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Stage 1: For the basecoat, Anjaused a 1:1 mix of Blood Red andDark Flesh. This was applied inthin layers until a solid coat of redhad formed.

Stage 2: Next, Anja added black tocreate a 2:1:1 mix of Chaos Black,Blood Red and Dark Flesh. Thiswas then carefully applied to therecessed areas of armour.

Stage 3: For the initial highlight,Anja used a 3:1 mix of Blood Redand Dark Flesh, painted onto theedges and raised areas of theTerminator armour.

Stage 4: Pure Blood Red was thenlayered on top of the previousstage, to build up the highlight.

Stage 5: Next, Anja applied ahighlight of pure Blazing Orange,painted over the Blood Red of theprevious stage.

Stage 6: For the final highlight a2:1 Blazing Orange to VomitBrown mix was used, carefullybrushed on to the very edges.

Stage 7: To tie all the layerstogether, watered-down Baal Redwas painted over the armour.

Stage 8: Anja then finished by retouching the highlight with themix from Stage 6 once the washhad dried.

For this edition of Space Hulk, Alex Hedström hasprovided us with a plethora of fantastic Citadelminiatures all exclusively made for the game. To get

you gaming as fast as possible, the models come in twocolours: a rich, dark red as befitting the Terminators of theBlood Angels Chapter and a deep purple, for theGenestealers. However, such great-looking models arecrying out for an expert paint job.

So we turned to ’Eavy Metal’s Anja Wettergren for aspecial Space Hulk Masterclass, to show you how to getthe best finish on your Space Hulk miniatures. The subjectsof our Masterclass series are normally character orcentrepiece models and this month’s figure is no exception.Each of the Blood Angels in Space Hulk, is a distinct

character with a detailed history and an important part toplay in the Sin of Damnation campaign.

With this in mind we could have used any of theTerminators for this article, but we settled for SergeantLorenzo. Before Anja got started she brushed up onSergeant Lorenzo’s background, as she was keen to applysome techniques that might reinforce Lorenzo’s personalityas a dependable veteran who still seeks redemption for onefailed mission that happened over six hundred years ago.

To start with, Anja carefully removed the SergeantLorenzo components from the frame, and stuck themtogether by adding a small dab of Plastic Glue into thesockets before pushing the parts together. When dry, themodel was undercoated with Chaos Black Spray.

PAINTING REDRed hasn’t always been an easy colour to paint. Being aprimary colour and a notoriously thin pigment, it hasalways been difficult to highlight and shade, and tocover darker tones, but the addition of Mechrite Red tothe Foundation range has really helped with theseproblems. Eagle-eyed readers will notice that Anjahasn’t used it on Lorenzo’s armour; this is because’Eavy Metal use a tried and tested method for paintingBlood Angels that they have developed over the years.Anja has used a mix of Dark Flesh and Blood Red as apersonal preference to give her that bit of extra controlover the exact pigment, proving that ’Eavy Metalpainters really are perfectionists!

As already mentioned, red can be hard to highlightsatisfactorily. One of the reasons is that mixing red with

white gives you pink, which doesn’t work as a highlight.It’s best to highlight reds, especially when paintingBlood Angels, with oranges. Lighter highlights can beachieved by adding neutral, ruddy tones to the oranges,such as Dwarf Flesh and Elf Flesh.

Reds don’t necessarily have to be shaded with blackor dark washes either. Green works for shading redbecause it is situated on the opposite side of the colourwheel. By the same token, a blue wash can give red apurple tone, which will cool the colour, taking outsome of the severity if needed.

A Baal Red glaze is highly recommended after allshading and highlighting has occurred, this will helpblend the layers and give the red the intensity neededfor the ceramite surface of Space Marine armour.

PAINTING MASTERCLASSSERGEANT LORENZO’Eavy Metal were as keen as anyone to get their hands on the new Space Hulkminiatures, so we asked Anja Wettergren to paint Sergeant Lorenzo and show ushow to achieve a perfect finish on your Blood Angels.

Red Armour

PAINTING THE ARMOURAnja’s technique is to choose onearea of the miniature and work onthat until it’s finished, before movingon to another part of the model. Thisrequires extra care, so that you don’tget paint on already finished areas.Anja started with the Terminator

armour, as this was the largest singlearea on the figure – defining thecolour palette for the whole model.Red is a strong primary colour, but isnot the easiest colour to paint, sowe’ve included some top ’Eavy Metaltips in the box below.

