchers thing.
And does my Power of the Machine Spirit have a BS of 4 now too... officially?

And the whole Feel No Pain thing. What was wrong with the old Apothecary Narthecium/Reductor rules? Those seemed to work just fine. Now I've got to figure this FNP thing out. Could be worse though I suppose, I could lose my Fearlessness. That would stink.

Like I said, I'm glad Games Workshop is making the effort to update things. And I can understand them trying to bring things in line with Universal Special Rules and such. Maybe it's because I don't play in tournaments that I don't have the driving need for clarification or upgrades like this. Maybe it's because I don't technically have an army right now, but that's not the point.

Fearlessness... that's what I love. Do you know that Deathwing Terminators (if the Grey Knight rumors hold true) will be the only Fearless Terminators out there? I think if that goes away with our new Codex (whenever that comes around), I'll still keep that one for my army.

Ron, From the WarpIf you've got any questions about something in this post, shoot me a comment and I'll be glad to answer. Make sure to share your hobby tips and thoughts in the comments below!

14 comments:

Raven Guard icon freehand

With all the Raven Guard work I've been doing lately, I'd had a request for how I paint the symbol on the shoulderpads. Here's the process broken down step by step.

Now at first glance, this might seem like a bunch of steps for something that Forge World makes both decals and brass etchings for... so why even bother right?

I prefer to paint my symbols on instead of using decals for two reasons:
1. I'm not a big fan of decals to begin with, lots of work.
2. I have the ability to paint them on... but still lots of work.
Wait a minute, what's going on here?

In an effort to show other Raven Guard players how I break down the symbol into manageable shapes to paint, I've included the image above. You can save it to your computer so you have it later on to follow. When you look at the image, the Raven is fairly simple, read it's not exactly like the real icon. This is because I created this in a drawing program and it's more important to get the steps in the right order than it is the actual exact shape of the wings and such. You can make those adjustments as you go along... but you need to know the steps to getting there.

I'm sure there are other ways to do this as well, this can't be the only way. But for those who don't even know where to start, this might help get you going.

Doing this well will require a fairly good detail brush and a steady hand. You can clean up your edges some, but it's much easier if you can get your shapes correct with your first pass. I don't usually thin my paints much, but I will when I paint iconography like this. Just a little bit, you don't need much water to help get your paint to flow smooth. It's easier to make two or even three thin passes with your color than it is to try and get complete coverage in one pass the first time.

It (the image) looks fairly self explanatory, but I may suffer from knowing it inside and out at this point so it looks complete in my eyes. If I've missed something or you've got a question about a part of it, just let me know and I'll do my best to answer.

Here are a few more posts that might help:
The trick to painting icons
Adding freehand and decals to your models
Weathering icons and freehand

Ron, From the WarpIf you've got any questions about something in this post, shoot me a comment and I'll be glad to answer. Make sure to share your hobby tips and thoughts in the comments below!

10 comments:

Painting Dark Eldar skin tones

Image from Games Workshop

Painting Dark Eldar skin shouldn't be tough to do. It's really just like any other kind of skin except you need to use different colors and keep a few things in mind.

I get requests all the time for how to paint pale skin tones. When I first posted pictures of my Raven Guard, I got tons of requests on how it was done. With the Dark Eldar firmly here, let me show you how would I go about painting some skin tones for them in a quick fashion.

Nothing complex that requires a lot of work, just a basecoat, a wash and simple highlight really. You can add more steps, but it doesn't take much to get tabletop results.

(Click on image for larger version)

First though, we need to look at pale skin vs "regular skin" tones. Dark Eldar don't spend their free time catching rays like the rest of humanity does. They don't have the rich, warm colors that we associate with healthy, human skin. Their skin is pale, it's lacks normal coloring and even comes in shades we humans aren't used to seeing.

This opens us up to using lots of other colors, but we need to stay away from any warm colors. Things like Tan and Dwarf Flesh are no good for our basecoat. We want to use something like Dheneb Stone or better yet a light grey that is similar to that in value (lightness). The Dheneb stone is a warm color and if you can keep your basecoat cool, you'll be better off in the end.

