Building the Sons of Horus

The Heresy Project

The Sons of Horus project actually predated the beginning of this blog. I own around 10,000 points of Black Legionnaires, and while they weren’t my first army, it remains the oldest army I still own.

When the Horus Heresy stuff came out, I knew I had to do a Heresy-era version of them, and thus did this project begin.


I don’t have a “set” army list in mind for the Sons of Horus, or even a long-term goal in mind for them—I’ll add to them as the mood strikes. The only real guideline is that I want the army to ultimately be a mirror of my Black Legion army, and contain a similar mix of units in similar proportions. That means lots of Legion Tactical Squads and Sons of Horus Reaver Squads, predominantly mounted in Rhinos, supported by dreadnoughts and predators.

One of my goals with the project has become to hone my skills with an airbrush. I was always very resistant to getting an airbrush, but once I bought one, I realized I’d been very much a curmudgeonly old man about “how things were supposed to be” and now see the airbrush as an indispensable hobby tool. With that in mind, I start every model off from a black primer coat, followed by an airbrushed basecoat of Incubi Darkness. When Incubi Darkness came out as a spray a couple months ago, I started using that instead and cutting the black primer step out.

I then airbrush a coat of 50/50 Kabalite Green and Incubi Darkness on. I don’t worry about keeping any of the basecoat showing—the intermediary step before of solid Incubi Darkness is there to just make this step go on smoother.

Next up, I wash the whole model with Coelia Greenshade. When that’s dry, I put the .02mm nozzle on the airbrush and carefully layer on Kabalite Green on its own. Sometimes I have to go back and re-line the recesses with Coelia Greenshade, but that’s not usually a big deal.

I then mix up 50/50 Kabalite Green and Sybarite Green, and add a relatively thick edge highlight to the armor. I make sure to blend that down back into the plates so it’s a soft transition to the hard edges. To define the hardest edges of the armor, I use a final edge highlight of Sybarite Green on its own. If I’ve overdone the highlights, I’ll glaze it with an even mix of Lahmian Medium and Coelia Greenshade to alter the wash’s surface tension.


The armor could be done at this point, except it needs to be dirtied up. I pick some spots where I want the paint to be chipped, and make very fine black lines. I then put a highlight of 50/50 Kabalite and
Sybarite Green on the bottom edge of that line to create a chipped effect. If it’s a particularly large or thick black line, I’ll line the inside of it with Leadbelcher and highlight that with Ironbreaker.

To maintain some variety between models in the units, I select various armor plates to be black instead of teal. At this point, I also paint all the gun casings, cabling, and the right kneepad black as well. I just use Skavenblight Dinge on its own as a highlight—less is really more when it comes to highlighting black. If it’s a particularly sharp edge, I’ll touch it with Dawnstone on the highest points, but over-highlighting black leads to it looking grey instead.


The silver bits are Leadbelcher, followed by a Nuln Oil wash, and then a Leadbelcher highlight. I tend to favor darker silver on my miniatures. A final highlight of Ironbreaker would definitely work here, though. On any swords or axes, I’ll touch a tiny bit of Blood For the Blood God to the striking surface, and pull it back as thin lines on the flat of the blade. Less is more with that stuff.

The gold is Vallejo Brass, washed with a proprietary mix I call “gold wash.” It’s a mixture of Brown and Red ink from Reaper Master Series, Lahmian Medium, and Reikland Fleshshade, then cut with about 10% water per volume. It’s about 35% Brown Ink, 20% Red Ink, 20% Reikland Fleshshade (which is ultimately a similar color and alters the surface tension of the ink), and about 15% Lahmian Medium (which kills the high gloss of the inks). I then highlight it again with Vallejo Brass and then an edge highlight of Vallejo Gold. Any rivets or especially sharp points get a dot of Ironbreaker—I’m very conservative with highlighting gold using silver since it starts to look silver if overdone.

Once I’ve done the Legion markings (always freehand!), it’s time to finish up weathering the model. I thin a bit of Typhus Corrosion and paint it around the boots and ankles of the models. I then get out the airbrush, and build up layers of various browns (I like Reaper Master Series Leather Brown for this, with Pallid Wych Flesh mixed in to lighten it) around the boots, knees, and depending on the pose, on the elbows.