Chaos Black Spray

Blazing Orange

Bleached Bone

Blood Red

Boltgun Metal

Burnished Gold

Codex Grey

Chainmail

Chaos Black

Dark Angels Green

Dark Flesh

Dwarf Flesh

Golden Yellow

Fortress Grey

Hawk Turquoise

Ice Blue

Mithril Silver

Regal Blue

Scab Red

Scorched Brown

Scorpion Green

Shining Gold

Skull White

Vomit Brown

Warlock Purple

Astronomican Grey

Calthan Brown

Dheneb Stone

Iyanden Darksun

Tallarn Flesh

Baal Red

Badab Black

You Will Need

For the techniques featured in this article, Anja has usedthe following colours from the Citadel Colour, Wash andFoundation ranges.

Wash: W Foundation: F

W

W

F

F

F

F

F

™

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Stage 1: The metallic areas,predominantly the storm bolter,were given a 1:1 basecoat ofBoltgun Metal and Chaos Black.

Stage 2: Anja then washed the areawith a 1:1 mix of Badab Black andChaos Black.

Stage 3: The area was thenhighlighted up, first withChainmail, which was applied tothe raised areas and edges.

Stage 4: Finally, Mithril Silver waspainted onto the very edge of thesilver areas.

Stage 1: The gold areas onthe Sergeant werebasecoated with a 1:1 mixof Shining Gold andScorched Brown.

Stage 2: The basecoat wasthen given a wash with a1:1 mix of ScorchedBrown and Badab Black.

Stage 3: A layer of ShiningGold was then brushedover the raised areas,avoiding the recesses.

Stage 4: Anja then paintedon Burnished Gold, againfocusing on the areas ofraised detail.

Stage 5: Mithril Silver wasused for the final highlight,applied only to the mostprominent areas, to createthe final highlight.

Metal

Gold

Stage 1: The Crux Terminatus wasbasecoated with a 1:1 mix ofScorched Brown and Codex Grey.The recessed areas were left black.

Stage 2: A liberal wash using a1:1:1 mix of Scorched Brown,Chaos Black and Badab Black wasthen applied over it.

Stage 3: Anja used Codex Grey tostart building up the layeredhighlights, again avoiding therecessed areas of the badge.

Stage 4: Fortress Grey was brushedon as a mid-level highlight,applying the paint to the raisedareas of detail.

Stage 6: A highlight using a 2:1mix of Dheneb Stone and SkullWhite was applied to just theraised areas.

Stage 5: Building up the highlights,the next coat Anja applied wasDheneb Stone.

Stage 7: The next layer used thesame mix as Stage 6, but withmore white, to create a 1:1 mix ofDheneb Stone and Skull White.

Stage 8: Finally, Anja used pureSkull White on the highest pointsof the badge such as the eye andnose ridges of the skull.

PAINTING THE CLOAKOne of the distinguishing features of theSergeant Lorenzo model is the flowingcloak. This was the area Anja focused onafter the Terminator armour. Whenpainting the cloak and its lining, itdoesn’t matter in which order you paint

the areas; you just have to be careful notto mark the other side. A steady hand isneeded here, especially when paintingthe very edges of the lappets (thestreamers on the cloaks). If you take your time it won’t be a problem.

PAINTING METALMost people paint the metal areas first, as they can bequite messy, before touching up the surrounding basecoat,but Anja was confident painting the metal after the armour,

painting it neatly. Remember to use a separate water potfor cleaning and thinning down metallic paint to avoidcontaminating your other colours.

PAINTING THE CRUX TERMINATUSThe Crux Terminatus is a badge of honour that allTerminators wear. Within each badge is bound a tinyfragment of the armour that the Emperor wore onboard

Horus’ Battle Barge. Anja has reflected the importance ofthis badge by painting it as stone, alluding to a regal,almost monumental feel.

Stage 1: The lappets were leftblack, before applying an initialhighlight of a 1:1 mix of ChaosBlack and Codex Grey.

Stage 2: The next stage built uponthe first highlight, this time using a2:1 mix of Codex Grey and ChaosBlack applied to the edges.

Stage 3: Pure Bleached Bone wasbrushed onto the lining in thesame manner as before.

Stage 4: Anja then used a coat ofpure Codex Grey for the finalextreme highlight.

Stage 1: The lining of thecloak was given a basecoatof Calthan Brown.

