Painting da Ork Stompa.pdf
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MODELLING
WORKSHOP
PAINTING DA STOMPA
Last issue we followed ace model-maker Mark Jones as he
built his Stompa. Now this massive kit is ready for a lick of
paint – this is how Mark went about it.
1
It’s a Big Job!
S
o you’ve followed Mark’s advice from
TM
To start with it’s important to break
down the painting into manageable
chunks. The sub-assemblies form natural
divides between jobs, but Mark flitted
between different areas whilst waiting for
the washes to dry to avoid any potential
monotony. The crew also provide excellent
diversions; painting the body assembly is a
big job, so Mark broke it up by painting
one of the Riggers.
Mark prepared the Stompa by spraying
all the assemblies Chaos Black. To make
sure he got a strong bond when he finally
glued all the sub-assemblies together he
masked the join areas with adhesive putty
to keep them clear of any paint. If you
accidentally get paint on these areas you
can just scrape it off.
last issue and now have your Stompa
built in its relevant sub-assemblies.
Maybe you even tried a few of Mark’s
customising tips or experimented with a
few of your own to make your Stompa
truly unique.
In any case, now is the time to start
thinking about painting it. As you’ll see on
the following pages, Mark has chosen a
very specific colour scheme to oblige his
Blood Axe theme but we don’t expect you
to follow this colour for colour, although
you can if you want to. What’s more
interesting and useful to note is the way
Mark has gone about painting what can be
a daunting project due to the sheer size of
the model.
Modelling Workshop
presents the very best
modellers, helping you
get the most out of
your modelling
projects. We’re back
on the Stompa this
month, and it’s ready
to be painted.
2
Main Body Assembly
Creating the
Camouflage Pattern
To create the camo stripes
on the body, Mark used
strips of putty (1). He then
sprayed on thinned-down
Codex Grey using the
Spray Gun (2). Mark
deliberately used several
light dustings to achieve
varying shades, rather than
a solid, flat coat (3).
1
2
3
1
2
Painting the Body
Once the basecoat for the hull was complete, Mark added
definition to the plates that make up the body by applying
a wash of Badab Black. He did this using a large flat
drybrush (1). Avoiding the tiger stripes, he gave the hull a
heavy drybrush layer with Fortress Grey to further define
the details (2). This was a large job so he did this over a
few sessions, rather than all in one go.
Mark then gave the stripes some attention, first by
applying Mechrite Red in the band, being careful to leave
a black keyline (3). The stripes were lightened up with a
layer of Blood Red (4).
3
4
The mesh areas form gaps
between the plates. They
have been drybrushed with
Boltgun Metal.
A few of the panels were
painted as though they
were cannibalised
Ultramarines vehicle parts,
complete with transfers.
To break up the grey hull,
some of the plates have
been painted much darker,
by applying extra washes of
Badab Black.
The feet, including
the ankles, were
basecoated with
Tin Bitz and then
drybrushed with
Boltgun Metal. This
was followed by a
liberal wash of
Devlan Mud, and a
wash of Badab Black
to dull down the
metallic gleam.
www.games-workshop.com
75
3
Weapon Arms
1
2
3
4
Painting the Metal
Mark worked on both of the arms at the same
time, swapping between one or the other whilst
waiting for the paint to dry. For the weapon arm
he went for a traditional dull metal look, starting
with a drybrush of Tin Bitz (1). For the next
highlight he applied a lighter drybrush, this time
of Boltgun Metal (2).
The next step was a little more complicated.
Mark created a patchwork of different shades by
applying different colours to different areas. He
applied Gryphonne Sepia to some parts of the
arm, Devlan Mud to other areas, and then a mix
of both washes to other areas (3).
Finally, Badab Black was applied to
the whole arm as a light wash to
dull down the metal (4).
Chaos Black was stippled onto
the ends of the gun barrels to
create a scorched carbon effect
characteristic of big guns.
The many rokkits were picked out
using a limited palette of black,
grey, white and red.
