Step 4: Belt and Under-RobeStep 6: StaffThese were base-coated with a 4:1:1 mix ofwhite:black:midnight blue, then shaded twice by addingblack and a tiny amount of charred brown each time.Once the mid-tone was painted back in, I added a littlewhite to give a couple of gentle highlights. As a finaltouch, I added a simplified dark grey ten thunders logoand the symbols for Katanaka to the belt end and useda very thin black-brown wash over the whole belt. Thepaler cold color was designed to break up the otherwisevery dark and drab clothing.At this point I didn’t need to get to the inner robesanymore, so I attached Yan Lo’s arm and fixed the gapswith putty and paint.Step 5: HairYan Lo’s hair was painted with a black/off-white mixcontaining a tiny bit of midnight blue. It was thenshaded with black and highlighted by adding off-whiteto the original color, up to pure off-white. Hair oftenbenefits from a wash to blend the colors together, soa blue/black wash and quick retouch of the highlightscompleted the look.There are two main ways to paint metals on models.True Metallics (TM) are where metallic paint is usedin much the same way that normal paint is used forother areas, with dark metals for shadows and palebright ones for highlights. Non Metallic Metals (NMM)involve painting the shadows and highlights onto thesurface using only non metallic paints (for steel, this iscommonly black, blue-grey and white). NMM involvesknowing where the light would reflect from the metaland where the shadows would fall, painting smooth,but extreme highlights and shadows in those places torepresent the highly reflective surface. It is a difficulttechnique to master and typically only looks perfectfrom one viewing angle, but the understanding of lightthat it requires is useful to have. I paint metals in NMMstyle, but rather than using white to highlight, I usemetallic paints in the same way as the white would beused. In effect, the technique is TM-NMM. This givesthe metals very high contrast between the dark, nonreflectiveshadows and the bright, metallic highlights,without losing the metallic look at different viewingangles.In this case the staff began with a base-coat of 2:2:1white:black:midnight blue, and was shaded down topure black. A little chainmail silver was added to thebase-coat for the mid-tone repainting and then thehighlights were painted working up to pure chainmailsilver, trying to follow where the light would catch thestaff. The six rings were then painted to represent copper,stone, ruby, bone, jade and wood for extra interest onthe staff. Yan Lo’s bracelets were also painted as wood,bone and stone, as too much ruby and jade would lookodd (in part the because of the color combination, butalso in part because we can’t have a grumpy resser withtoo much bling).28 © Copyright Wyrd Miniatures, LLC
Step 7: BaseStep 8: SkeletonSince the base was going to need Yan Lo positioningcarefully, I built it with him in place, then took himoff it for painting. This guarantees the model willfit on the base at the end, but makes painting botheasier. The base was just green stuff sculpted aroundthe skeleton, with sand on top and strips of plasticardfor grave markers.The underground glow began with white, then GWice blue was mixed in, then this was blended towardsGW liche purple. The color was left brightest at thebottom of the glow, and darker as it got to groundlevel. This was cleaned up with charred brown onthe surface, which was then dry-brushed with earth,khaki and bonewhite in slightly uneven layers to givethe soil variation.The wooden grave markers were painted with leatherbrown first, then grain was painted on using a mixof leather and dark fleshtone, followed by pure darkfleshtone. The text was carefully painted on withdilute black and red. Finally, patchy glazes of greenand blue-grey were used followed by a smatteredwash of brown/black to age the wood.The skeleton began as a base-coat of 2:1 charredbrown/bronze fleshtone which I shaded with purecharred brown followed by a brown/black mix. Ithen glazed in bronze fleshtone, bleached bone andoff-white to highlight the bones, painting the bonejoints on the skull for extra interest. The armor waspainted similarly to Yan Lo’s staff, but I started witha darker gray and used a blue-black for the shade tomake the iron darker than the staff. The highlightswere kept small, but again, built up to pure chainmailsilver. Rusted patches were painted on using roughlystippled charred brown, dark fleshtone and orangefire, before a black/brown wash was applied unevenlyto tarnish it further. The cloth and straps started asGW liche purple, shaded down with black to a 1:1 mix.Then I repainted the original purple and highlightedusing progressively more bonewhite until it was a 1:1ratio. I also cleaned up the base edges with black, asthe messy part was done.Step 9: GrassTo finish the base, I added tufts of grass in places.The I added long grass for variation, trimmed it andadded a mix of static grasses. Finally, I used someautumn ivy for extra tangled foliage. With the baseand Yan Lo both finished, I attached them to make thefinal step easier.29 © Copyright Wyrd Miniatures, LLC