Stage 2: A coat of VomitBrown, built up over thinlayers, was then appliedover the area.

Stage 3: Bleached Bone wasbrushed onto the area in thesame manner as before, usingseveral thin layers.

Stage 4: A 1:1 mix of SkullWhite and Bleached Bonewas then applied, but thiswas concentrated towardsthe edges of the lappets.

Stage 5: For the finalhighlight, pure Skull Whitewas used, applying it tothe very edges.

Cloak Lining

Cloak & Loincloth

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PAINTING THE FACE

Stage 1: For the face Anja startedwith a basecoat using a 1:1 mix ofTallarn Flesh and Calthan Brown.

Stage 2: A heavy wash of watered-down Dark Flesh was then appliedall over.

Stage 3: She then applied amidtone, starting with a 1:1 mix ofTallarn Flesh and Dwarf Flesh.

Stage 4: Anja then followed withanother wash, this time of thinned-down Scorched Brown.

The hair was first paintedAstronomican Grey and thenshaded with a 1:1 mix of CodexGrey and Chaos Black. Skull Whitewas used as a highlight.

The cybernetics were painted inthe same way as the metal parts ofthe storm bolter. The red lens waspainted using the same method asfor the lumina (right).

The yellow stripes on the cablingstarted with a basecoat of IyandenDarksun and Vomit Brown. GoldenYellow was then used as a midtone,and this was highlighted furtherwith a 1:1 mix of Golden Yellowand Skull White.

The trophies on the Sergeant’s backwere painted using the goldtechnique from page 45. The greengem started with a Dark AngelsGreen basecoat and this wasworked up with Scorpion Greenand highlighted with Skull White.

The lumina was first painted ScabRed, followed by Blood Red andthen Blazing Orange. A 1:1 mix ofBlazing Orange and Skull Whitewas then applied as a highlight.Finally a dot of pure Skull Whitewas added to the top left.

The skull insignia on the left kneepad was painted using the samemethod that Anja used for the CruxTerminatus badge.

Stage 5: A highlight using a 1:1:1mix of Tallarn Flesh, Dwarf Fleshand Bleached Bone was then used.

Stage 6: Anja added moreBleached Bone to the mix beforeapplying a further highlight.

Stage 7: For the next highlight Anjathen used pure Bleached Bone,painted onto the most prominentareas of the face.

Stage 8: For the final highlight, a1:1 mix of Bleached Bone andSkull White was applied.

Stage 1: The blood dropswere given a basecoat ofWarlock Purple.

Stage 2: A 2:1 mix ofWarlock Purple and SkullWhite was painted in a linedown the side of the gem.

Stage 3: A 1:1 mix ofWarlock Purple and SkullWhite was then paintedover the same area.

Stage 4: The highlightcontinued to be built upwith a 1:2 mix of WarlockPurple and Skull White.

Stage 5: Finally, a dot ofpure Skull White wascarefully placed on thehighest point of the gem.

Gems

Stage 1: While the swordblade remained black, a 1:1mix of Regal Blue and IceBlue was used as the basefor the energy lines.

Stage 2: Pure Ice Blue wasthen applied over theglowing energy lines.

Stage 3: Next, a highlightusing a 1:1 mix of Ice Blueand Skull White was used.

Stage 4: A glaze made witha thin 1:1 mix of HawkTurquoise and Dark AngelsGreen was then brushedover the whole of the blade.

Stage 5: Skull White wascarefully applied as thefinal highlight onto thevery edges of the blade.

Power Sword

SPECIAL DETAILS

Anja has painted Sergeant Lorenzo’s face using an agingtechnique, to reflect his background as a grizzled 650-year-old veteran. She started off by painting the face as normal,

before applying further highlights using mixes of BleachedBone and Skull White. These were applied to the ridges onLorenzo’s face, emphasising wrinkles and creases.

THE FINISHED MODEL

ASKHave you a painting dilemma, problem or question? Well the ’Eavy Metalteam are only too happy to help. You can ask them anything (related topainting miniatures, of course) and they’ll have an answer. So whetherit’s about consistent basing techniques or how to paint the beard on aDwarf, send your query to ’Eavy Metal’s painting clinic. Bear in mind wework quite far in advance of publication so it will be a good few monthsbefore you see your query in print. Send in your question to:

White Dwarf,Games Workshop, Design Studio,Willow Road, Lenton,Nottingham, NG7 2WS,United Kingdom

Model shown slightlylarger than actual size.