I then casually apply some weathering powder from Tamiya—I use the Model Masters compacts that have three colors each to them. I use both the dark and light dirt after the airbrush to break up the consistency of the brown colors, and then apply a bit of soot wherever it looks good (typically gun barrels and around the vents of the power armor).


The bases are pretty simple—I just glue some sand to them, paint them using Baneblade Brown followed by a Screaming Skull drybrush, and then glue a couple Mordeheim Turf tufts to them. The rocks get a coat of Skavenblight Dinge followed by a highlight of Stormvermin Fur. If they’re particularly large or have especially sharp edges, I’ll touch them up with Reaper Master Series Weathered Stone.



For the Emperor!! Assembling the Hidden Hand of the Emperor

Kayvaan Shrike – Raven Guard


As previously mentioned in my intro post, I will be making two versions of my list, one compatible with the typical Heresy ruleset, and another to be played within the confines of the normal 40k ruleset. To this end, I wanted to make my own commander. This model can serve as a stand in for Corax until the model is released, a Captain with a jump pack, or as a less fanciful-ballerina version of Kayvaan Shrike. He’s the only named 40k legal (non heresy or FW) character for the Raven Guard. So, let’s talk build.

For this model, I wanted something fairly ornate, with a more practical paint scheme. This will allow it to fit into its rather varied role. Accordingly, I chose the Sanguinary Guard model as my starting point. I tried to simplify the armor just a tad, smoothing the legs and knee caps. The winged jump pack seemed a tad over the top for the very practicality minded Shrike, so I just opted for a pack from the Vanguard kit. The left arm was taken from the old commander kit I think, and the left arm was a trimmed down halberd arm from the Grey Knight box set. This is the end result, after priming.


One thing I needed to do was make a whip. Harder than you’d think. I made about 6 before I found one I liked. It’s very important to think compositionally at this point, not only on the shape, but how it fits in to the model as a whole.  I then sculpted a tip and wider part out of green stuff, painted and gloss coated them.



I wanted to keep the model looking dark, as if it could blend into the shadows with relative ease. I chose to forgo the normal white you see on Shrike, and stick closer to the Heresy era charcoal and black color scheme. I chose to keep the body black, and make the main part of the pauldron grey. I then chose to paint the face and hair of the model, as this will be the eye’s focus on a bare-helmeted model. I went with strong features and dark hair, befitting the commander. For the face, I painted the flesh tone paint, washed it with GW’s Agrax Earthshade, then painted the raised sections with flesh again. This then washed with a watered down Ogryn Flesh, and highlighted again. The eyes were then painted white, pupils dotted, and other details such as the tongue and teeth picked out. The hair was painted with a few shades of brown, then finally washed with Nuln Oil.


From here, I maybe… should have taken more pictures. I sort of just got on a roll. So, I used GW’s Dark Reaper blue for the highlights on the armor. These were done in a fine and controlled manner, so as to keep the bulk of the armor a true black. Charcoal sections were done using GW’s Eshin Grey and highlighted in Reaper’s Cloudy Grey. Seals were painted in GW’s Bestial Brown, Bleached Bone, washed with Devlan Mud, then highlighted with Bleached Bone and finally Reaper’s Polished Bone. The wax portion is heavily drybrushed Blood Red, washed Carroburg Crimson, then highlighted Blood Red again. The lightning claw was painted with a layering of GW Red Gore, Blood Red, and Blazing Orange, then washed Carroburg to pull the colors together. Wing details were painted Cloudy Grey, layered with Dawnstone, washed with Nuln Oil, then highlighted with Dawnstone, and finally Ceramatite White. Details on the jump pack were painted similarly to parts on the body.


The model was given a strong, glossy spray coat (seen above), followed by a satin final coat of varnish. The model was then based, using a mixture of Woodland Scenics Snow and PVA glue. I will have a detailed writeup on this process in the coming week.

Time to get sneaky!

And here we have the finished product! Overall, I’m quite satisfied with the result. I feel it’s a model worthy of the Emperor’s finest. Look for a few more units coming in the next couple days. Feel free to tell us what you think in the comments. Until next time!

