WIP: Dreadknight #7

Well, this is certainly taking more than I’d like to spend on a single model but I can’t shake off the feeling of wanting to switch to other kits while WIP projects continue. Thus I’m trying to get my bearings, have a little discipline and finish off the last bits and pieces of the Dreadknight so I can move on to the Maulerfiend with no worries. I’m also anxious to present the model to its owner, which really shows how terrible a commercial painter I would be! Check out my next update on the Dreadknight after the jump.

Since the last update (which was right before Eid, shame on me!) the few items remaining were the blue steel effect on the armor, the details on the model like the lenses, joints and other tidbits as well as the entirety of force weapons on the interchangeable hands. So I started with the messiest pieces, priming the weapons and proceeded to apply the final layers of Runefang Steel in the uppermost armor plates in preparation for the blue glaze. I didn’t want to create a glaring difference between the shades since Runefang Steel is a very strong silver color, so I mixed in a little Lahmian Medium to apply in areas. The Lahmian Medium allows the pigments to stay orderly without creating a huge blotch of paint on one spot, so you can apply multiple thin layers (which any aspiring painter should do) to build up different hues of colors. If you want to work your darker shaded paint into the recesses of a model, use water instead. I realized during the glaze part that I did not shoot any WIP pics here, but it’s an easy job of going over spotty areas with thinned Runefang Steel.

I guess it was a good idea to hold this project off for a while: GW just released a how-to for the Nagash model where they explain in detail how they apply their glazes for seamless transitions with brush. This is the secret to their ‘eavy Metal work, lots and lots of layered glazes, created with Lahmian Medium. This stuff is crazy good. One thing I’m sure of is that on my next paint purchase I’ll make sure to get at least 3 pots of this. It’s not rocket science of course but to see how the multiple coats affect the model is a great bonus when learning. You can find their tutorial on glazes here. This was exactly what I intended to do: apply the blue steel effect with the brush. Check out the progress and end result here:

Here’s a small but effective tip on the painting: if your workplace is next to the living room TV, just clone your browser view to the TV and select the 360 degree view on GW store page. That way you can turn around the model in hand and on the computer on the spot and see which places you may have missed. Of course, if you’re not following the GW formula feel free to ignore this! I know it really helped me with determining the shadows on the showcase models to focus the glazes, especially in the larger armor panels.

With the armor work done I could safely move on to the smaller details on the model. This is where I realized I had skipped using the optional bits such as parchments and other symbols on the model. I primed the tiny pieces by brush (and saw to my demise that the pot of Imperial Primer got bubbles after the shake – maybe I used too much water last time and changed its composition too much!) and with a little superglue I affixed them to the parts I saw fit. It’s very easy to overkill at this stage so I recommend everyone to plan ahead (unlike I did) to avoid any unwanted conversions on your precious models. After attaching the last details I proceeded to paint the seals, parchments, lenses, the Adeptus Mechanicus symbol (which I didn’t like in the previous version) the flamer fuel tanks, and the pilot. When all details were done I assembled the model to its final form, except for the weapons. I also attached the model to its base which I completed before to give it the final pose. I pinned the knight at the center of the foot, which sort of shows if you get up really close with the model. But at least doesn’t look like it’s sinking into the ground this way.

Now I just have to finish the arms and the project should be complete. Hopefully I’ll make good headway this week, now that I’ve got more room for me to work with. I’m anxious to get back to the Chaos models!


  1. The glazes look wonderful Roemer! Thanks so much for the tutorial link. As time goes on, I’m really learning that a lot of these secrets are just time based..spending lots of time with very thin layers building up, instead of plopping it down and hoping for the best 🙂

    Definitely a very nice contrast between the glazed panels and the under pinnings of the model. Model is looking stunning!


    1. Happy as ever to have you here Greg!

      I have to say I have learned a ton of stuff from Duncan in these videos. I can say for certain that I’m sold on the glaze build-up techniques, however for blending two extreme contrasts like a greenish grey and a dark purple it would be wiser to use an airbrush. It should save lots of paint pots, considering that he used ten (10!) layers to build up the seamless blend. I also was a bit confused about the Incubi Darkness to black color through Nuln Oil, but I guess it comes with the technique.

      I also received a nice tutorial from Slave to Painting, which I subscribed to for deals, about how to paint spirit hosts with an airbrush. For those who have the setup, here’s the link:



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