I'm going to limit myself to using just those two colors for my basecoats.

Now when it comes to washes, we can use just about any we want... again staying away from warm colors or anything that starts to make the skin tone look human and healthy. Blues, purples, etc. all work perfectly. You can use reds and some browns if you are careful. They may start to make the skin look "normal" but it's still an option.

Be careful with green. I would stay away from it at this point. Green can look more rotted and decomposing than it can look pale if you're not careful and they guys are not rotting or decaying by any stretch of the imagination. For now, save the green for your Nurgle army.

We want really light colors for our basecoat too. Almost white. Nothing deep and rich in color. Remember, these guys are lacking all of that. We want that washed out, barely any color to their skin look.
So let's look at some examples...

Base: Light Grey, Wash: GW Leviathan Purple, Highlight: Base color

Base: Dheneb Stone, Wash: GW Leviathan Purple Highlight: Base color

So you can see with the two different base colors above the subtle difference between the light grey and the stone color. The Dheneb Stone is slightly warmer and a bit more "human" looking if you will. It's not wrong by any stretch, just another option.

The Leviathan Purple wash on the stone color comes across a bit warmer than it does on the grey where it looks like a normal purple and has less "red" to it. The light grey base color would be the "cool" version and the stone color would be the "warm" version of the two here even though we've used the same wash.

Now let's look at a different color wash over the same base colors.

Base: Light Grey, Wash: GW Asurmen Blue, Highlight: Base color

Base: Dheneb Stone, Wash: GW Asurmen Blue, Highlight: Base color

Obviously this isn't the only way to paint Dark Eldar skin, but this might some of you guys who are a little hesitant started. You don't have to stick to these colors either. Experiment with what you have. Keep your colors cool and you should be fine in the end.

Now you can take any one of those that we have above and go one more step with them and add some white to your highlight color. That gives you an even more "pale" look to the skin.
Actually you can do it with straight white if you thin it down enough and just add a few layers of it in key places. It will really push the contrast and lighten the face.

And if you're really looking to go the distance, Grab a spot color from your palette (whatever that may be) and add some facial tattoos to the models. Here I used a red for the contrast, you'll have to play around with the colors you've chosen for your own army to get the best effect.

Ron, From the WarpIf you've got any questions about something in this post, shoot me a comment and I'll be glad to answer. Make sure to share your hobby tips and thoughts in the comments below!

8 comments:

How to paint fur the hard way

Painting fur can be easy if you go the drybrush route. And it doesn't look half bad either. But if you really want that "finished" look, try line highlighting each strand.

I know, I know, shouldn't it be about making things easier and not harder when it comes to painting. Yes and no. In this case, I figured I'd share with you how I highlight fur if I'm going for that super clean and finished look and trying to avoid that "drybrushed" look.

With the model above, I went this route because the individual fur "pieces" are slightly larger than usual and sometimes just drybrushing can bring out unwanted texture and make the piece look unfinished or sloppy.

Don't get me wrong, drybrushing has its place, sometimes though, you need to bite the bullet and go the extra step to get the really nice results and skip drybrushing. Now this model is a one off so I don't have something like three or four squads to do and I can afford to lavish some attention on his details.

I start with painting the whole fur area black. It helps that black was the color I primed my model with as well. You can see the cape portion is already done, so it was just a matter of cleaning up some edges really.

Now you'll need to know the color scheme of your fur in advance. In this case, I'm going from light tan at the bottom up to black at the top.

The first layer is a dark brown and I start with it at the bottom. I carry that color up about 3/4 of the way to the top. As I get closer to the top, I don't apply the paint as heavy (or thin it as needed) so my actual color is closer to black. You don't need a perfect blend here, just get it close enough.

The next step is a lighter tan. Again, starting at the bottom and working my way up to the top. This time only going about half way. This should leave some of the first dark brown layer as a transition color between this layer and the black at the top.

Next is a pass along the bottom 1/4 with a real light tan color. This will be the lightest the fur gets on this model.