Click for some ZOOM
Click above or below for some serious ZOOM




Introduction Post: Sean

wordbearersAvatar    Sean — Word Bearers


Hey everyone. My name is Sean. I will be representing the Starkville Hobby club based in Starkville, Mississippi. I started my journey in 40k with second edition and have maintained a steady interest in this hobby ever since. I would consider miniature gaming my main hobby interest and enjoy all aspects of the hobby. I enjoy playing a casual narrative game rather than the competitive side. Over the years I have been involved with numerous different genres to include Sci-fi, Fantasy and historical.

I have chosen the Word Bearers as my Legion du jour. I have always been a fan of the Legion due to their fanatical nature and use of cults. What’s not to like about raving fanatics willing giving their lives in order to usurp the false emperor and spread the good word of Chaos? I have already collected the base of my army and will be purchasing Lorgar soon to lead my thrall into battle.

I have known Bob (Robert) since he started attending Mississippi State, and I’m looking forward to interacting with everyone else within the project. I wish everyone the best of luck and look forward to seeing the progress of everyone’s armies.

Angron – Robert’s Primarch Pt.3


The Base

Oh boy, just when I thought I was done… In all fairness, while the base is typically the least exciting part of the model for many hobbyists (although a quick trip to will yield a surprising number of minis where the base overshadows the actual mini in the best way possible…), it can honestly make or break a whole mini. Shitty composition can hamper eye movement around the mini, poor color choice can draw your attention away from a wonderfully painted mini and throw off its color scheme. An even more common hobby transgression though, is that many of us often just don’t take the same amount of care in painting the base as we do the miniature itself. So, I had to remind myself of all of this as a finished this, the last part of the model.

The Rubble

Since the base was prepackaged, I didn’t have to worry about composition of the base (which is a good thing). So it was really just about color choice. For most of the base, this meant painting rubble in a manner that wouldn’t detract from the Angron himself. Neutral tones, here we go.

After priming the base with Ironhull Grey, I then began to drybrush on layers of Ironhull Grey and Menoth White Highlight, adding more Menoth White Highlight with each layer. All told, I had four layers up from the base layer of Ironhull Grey.

When this was done, I hit the whole base with a wash of P3’s Armor Wash.


The piece of torn metal was painted in exactly the same way as Angron’s armor, so take a look at the last article for more on that.

The Marine

The marine was a bit more problematic. I wasn’t feeling quite up to painting white yet, and so making the poor guy a loyalist World Eater just wouldn’t happen. But I still needed a color choice that wouldn’t throw off Angron, and would still fit in with the rest of the army. Fortunately, World Eaters have a lot of blue. Blue was also a cooler color that would fit in well with the largely grey base. Lastly, while I don’t hate Ultramarines, they’re fun to dismember. So it was settled…

Using multiple thin coats, I based the marine in 1:1 mixture of GW’s Kantor Blue and Teclis Blue. From there I blocked out the shades (again using the zenithal method) in Kantor Blue and blended the two tones using OB blending. From there, I had two successive layers of highlights. The first highlight was a block of 1:1 Teclis Blue and P3’s Underbelly blue, OB blended with Teclis Blue. The last highlight block, also OB blended, was a block of 2:1 Teclis Blue and Underbelly Blue. I then added edge highlight of pure Underbelly blue. From there, I lined the blue armor with GW’s Drakhenhoff Nightshade by washing the whole surface, and then wiped away any ink that hadn’t receded into the cracks with a Q-tip.

The Gold trim was painted in exactly the same manner as Angron’s armor, and the silver sub armor was painted with a base of P3’s Quicksilver and then washed with P3s Armor wash.


I feel like this collection of techniques deserves its own section. It’s become all the rage in to make your miniatures look like they’ve been through a shit storm (in the case of Death Guard, this may be taken literally…), and I’ve been a little slow to catch up to this trend. Honestly, I think in some cases it’s an awesome thing to add to a mini, but it’s been over used in a lot of cases, which is why I was so hesitant to use it in the first place. That said, a loyalist who ran into Angron is probably going to look pretty awful, so I think now’s a good time to get caught up with the times.