Painting Oxidised Metal
Mark wanted a very different colour for the
chainfist arm to contrast with the dull metal
of the gun arm. He decided on a red
oxidised look, very similar to the colour of
supporting girders used in large industrial
buildings. The basecoat for this was
Mechrite Red (1).
Mark then shaded the red areas with a
heavy coat of Devlan Mud (2). Blood Red
was applied for the next layer, adding a
rich depth to the areas (3). When
highlighting the edges and rivets, Mark
used a mix of Blazing Orange and Skull
White. There was no
definitive formula for
this; he just lightened
it with Skull White or
darkened it with
more Blazing Orange
as required.
1
The shootas on the
chainfist arm were
painted dark grey
to make it stand
out against the
orange. The gun
barrels are Boltgun
Metal, the ammo
Burnished Gold.
2
3
4
76
WHITE DWARF
MODELLING WORKSHOP
4
Da Head
The Stompa’s head is an important part
of the model as it’s the miniature’s
initial focal point. To emphasize this
Mark chose a green colour. After all,
this is meant to be an effigy of an Ork
god, so there needs to be some green
on the Stompa somewhere!
Although he wanted the head to be
green, Mark thought it necessary to
keep a contrast with the crew’s own
distinctive skin tones; as they would be
dotted around the vehicle it was
important to keep the colours distinct.
He elected to go with a mottled,
almost yellowish green.
Mark started the head by using
Gretchin Green as a basecolour.
Unlike previous layers that had largely
been drybrushed onto the Stompa this
was painted on directly as a strong, flat
colour (1). A wash of Devlan Mud was
then applied to add shade and define
the edges of the panels (2). A drybrush
of Rotting Flesh was used to accentuate
the details (3).
1
2
3
4
5
The jaw and face plate were painted with a
drybrush of Tin Bitz, followed by Boltgun Metal
(4) in a similar way to the gun arm. Be careful not
to get any paint on the head.
The same areas were painted white in a patchy
fashion with thinned-down Skull White. This was
to represent a typically slapdash, Orky approach
to applying whitewash (5).
1
2
3
Painting the Horns
The horns were given a basecoat of
Khemri Brown (1). This was followed
by a light drybrushing of Bleached
Bone. Mark concentrated more paint
on the uppermost parts of the horn,
gradating towards the tip (2). He
painted against the grain, the brush
strokes going horizontally across the
horns so the paint wouldn’t collect in
the grooves. A final highlight of Skull
White was painted on to the top of
the horn (3).
The bullet holes and other
scarring on the jaw and
face plate were left with a
bare metal surround to
imply battle damage.
The ladder was painted in
the same manner as the
jaw, minus the whitewash.
Instead, a heavy layer of
Devlan Mud was applied.
www.games-workshop.com 77
5
Da Crew
Contrasting Colours
Mark wanted the crew to stand out from the Stompa so
you could easily spot them when positioned on the
model. To this end he used different camo styles for
their clothing to make them stand out against the metal
panels (which is ironic considering that camo is meant
to help you blend into your surroundings – but then,
Orks aren’t renowned for their logic). For the Ork flesh
he used a basecoat of Orkhide Shade and worked it up
to Goblin Green.
6
Belly Plate
The belly plate was painted using exactly the same
method as the jaw and face plate. The key to the effect
is getting the whitewash to look like it’s been painted
on by Grots at a later date, rather than a master painter
like Mark. To achieve this he thinned the paint down
so it was almost translucent when used. He then
applied it in a very haphazard way to different areas at
different times and deliberately kept the brush strokes
visible. Marks and dints were left uncovered, so the
metal basecoat was showing through in places.
1
2
The searchlight’s outer casing was
painted using the metal method.
The lens was given a basecoat of
Red Gore, the upper area was
then shaded with Badab Black.
The bottom part of the lens was
highlighted, first with Blood Red
and then a separate layer of
Blazing Orange. Chaos Black was
applied around the inner circles.
The contact points on the hull
and belly plate were filed
down to the bare plastic to
ensure a strong bond.
78 WHITE DWARF
MODELLING WORKSHOP
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