And last but not least is a very quick pass across the very top in the black area with a dark grey color. This is to give a little highlight to the black and add some variety to the area. You want to make sure you don't go down into the brown so it's just a matter of hitting the very few top pieces of fur.

Ron, From the WarpIf you've got any questions about something in this post, shoot me a comment and I'll be glad to answer. Make sure to share your hobby tips and thoughts in the comments below!

9 comments:

Painting a glowing powerfist, Part 2

Image from 40k Hobby Blog

Here's a more in depth look at the mechanics if you will behind object source lighting (OSL) and how we can use this to make it work on our minis.

Let me be very clear of three things before we get started.

1. This is NOT an attempt to point out what is wrong with other poeple's painting or their skill level. This is an attempt to use what people are willing to share with me and what I know to help everyone come away with a better understanding of this technique.
2. I am NOT an expert in this, I'd like to think I have the ability to help others understand this in addition to having the platform to do it with.
3. A huge THANKS to Black Matt and John for sharing their attempts at this technique and allowing me to use them in my posts here as examples.

That being said, let's get to work.

No sooner had I posted my original post on the glowing powerfist that I find John from 40k Hobby Blog has taken my directions to heart and given it a go for the first time in this post here. John has been gracious enough to allow me to use his example in this post just as Matt did in the first post.

So let's look at what we have then. A glowing powerfist right?
Close, but we're missing something. We've got the glowing object, the radiant light... but it's slightly off.

To get this correct, we have to remember the things covered in the first post and we've got to stick to the laws of light if you will. Light behaves in certain ways. As long as our painting application of it follows those laws, we're ok. Stray from those laws and things just don't look right. A viewer might not know exactly how to explain it, but they'll just "know" it's wrong in some way.

So let's back up and start at the beginning.

Let's break our project down into two portions. The part that is glowing (red) and the part that will have the radiant light shining on it (blue). We've already covered the idea behind how to paint the "glow" meaning the same way we paint lava. I'm sure there are other ways out there, but this seems to be the easiest way for me to remember how to do it.

Within the area that will have the radiant light shining on it (the blue area), there will be areas that are NOT going to be exposed to the light. For a number of reasons. It may be that it is blocked by something, it is on the side facing away from the light source, etc. We need to map those out so we know where exactly our light can fall in the surrounding area and where it can't.

In this case, I've marked the areas that the light will NOT be in purple. This is something you will have to map out for every light source you have. And again, just like the first post, we are just keeping to this arm and not doing this in relation to a torso and legs that would be nearby. They too would need to be "mapped out."

The picture above only shows this side and the top of the arm, you'd need to do the same thing for the inside of the powerfist and the bottom of the whole thing as well.

Having defined what is glowing (red area) and what could be exposed to radiant light (the blue area with the purple area subtracted from it) we have all of our potential surface areas for radiant light figured out. The picture above shows you what's left of the blue area after we removed the purple sections. The next question is how far is the light going to radiate out from the source.

Here is where John's example loses some of it's strength. The radiant lighting is not correct in what surfaces it falls on and does not maintain a consistent radius around the light source.

If you look at the picture above, you can see the different lengths of the red arrows. In some places, the light travels very far, in others, it travels next to no distance at all. This inconsistency is enough for the viewer to look at it and feel like something is not right.

To get it right, you need to determine a distance that your light is going to radiate outward and stick to it. No lighting after that point and everything within the radius that can have radiant light on it (the blue area minus the purple area) gets lit up.

The green arrows define a smaller radius that would be consistent across the powerfist. It takes into account only the shape of the glowing object itself, not the surrounding area. This radius has nothing to do with our non-glowing object surfaces. At this point, we are just trying to determine how far out our radiant light will travel.

Now to put it all together.

Here we have all the possible surfaces that the radiant light can fall on combined with the radius from our glowing object to show just how far and onto what our light will travel. This is our roadmap to painting our radiant light. The glowing portion is easy, just like lava... the radiant light can be a bit tougher. Your blends need to be smooth for the effect to work best and really be convincing.