An important note is that you should finish all of what would be considered “normal” painting before you begin to weather your miniature. That means that I made sure to apply the decals to the marine’s shoulder pads before starting any of this.

Scratch n’Dent

To achieve the scratched and dented appearance on the armor’s surface, I simply took a bit of the foam they pack metal miniatures with, and then used it to stipple quicksilver onto the surface of the mini, concentrating on exposed edges and other places likely to encounter heavy wearing. Stippling is simply using the foam to dab the paint onto the surface. I tried to be sparing with the amount of paint I had loaded onto the foam, almost as if I were preparing to drybrush with the foam. And really, that’s it.

Dry Pigments

I was a little leery of using these, to be honest, as I’ve seen people go nuts with them with bad results. But I can now say, after having used them all of once, they can be pretty cool. I my case, I simply brushed on a layer of Vallejo Dark Red Ocre followed by a layer of Vallejo Brown Iron Oxide on the rubble and on the back and sides of the marine. I then quickly coated the base in a matte varnish to keep the pigments on. This last part is quite important, since you’re basically working with crushed pastel pigments, which are notorious for getting on everything except your art… Finally, I added some of GW’s Blood for the Blood God to the bloody chest wound and I was finally done. Check it out below!




Angron – Robert’s Primarch Pt.2

WorldEatersPre-HeresyIcon90All Angry – Article 2: Painting Angron


Now that we have all the preliminaries out of the way, we can dig into the meat n’potatoes. I’m going to be fairly detailed with this first part on the armor and face and show lots of pictures, and that way you’ll have a better idea of my approach one the other parts of the miniature.

My goal in painting Angron’s armor was to try and achieve a realistic brass tone while still being able to show off all the detail work on his armor. To this end, I undercoated all of the brass armor with P3’s Battlefield Brown. This is just something I’ve found really helps bronze, brass, and gold tones really pop.


With that done I used GW’s Shining Gold as my base coat. A lot of people tend to paint from darkest to lightest, starting with the shade tone first. I’ve found that one of the advantages OB blending is that you can start with the mid-tone and block in both shades and highlights from that point. As I have a tendency to over shade when I paint, this helps me as a visual reminder of what I want the viewer to register as the dominant tone.


It’s important to note that I had to apply 3 thin coats of Shining Gold to create a full and even color surface. This is often the case, so just remember that you always want to thin you paints with water, don’t overload your brush tip, and don’t be afraid to build up the color with multiple coats.

I then blocked in the shades with a 1:1 mix of P3’s Battlefield Brown and GW’s Shining Gold. At this stage, I really wanted to establish the trends in how the light fell on the miniature. To do this, I used a technique called “zenithal highlighting”. This is really a fancy way of saying that I tried to place the shadows where one might expect them to be if the figure were to be viewed outside on a more or less sunny day. To achieve this effect, simply block your shade tones in where light would not hit if the light were hitting the miniature at a roughly 45 degree angle off of the central axis of its base, on all sides from above. Check out the illustration to see what I mean by that.



At this stage, Angron looked like this…


After blocking in the shades, I used OB blending to create a smooth color gradient between the two tones.

Moving on from there, I gave the armor a wash of GW’s now discontinued Gryphonne Sepia. I believe that the closest current approximation of this wash in their line is Reikland Flesh tone. This was done to give the shade and mid tones a warmer feel. After that dried, I carefully lined the details of his armor with GW’s Agrax Earthshade wash.


After letting the liner wash dry, I began the highlighting stage. Since I needed to be able to preserve all of the details I had just lined, I use the layering technique mentioned in earlier in the article. I first layered on a glaze of Shining Gold, making sure to hit the raised details on the armor.


Finally, I applied a glaze of P3’s quick silver to the edges of his armor and detail work in order to give the appearance of light being reflected directly back at the viewer’s eye.



So painting flesh is one of those things that is easy to mess up. The reason for this is that flesh itself is multi-tonal regardless of the skin color you’re trying to recreate. Angron is depicted as being Caucasian, along with what is apparently most of humanity in the 40k universe. I’m going to call this a micro-aggression. See what I did there? He’s a miniature, he’s quite aggressive, and we’ve got some good old-fashioned GW racial insensitivity. It works on so many levels. Any way, as Angron is generally shown as being white, that’s how I’m going to paint him.

