Now that the Ogre’s skin is painted, it’s time to move on to the armor, and everything else really. The skin was the most time-consuming single element on the entire model, so the rest of this will fly right by.
Seriously though, the armor, leather, and cloth parts are very easy compared to the first part of this series. At the end of everything I will be doing some damage on the armor, and some dust, so perfection isn’t required since the damage can be used to hide any big mistakes.
I apologize ahead of time with things jumping around a bit below. This series is the first real painting tutorial I have done, so it was hard to break my slightly chaotic painting nature for the sake of documenting the process.
Note: Click the images for a larger view.
Painting the Armor
There’s 4 paints I use for the armor, as well as a wash.
The primary color of the armor is Thunderhawk Blue, so the Dark Reaper is used as a shade, as well as the Nuln Oil. The Fenrisian Grey, and Ghost Grey are used for the highlights. My basic rule is to have 2 colors darker than your intended color and 2 colors brighter.
Step #1 – Base Coating
I used the Thunderhawk Blue to base coat all the armor. Simple stuff.
The areas left black, like the spikes, skull on the knee, etc., are going to be gold, which is covered later.
Step #2 – Shading the Armor
Now for some shading. The first step in the shading is to use the Dark Reaper. This color is very close to the Thunderhawk Blue, so it’s perfect for the first shading layer.
For this step I paint the Dark Reaper on straight. Once the areas are covered that I want to cover, I then thinned the Dark Reaper down a bit to blend it into the top layer, the Thunderhawk Blue. The Lahmian Medium is great for this step, to thin down the Dark Reaper, but you can use just water too. That’s what I did since the transition blend is very easy to make where the colors are so similar.
The blending, as I said in the skin part of the series, is done by starting your brush on the lighter area, and dragging it towards the darker area. So, I started the brush on the Thunderhawk Blue and pulled towards the Dark Reaper, back into itself. This is repeated over and over for a few layers until smoothed out. Don’t try to do it in one layer.
Painting Tip: To work out where the shadows will be, as well as the highlights, put the model underneath a light source. You’ll see where the light naturally reflects from for highlights, as well as the areas that get little to no light. Those darker areas are where the Dark Reaper goes.
Step #3 – More Shading
Next I used the Nuln Oil for additional shading. This is done very much the same as the glazing I did on the skin. I don’t add anything to the wash for this step, it’s straight Nuln Oil, but I put very little on my brush. I don’t load up the brush like I would if washing normally. What I do is dip my brush into the wash, and then wipe all the excess off on my palette. The brush should look wet, but not loaded with wash. You will know you have the right amount when you go to brush the model. Where you brush should look wet, but not leave behind a pool.
The Nuln Oil blends over the Dark Reaper in the darkest areas on the model to give a really strong shade. I don’t cover all the Dark Reaper areas, but instead blend it into a darker color where needed. You’ll notice this mostly on the inside of leg armor, then also the lower edges of the other armor plates.
Below is both Dark Reaper and Nuln Oil for shading.
Every dark area you see is the result of Dark Reaper and/or Nuln Oil, not shadows from light. I just want to be clear about that.
Step #4 – Highlighting
I needed to highlight some areas. For this I took the Fenrisian Grey and mixed in some Lahmian Medium – about 50/50. I apply this glaze highlight to a select few areas; the spots that get the most light, like the top of the feet, the flares on the knee armor, etc.
As with any blending, keep the paint thin and put very little on your brush. When you brush it on the model it will look wet, but you won’t really see the paint. The paint should go on very translucent. So, I built up layers this way until it was at the brightness I wanted.
Now, I find it’s harder to blend colors up from dark to light. Often it’s best to start at the brightest color, and then work your way down and darken it. However, doing that would have given my primary color (Thunderhawk Blue), a different tone than I wanted. So, sometimes you have to blend up.
