Citadel Layer: Ulthuan Grey

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While the Carroburg Crimson is still wet on the base, drop some Flash Gitz Yellow in to the edges so that it bleeds into the wash giving you a cheap gradient.

The secret to painting faces is watered-down, thin layers (mine were a bit chunky here). Go lightly when spraying primer so you don’t obscure detail. If you don’t get perfect coverage, that’s okay: Most P3 Paints do not match closely with the old GW range, but a detailed explanation of each paint can be found here: http://www.brushthralls.com/pre-painting-prep/color-theory-10p3.html The same is going to be true when you paint your own OSL models. For my Master of Possession I started by painting the model normally, then adding the blue. This is a complicated model with multiple light sources (the flames, which required several different directions. And there you have it! 15 minutes to achieve that, if you don’t count the time it takes to paint the rest of the model. Taking the Next StepThen, All areas that will be white get gone over again with VMA Light Grey. Almost everything except the recesses gets covered in the white areas, but I don’t apply it perfectly evenly, leaving the coat slightly patchy on the undersides of panels and areas that will be in shadow.The areas that will be grey, such as the soft portions of the torso armor, boots, and gun casing are given an edge highlight in Light Gray during this step. Pike & Shotte Epic Battles: Push of Pike provides you with everything you need to refight the wars that raged across Europe in the seventeenth century on an epic scale, with period-specific additions that capture the tactics, conditions, and prominent personalities of both the Thirty Years’ War and English Civil Wars. Muskets, musket rests and powder flasks (the triangular-shaped objects on the musketeer’s right sides): GW Wyldwood contrast. Bandoliers and The Twelve Apostles (powder-filled bottles): Snakebite Leather (this contrasts nicely with the belts). Note that Aethermatic Blue and Baharroth Blue work extremely well for this. Other colors – especially reds – are much stronger and using Blood Angels red may give you too much tint. Consider looking at shades/washes or thinning your contrast paints before you use them in this step if you’re working with reds. Try some different stuff generally, though. Glazes also work very well for this. Step 3: Highlights

http://www.acrylicosvallejo.com/en_US/media/e588d28183cec31ffd6dcee6d3718fc3.cms/equivalencias-rev05.pdf At this point I could start painting by hand, generally working from the inside out. These are the recipes I used for the various different areas. Unless otherwise noted, my washes cover the entire basecoat area, and highlights are all edges. Brass Armor Analogous colors, or those that are next to each other on the color wheel, should also be taken into account in addition to complementary hues. A painting’s harmony can be enhanced by using similar hues. In this situation, you can highlight or create shadows around the Ulthuan Grey basecoat by using colors that are similar to Ulthuan Grey. Next up, I painted the weapons I wanted to be “power weapons” in Aethermatic Blue (the bows and the long swords). Behold the power of Contrast(™); when applying the Contrast paint be sure to pull the paint away from the middle of the weapons towards the lower and upper parts as this will give you a lighter middle section making it look even brighter there. To be honest they look pretty power weapony already, but I’m known for going OTT on many things so why stop there… Step 2Next up I painted some of the Aethermatic Blue on parts of the model that are close to the weapons to give a reflected light effect. On the faces and cloth only apply small amounts, whereas on the metal areas you can go overboard and add a couple layers. Step 3 Mephiston’s Sword and Vials of Blood: I prefer to paint my models wholly assembled, but it was difficult to paint Mephiston’s robes while his sword and vials of blood were attached. Consider leaving these off the model when painting.