To start, I based this flesh with P3’s Ryn Flesh. Again, I had to do multiple coats for this.


Once this was done, I made a wash of 1:1 Ryn Flesh and P3’s Khador Red Base. I then used this to wash all of the exposed flesh areas.


To get more tonal variation, I then applied a wash of Gryphonne Sepia.


Once this was dry, I applied a glaze layer of Ryn Flesh to his cheek bones, forehead and eyebrows, and nose to bring out the highlights on his face.


From here I lined the periphery of his face, the under side of his cheek bones and the pits of his eye sockets with a 1:1 mixture of GW’s Drahkenhof Nightshade wash and P3’s Red Ink.


From there, I finished up his head by painting his mouth black and then hitting his teeth and eyes with GW’s White Scare. I didn’t add pupils since it makes him look more RRAAAGGEEBLARHG!!

I did the butcher’s nails with a base of Quick Silver, and wash of P3’s Armor wash, and then a highlight layer of more Quicksilver.


Painting Red

As my techniques should be pretty familiar now, I’ll just tell you the recipe for how I approached the other colors. The Red on Angron’s cape (which I intentionally didn’t attach until after it was paintied) was a base coat of P3’s Skorne Red, OB blended down to a shade tone of Battlefield Brown. There were two stages of highlights, both achieved with the OB blending technique. The first highlight was Khador Red Base, followed by I second highlight of Khador Highlight. After this was finished I hit the entire red surface with a glaze of P3’s Red Ink to make it really pop. Any finally, I lined any appropriate areas (most notably the spaces between his “flair”) with Agrax Earthshade.



I wanted the fur to look like he had skinned a space wolf (note that this is not a Space Wolf as in a marine, just a wolf that happens to be from space, as the latter would likely smell better…). Actually I just wanted a cool tone to contrast with the largely warm scheme of the rest of his body. To do this, I used a combination of OS blending, drybrushing, and washes. I laid down a mid-tone of P3’s Underbelly Blue and then quickly blended that with the shade tone of Ironhull Grey in the folds of the cloak. From here I drybrushed a layer of White Scare and then washed the fur with P3’s Armor Wash. The chains on the cloak were painting in the same manner as Angron’s Butcher’s Nails.

The skulls were painted by layering method, from P3’s Beast Hide Brown as a base. I then added a layer of 1:1 Beast Hide Brown and P3’s Menoth White Base and added a final layer of Menoth White Base once the mid-tone was dry. Finally, I lined the details of the skull with Agrax Earthshade.

Axes and Details

The Axes were painted using OB blending. I started with a base of Quicksilver, and then blocked in shades of 2:1 mix of GW’s Abbadon Black and Quicksilver, blending them using OB blending. I then glaze the axe blades with Drakhenhof Nightshade. Finally I lined the details of the axe with Armor wash, and then stippled some of GW’s BLOOD FOR THE BLOOD GOD!!!! on the edges of the axes.

From there, it was just a matter of picking out the little details here and there. A bit of gold and silver on the details of his “flair”, painting his side arm, etc was all that was left. These details were done using layering and lining.

angronfinal2We’ll have final steps for finishing and basing Angron (not to mention some gorgeous higher res photos) posted soon, so stay tuned!

Angron – Robert’s Primarch

WorldEatersPre-HeresyIcon90Article 1: Assembly and Painting

So, after nearly soiling myself with glee, I’ve sat down, beer and paints at the ready, and started to paint Angron, the primarch of the World Eaters legion. I’m not going to lie; he was pricey, as minis go, but I can’t say I regret the decision. Sure, clicking the buy button was a bit painful, but as I try to brainstorm justifications that my wife will surely need in order for me to purchase a titan without suffering dire consequences, I’m beginning to think it only hurts the first time… I’m normally a Privateer Press guy, and I can’t deny that as soon as I have access to my Conquest and an airbrush again, that shit is getting painted, but this Angron model is gorgeous. I’m happy to say, I got what I paid for. That said, I’ll be breaking this unit into 3 articles.