And here's what it should look like if the glow were orange (well kinda, I did this in Photoshop). If the surfaces are correct and the radius is consistent, the overall effect will be much more convincing.

See how the glowing section is orange (obviously) and the radiant light travels the same distance along the back of the chainfist as it does up the chain guard in the front. The radiant light quickly covers the whole side of the chain guard (within the radius) since it is much narrower than the radius of the light. There's even a bit of backward lighting since the fingers come down and that part would be exposed to the light. Just a tiny portion though.

Even though the skull is attached to the back of the hand, it stands just high enough that some of the side of it would catch a little bit of radiant light from the thumb. Not much, just a little bit since it would fall within the radius and just on that side of the skull only. The face of the skull is not caught by the radiant light because it's facing too far away... like the majority of the back of hand.

Hope this helps clear any confusion created by my first post.
At this rate, I'll probably work on a post to show how this would work on a figure overall and how lighting a hand would affect the armour on the model's chest and/or legs along with other nearby sources.

Part 3 on applying the radiant light onto other surfaces is here.

Ron, From the WarpIf you've got any questions about something in this post, shoot me a comment and I'll be glad to answer. Make sure to share your hobby tips and thoughts in the comments below!

10 comments:

Basics: Skin and Cloth

For this post, we're going to try something slightly different. While the focus is skin and cloth, I don't have much skin on this model so I'm going to look at the cloth and leather on him. I do have some skin tutorials that I'll add some links to for those interested. I'm also going to focus more on the cloth and leather with this guy and glance over the other parts of the model.

Again, I'm going to paint him by sticking to simple techniques like base coating, washing and highlighting. In this case, with a model like this, I would have used wet blending on his cloak in a instant. Since we're not using advanced techniques like that, we're going to stick with some variations on washing to see us through to the end.

We start with him primed black. Since I'll be painting him as a Saim-Hann Ranger, I want the dark colors and all the deep shadows.

Like we've done so many times before, we start on the "inside and work out."
His face is GW Dwarf Flesh with a wash of Ogryn Flesh and then Devlan Mud in the recessed areas only.

Additional skin painting tutorials can be found below:
Painting Raven Guard pale skin (with a slightly human feel)
Painting Dark Eldar skin tones
Adding facial stubble to faces

His armour is GW Foundation Mechrite Red, two washes of GW Thraka Green followed by a was of GW Baal Red and then a quick like highlight of the original Mechrite Red.

TRICK: Why did you use the Green to wash the red armour?
I did this to mute the red armour without flattening it out like using a black wash might have a tendency to do. It keeps the color much more vibrant in the end. Since red and green are opposites on the color wheel, combining them tends to cancel each other out to some degree and creates a dark color that has some hints of red and some hints of green depending on how your wash is applied.

Now the real reason we're here today. To get this cloak painted. With this model, if I were doing it on my own, I would have wet blended the whole thing in an instant and kept on going. Wouldn't think twice about it.

You can see in the example above how wet blending can give you some incredibly smooth blends between your highlights and shadows. You can also get a huge range of value (light to dark) in a very small area. In this example, we go from bright red to black in a matter of a few millimeters.

Now that you see the preferred method, forget it.
We're not going to use it on our Ranger here. We're going to use a selective wash method. We're going to build up a series of washes on our Ranger to introduce the deep shadows on the cloak without having to wet blend them for a similar look in the end.

I do have a very simple wet blending tutorial here for those brave souls looking to test the waters with this approach. Again, this one is really basic... I need to do a proper one in the future.

The first thing we do is get ourselves a good base color for our cloak. I went with a light green. A few shades lighter than I wanted the end to be so that it would help create the highlights as I went along adding the shadows. Make sure this is applied nice and clean.

After we have our base coat down, we apply a thinned wash of GW Gryphonne Sepia to the whole area. This will be the only wash we apply to the WHOLE cloak. After this, we'll be applying our washes to the recessed areas only.