The key to blending colors up is to use your base color to blend them back down after. Once I got the Fenrisian Grey blended on there, I came back in with the Thunderhawk Blue and used that to glaze it down a bit, and blend it all back in together. Sometimes I’ll have to go back and forth a bit here, blend it down, back up, back down, etc., until it’s how I want it. It just takes some time and patience.
For the edge highlights I used the Fenrisian Grey again. I kept the paint thin so that I could build up the highlights. I just keep the brush damp as I load it up with paint, and brush off the excess on my wet palette.
Also, in the below shot you’ll see the Ghost Grey used for extreme highlights. Again, I keep it thin to build up the highlight to where I want it. I’m trying to blend these highlights, not layer them.
I did not edge highlight the shoulder pads because I will be weathering them heavily, and I’d lose any edge highlights I would have done.
Painting the Leather
I came back in with the Leather Brown, and picked out some highlights once the wash dried. Then I used the wash again, but much thinner, and went over areas that need to be darker, like where the leather goes under the arms.
Note: A bit out of sequence, but I did base coat the shorts (as you see above), with Cold Grey.
You will also note that the belt is painted in the below shots. I wasn’t sure what color I wanted it at the time I was working on the leather. I later decided to paint it leather like the straps.
The Metal Bits & Shorts
Nothing special here. You’ll notice the metal areas are picked out and done in the below shots. For those I used Gunmetal Metal, followed by a heavy Nuln Oil wash. I came back in after with the Gunmetal and picked out the highlights.
For the shorts I base coated them with Cold Grey, and then I gave it a heavy wash with Nuln Oil. I then came back in with thinned down Cold Grey and highlight back up where needed. As I noted before, blending colors back up can be tricky, so I used Nuln Oil to blend back down transitions I wasn’t happy with.
For the loin cloth I base coated it with black. Because this is a black cloth, and because of where it is on the model, it’s not going to have very bright highlights. This is a very important thing to consider, and something I feel gets overlooked – the material you are painting. It’s the same with the shorts, it’s a cloth, so highlights are subtle. Things that are metal will reflect more, and in turn have stronger highlights to represent this. When you paint things like leather or cloth, they don’t have the same reflective properties of metal, so more subtle highlighting is required.
My first highlight on the black is Eshin Grey. It’s a near black grey, so it’s perfect for a subtle black highlight. Nothing fancy here. I just used a damp brush to keep the paint thin.
There’s a few spots that I felt needed to be a little brighter, so for those I used thinned down Cold Grey to blend up a little. I didn’t get any shots of this step alone, but you’ll notice it in the below shots with the freehand work.
The same was done on the boots as well. I painted those very early in this process, way before this loincloth, but didn’t take any separate shots of that. So, I used Eshin Grey for a small subtle highlight on the back of the boots, with a very thin layer of Cold Grey over that selectively.
I wanted to put my team’s logo on the loin cloth, which is a hawk’s head.
Step #1 – Outline/Basic Shape
For the basic shape I used Administratum Grey.
You can see the highlighting I did on the loincloth mentioned previously as well.
Step #2 – Shading
I created a glaze with the Cold Grey by adding some Lahmian Medium. Then I went over the previous layer to darken it in the recesses, like a wash. I also thinned down some white to create the highlights on the fold. The logo is white, but because of the lack of light where this is, greys are used instead for a more realistic effect.
I blended up the darker areas a bit with the Administratum Grey to smooth out the transition. You’ll notice it’s not very smooth in the above shot, but in the below shot it’s a lot better.
Step #3 – Details and Cleanup
Lastly, I picked out the eye with Evil Sunz Scarlet, and used the black to create the lines to separate the wings, and clean up the edges a bit.
As I said in the opening, because I plan to do weathering on the model, I wasn’t aiming to make everything perfectly smooth. Don’t get me wrong, I did try to keep things clean and blended well. However, I knew I could use weathering later on to fix anything I wasn’t 100% happy with. Also, I honestly like the grittier look you get when you don’t do super smooth blends. It’s a personal choice I make with my style.
Speaking of weathering, that’s next as well as the details.