Preparation and Priming

Angry Angron, waiting to be assembled.
Angry Angron, waiting to be assembled.

I’d like to comment quickly on the fact that I’m not going to do much writing on the subject of assembly. It’s just not in the cards. Frankly, I wanted to get this guy together and get painting. I also figured that I didn’t have much to add to the “how to work with resin” conversation. If you’re curious, you can check out the reference (Forgeworld) at the bottom of this entry. In short, just remember that thorough prep work for any painting project is rarely wasted, and this goes double for resin jobs.

In any event, the old boy is put together, but not completely. I fully assembled his body, leaving the cape off. It’ll just be easier to get to those hard to reach places. (Editor’s Note: *wink wink*) Additionally, I pinned him to a temporary “holding stub.” You’ll see what I mean by that in Figure 1. I highly recommend this approach for anything that you really want to paint to a high standard. The process is just like pinning any other piece. To see information on this process, see reference (ThePaintingClinic, 2012).

Now down to brass tacks, let’s put paint to mini. I’m starting off by priming him a dark grey. Specifically I’m using P3 Ironhull Grey. I’ve become a fan of most of P3’s line over the last year or two. Don’t get me wrong though; there are plenty of other brands in my paint box. You can do as well with Reaper and Vallejo Model color, and in some cases a bit better. Really, you’re going to have to try different lines and see what works best for you. I always try to stop in local game stores if I’m visiting a town and I normally pick up a few paints. It’s partly a chance to try new things, and partly to support the biz. Anyway, I’m using Ironhull Grey because I don’t have anywhere to spray paint. If you’re going the spray primer route, check out Storyboard primer. You’ll be a better person if you do. Seriously, other people will like you more when they hear what you used to prime your minis.

Blending Techniques

I mainly espouse the use to two types of blending, those being wet blending and the layering of glazes. To a lesser extent, I make use of dry-brushing, but only circumstances where I feel that the resulting texture is appropriate for the visual effect I’m trying to create. In addition to blending, like so many other hobbyists who want a decent look to their miniatures while operating on time constraints, I also use washes and ink lining.

While writing, I’ve come to the realization that if I describe the techniques I used each time I applied a new color to Angron, this article series would quickly grow entirely too large. So in this first article, I’m going to carefully describe, in as much detail as I am able, what I mean when I refer to any of the techniques I described above. Along the way, I’ll link to references that I’ve found helpful so that you can get more information at your leisure.

Wet Blending

Wet blending refers to any number of techniques wherein two colors are mixed, while still wet, directly on the surface of the miniature. The two ways that I’ve used on Angron are what I’ve come to call on-brush blending and on-surface blending, hereafter referred to as OB blending and OS blending.

OB blending is a technique used extensively by Marike Reimer. You can see a link to her video in the cool mini store in (Reimer, 2013) at the bottom of this article. I regret to say that the video isn’t free to download, but it is a wonderful reference to have if you’re serious about this painting gig.

OB blending is exactly what it sounds like. The two colors to be blended are placed directly on to the brush, which is then applied to the miniature’s surface to be blended. This is done in two steps.

In the first step, the two colors are “blocked out” on the miniature’s surface. By this, I mean that the two colors are painting on the surface and left to dry. This stage is motivated primarily by the need to mark where the two tones (shade and highlight) are to me located on the miniature, no attempt is made to smooth the gradient in between the two colors. I’m going to get a bit technical here, but think of “blocking” as simply painting isotherms onto your miniature’s surface, with the gradient running perpendicular to the boundary of the “block/isotherm”. You can see a representation of a “blocked” surface in Fig. 2a.


In the second step, the brush is loaded, first with the color that will be physically closest to the painter’s hand (that is, the one that needs to be higher on the brush). The tip is then dipped in the color furthest from the painter’s hand. Often times I’ve found that this will be the shade tone, but this is not always the case. Once the brush is loaded, the tip is aligned with the border of the color “block” with the central axis of the brush perpendicular to the “block’s” border as shown in Fig 1a. The brush is then drawn along the border to create a smooth gradient between the two colors as shown in both Fig 2b and Fig 2b.