The reason we do this is to help us find all the recessed areas. Some people can see them on the model, others may not be so sure. Doing this will help "map out" where they recessed portions are and give us some direction to follow with all of our remaining washes.

Our goal is to have a nicely muted cloak that has highlights and shadows on it when we're done... without having to wet blend this thing. We're going to alternate between washes of GW Thraka Green and GW Devlan Mud until we get the results we want. With this model, I did 2 washes of the green followed by two washes of the Mud and then repeated that process until I had the look I wanted and my shadows were dark enough for my liking.

I think that was two more green and two more Mud washes and I had fairly dark shadows in the recessed areas. I can't stress enough that this is not like applying regular washes. This is more like painting with washes instead of paint. We take advantage of the fact that the wash will fade and dry a little bit lighter to help us with the blending into the surrounding areas.

TRICK: Do NOT apply these "shadow" washes to the whole cloak. Doing so will darken the cloak overall and make it harder for us to get the high contrast between the highlights and shadows we're looking for. Just get enough wash on your brush so that you are painting (and it doesn't run or pool up) in the recessed areas only.

And here's where I stopped with it. In the end, I went back with my original base color and added some fine line highlights to the upper most sharp edges. This is not needed, but I wanted to see what the effect would be.

If you do decide to line highlight the edges, be selective in what you highlight, you don't want to get yourself into a situation where you need to blend the highlight into the surrounding area which is more of an advanced thing. Stick to the very sharp, well defined edges if you're going to go this route.

Still keeping to the inside out approach, I finished off the metals at this point. Part GW Tin Bitz and part gunmetal metallic, I painted the gun up real quick. Once dry, the whole got a wash of GW Gryphonne Sepia to tie it together. This made the gunmetal color look warm to compliment the Tin Bitz color and look a little more uniform overall.

And now onto the other big part of this tutorial, the leather. There are bunch of different ways to paint leather. I have three that I use on a regular basis depending on what final look I want. In this case, I started with a basecoat of Americana Milk Chocolate. It's a fairly rich brown color that's not too dark.

We're going to use our washes to darken the whole thing down considerably. Each wash layer will be applied to the WHOLE area. We want to end up with a rich, warm, weathered leather effect. To do this, we're going to use a series of different colored washes. You can see how dark the basecolor has become now that we have our washes in place.

The washes used were two passes with GW Devlan Mud, two passes with GW Ogryn Flesh and one last wash with GW Baal Red. Like you can see in the pic above, the whole thing is fairly dark now.

To get the highlight on the leather areas, I went in with a warm brown (Americana Sable Brown) and line highlighted the top portions that might catch the light. Not much, just a quick suggestion of a highlight on some of the more pronounced folds in the leather.

The reason I used a different brown than the base color is that the base color was very rich and pure. If I used that again on the highlight, it would have made the leather look much cleaner and less war torn. The brown I chose for the highlight is a bit more muted.

After you have your highlights in place, give the leather one more wash with the Baal Red to tie everything together.

And the finished model. I've gone in and highlighted my black areas (Face mask and boots) with a dark grey and finished off the last of my metallic areas. He's based with a dark brown and some static grass.

The weathering along the bottom of his cloak is simple to do. As you are painting you base, take a small amount and drybrush the bottom edge of your cloak. Then repeat the process with the base highlight color just catching the lower most edge this time. It will help give him that weathered look and tie him to his environment.

While it might seem like a ton of washing on this model, it goes fairly quick. Since we're not loading it on like we're dipping the model or anything, it all dries fairly quick. Quick enough that by the time you work your way around the model and you get back to where you started, it's already dry.

Make sure to check out Dave's model for this week. He's taken his Dwarf model and focused on skin and hair. I've got to say, picking the model he did was a brilliant choice too.

Comments and questions welcome, but please keep in mind this model was kept simple and I didn't cover a number of things that can get complicated... it's just the basics.

Check out the entire Back to Basics Series here.

Ron, From the WarpIf you've got any questions about something in this post, shoot me a comment and I'll be glad to answer. Make sure to share your hobby tips and thoughts in the comments below!

15 comments: