to Paint Orks
One of the most difficult
aspects of painting Orks is getting an effective looking skintone.
Part of the problem is deciding on a method that looks
good and then sticking to it throughout a large Ork force. Some modellers
get over this by painting their Orks in a variety of different shades
or even brown or grey, whilst others find a tried and tested method that
they stick to religiously. These methods range from a simple drybrush
of a lighter tone, to multiple layers of paint, ink and floor polish.
The schemes also range from lurid flourescent greens, to deep evergreen
tones and drab olives.
utilises a quick and simple method for painting Ork flesh using
and a single layer of highlight.
paint his skin with Snot Green.
After that drybrush his skin with Bilious Green. To drybrush mean
to put paint on the brush and then wipe the brush until it is nearly
clean. then drag the bristles of the brush over the raised areas
of the model.
You can use
a drybrush of Goblin Green before the Bilious Green for
a smoother transition between colours..
Warbossean has a technique similar to Guru's but uses a ink wash after
the highlight stage to bring out the definition of the Orks musclature
a bit more and smooth out the highlights.
First paint all skin Goblin Green,
even in skin creases, then paint Scorpian Green onto raised areas
such as muscles or facial features.
some green ink onto the recesses in the Ork's flesh.
Gnat and Agatheron both
utilise Future Floor Finish™ for
their finished models.
As Agatheron says: If
you look carefully at the future bottle, it says "clear acrylic." This
means that it's basically the same kind of stuff as your paints,
except totally clear with
no pigmentation. Adding lots and lots of water will actually break
down a paint eventually to the point where the pigment is so diluted
that it can't cover anything. Future, on the other hand, is the
same stuff, and can thin paint without weakening the pigmentation.
In washes, it is able to pull the pigment solidly into the cracks
where it pools, giving the illusion of darker cracks and shaded
allows one to do some pretty amazing things... but it is only a
technique... and cannot stand by itself.
Frankly stuff that is "futurewashed" all by itself with
no blending or highlighting looks pretty terrible. The idea is,
it is fantastic for doing shading on well defined muscles, beards,
cloth, cracks in armour, etc... However, one must take care to
paint over the higher surface areas and highlight it properly.
Gnat's method uses a lot of layers of highlighting in oder to give
depth of colour and texture to the model and then adds an ink wash
to pull the colours together and make the transitions between the
different layers seem less incongruous.
In order to paint like this it is important to use a bit of guess
work to figure out where muscles and bones lie under the smoother
skin of the model - as thses areas should recieve the sharper highlights.
You can see
this in the attention Gnat has paid to the Ork's left shoulder.
On the unpainted model this area is quite flat and featureless
but Gnat has managed to add texture to the finished
piece simply by using stripes of paint.
The mixture in the final photographs, is (approximately)
one part dark angels green, 2 parts water, 3 parts future.
As you can
see ink washes and/or floor polish tend to leave the figure somewhat
shiny. Most modellers counter this problem by giving their finished
figures a coat of matte varnish (either from a pot or an aerosol).
Agatheron's method is
a little like Gnat's save that he alternates between layers of highlight
and layers of inkwash giving a smoother transition between the layers.
is a basecoat, shading wash, and then highlights. He uses snot green
as the base, and then shades using a watered-down mix of Black
Ink, Dark Angels Green, a small drop of Snot Green for consistency
and Future Floor Polish. This gets into the dark areas and brings out
the detail. He then goes back with Snot green, blending up
using Bleached Bone and then a very
light wash with watered down Green Ink and a touch of Snot
The idea is to keep the base colour in the mix at
all times, that way there are generally no stark contrasts between
layers that often
happens in multi-coloured blending layers... If a bit
of Snot Green is kept in the mix at all times then there will be
a consistency throughout all the layers.
Because of this Agatheron's final layer of wash can
afford to be a lot more subtle than that of a painter like Gnat
or Grindlegutz, as it doesn't have to pull the various colours
Ork Teeth and Gums
large part of any Ork's face is made up of his mouth and
it's attendant array of teeth (usually numerous, spikey and
maintained). Because the face of a minature usually provides
the focal point and because Ork mouths are so large and dramatic
it is worth investing in a decent method of producing a quality
set of gnashers.
left is Agatheron's method of painting Ork gums and teeth
for important models such as Nobs and Bosses. He has chosen
to give the gums a red/pink paintjob because he likes the
rank and file Orks he uses a simpler method: scab red, blended
up with tentacle pink to paint a fine
the teeth. The end result can be seen in the Tankbustas
||Gnat goes for more of a yellowy-brown look for
starts by painting the whole mouth area Scorched Brown.
the gums get highlighted with Vomit Brown, and the teeth
get two highlight stages, Snakebite Leather, and then Bleached
He then makes awash from Scorched Brown, a little water,
and future floor polish.
wash gets into the cracks between the teeth and recesses
of the gums, and gives the mouth
a nice, dirty, decayed look.
also begins with a Scorched brown basecoat to his teeth and
highlights this with bleached bone
and a small dot of white. He then washes the teeth in Chestnut
Ink mixed with soapy water. For the gums and tongues of his
Orks he paints them with Dwarf Flesh, highlighted
with some bronzed flesh and again
mixed with watered down chestnut ink.
The diluted Chestnut
Ink is also used to apply a layer of tartar and decay to
the area where the teeth and gums meet.
lower lips of the Orks he paints a layer of unwatered Chestnut
Ink over the skincolour he has used which provides contrast
between the lips and skin.
Rusty and Distressed Metal
Metal items that Orks carry will invariably become
rusty and distressed and finding an effective way to represent
that can be tricky, especially if you want to maintain the same
level of rust and wear throughout your force.
metal by first basecoating with Tin Bitz. This as an undercoat
can show through the next layer as that sense of
rust ever present. However, this technique also works fine if you
skip the Tin Bitz layer as well. Next, paint your metallics Boltgun
Metal. Probably slightly more watered down than usual, especially
if you want some of the Tin Bitz to show through.
Agatheron uses Vallejo's
Smoke colour mixed with equal portions of Chaos Black and several
water. Use this as a wash over the base metallic. The Smoke
is a transparent colour, and when darkend down with black gives
a great worn look to the metallics it covers. The effect is quite
matte, doesn't produce blobbing like Future can and the pigment
doesent creep back from the corners like if you just water down
prefers to make it look as if his boyz have left their gear out
in the rain. He begins with a Boltgun
Metal basecoat that he highlights up to Chainmail and then adds
spots of Mithril Silver of things like rivets, or the edges of
or scrapes and scratches on the metal itself.
are the used, first one of a black/brown mix to pull the layers
together and then Chestnut Ink is used
to simulate a rusted effect where metal meets metal and around
rivets and so forth. Diluted chestnut Ink gives the impression
of age and poor maintainance whilst undiluted ink makes things
look seriously rusted.
Soylent Bob has given his Orrick Da Red a very rusted
pole that uses hardly any metallic paint at all.
secret to Soylent Bob's convincing rust is layering. He stipples
orange over top of each other. He dosen't do dark to light, or
light to dark, but one colour over another until there are all
5 shades all over the place. After that he shades and highlights
the whole piece. He puts some Vallejo Smoke in the recesses,
taking care not to wash the whole of the metal item, then a little
more scrunched on boltgun metal
for a few places
where the metal has worn shiny again.
areas of metal (such as the shoulderpads and Iron Gob) were produced
again utilising Vallejo's Smoke colour. The Smoke-Black
mix tints the (shiny and bright) boltgun metal down so it's nice
and dark (vary by how thin you make the mix) and the brown in
the Smoke nicely rusts things up a bit.