You’ll note here, that this technique uses both the tip and the side surface of the brush, so it takes a bit of practice.

In OS blending, the “blocks” are applied to the miniature’s surface and then feathered together all while the colors are still wet. A good description of the process can be found in (Stariha, 2013).

Both techniques are great to have available when you need them as, in my experience, neither is appropriate for all situations. Often times OS is quicker to apply and easier to apply to highly textured areas, but may require the use of drying retarder additives. This can dramatically slow down the overall process if you’re not careful. Also both types of blending are not often easy to perform on small details like faces.

The Layering of Glazes

The layering of glazes, or sometimes simply called layering, is a technique used to create smooth gradients. In this technique, the gradient is achieved by painting on the “blocks” using thin glazes of paints. A glaze is similar to a wash in that the pigment has a translucent quality to it, but is applied evenly across the surface of the miniature and not in sufficient quantity to achieve “puddling” in the recesses of the miniature’s detail. In fact, this should be avoided. A glaze may be mixed by simply thinning down your paint until it becomes translucent. Fig 3 demonstrates the concept of the technique.


If this process is repeated enough and between colors whose differences in pigmentation are very small, a truly smooth gradient may be approximated. This process really shines when very sharp gradients need to be achieved with a very high precision. As such, I use it most on faces and other sharp details. This technique is quite common and a number of free resources widely available and a quick Google search will yield a number of great resources.

Drybrushing, Washes, and Lining

I’ve heard a lot of very serious painters say that the use of washes, inks, and dry-brushing is some how a “lesser” form of painting. These people are dicks. There is no lesser form of painting toy soldiers. Do what you enjoy and what you think looks good. End rant…

With that out of the way, the first two of these techniques are very common, and as with layering, there are more tutorials on the web than I can shake a stick that I just used to beat Matt Ward at. So Google them. No really, go do it now.

As a note, lining is essentially “conservative washing”. Simply apply the wash or ink only in the recesses of the details and nowhere else so as to avoid the change in pigmentation of the rest of the surface. You can also apply a normal wash, and then use a Q-tip to wipe away ink or wash that has deposited on surfaces that you don’t want darkened. And as you’ve Googled washing and drybrushing, you know what I mean.

I’ll have more info and get into the gritty details of painting Angron in the coming days!

Introduction Post: Adam

Eye_of_Horus_GreenAvatar  Adam – Sons of Horus

     It’s funny, the places life takes us. If you asked me 15 years ago when I first picked up a box of Space Marines if I thought I was going to give my life to the gaming business, I might have laughed. But now, as I open my own store in Greencastle, Indiana, I can’t imagine doing anything else.

     Warhammer wasn’t my first love with gaming—I played Classic Battletech first, although I was really too young to understand the game completely. The miniatures were what appealed to me about it—building a model that you then painted, and could go play a game with. Kind of like Legos, but with more freedom. D&D came later, as did other board games, but nothing ever really held my attention the way miniature games did.

     Over the years, I’ve developed a very strong online presence as a prominent leader on Heresy Online and our blog network, Talk Wargaming. My antics are nothing new to the greater community of online 40k gamers, and you all can expect more of the same from me on here.

     I met Bob and Britton at The Game Preserve in Bloomington. Bob and I really built the local 40k community up from a handful of people to an almost 30-strong group at its largest. Bob and I ran 40k and Fantasy events for a solid two years, and reinforced the importance of the hobby overall as opposed to just the game. When Bob left, Britton took over his position, and he and I continued to run events together for another three years, emphasizing the hobby and community over cut-throat competition. I then ran events on my own for not quite two years or so, at which point it was time to pass the torch to someone else as I moved to open my store.

     I’m thrilled to get to put a more personal touch on articles with this blog—while we all hope that the greater 40k community sees this, what I write will be far less intended for the mass market and much more about my own personal journey with an ever-growing Sons of Horus army that is a mirror of the 15000+ point Black Legion army I imagine they later become, the building of a new gaming community from the ground up, and my own new personal mission to build the most epic 40k tables in the state of Indiana!

A horus heresy army building blog for the 31st millenium.