











Skin

Over Zenithal - VGC Dark Flesh (leaving deepest shadows black)

Re Zenithal with light AP Bronzed Flesh

Build muscle definition with focused highlights of AP Bronzed Flesh

Further push highlights with VMA Sand

Glaze the model with GW Reikland Fleshshade

VMC Chocolate Brown (trying to leave deepest recesses untouched but with limited success

VMC Chocolate Brown mixed with VMA Sand (you want more Sand than Brown) to start defining highlighted areas

VMA Sand lightly applied for general highlights

VMA Sand more intensely applied for top highlights

ScaleColor Inktensity Yellow glazed to shift to gold tones (I think a Sepia or Reikland Flesh glaze could be used to shift to bronze, and Orange glaze could shift to copper)

- Raggy, signing out

Primed Black and given a White Zenithal through the Badger Patriot 105 with Stynylrez primers.Still using the Patriot, I laid down Vallejo Game Color Dark Flesh to start building up the flesh tones:ScaleColor Inktensity Red airbrushed on added some vibrancy to the plumes. I also started blocking out the hair at this stage with Vallejo Model Air Sand for Blond, Vallejo Game Color Dark Flesh for red and Vallejo Model Air Olive Green for brown:I also re-whitened the tips of Mad Maegrim's plume. This was a bit of an experiment to really synthesize fire better with an airbrush (see some of my Descent models for some green tinted disasters. To do this, I laid down some VMA Sand over the red and then laid ScaleColor Inktensity Yellow over that (I also added this to the beards)As you can see, the result is pretty effective. The green tint is effectively removed. There are still some issues with the red as I laid it down too thickly and too quickly (I blame readjusting to airbrushing after a 3 month break).I was also working more on the skin at this point. Over the VGC Dark Flesh, I started layering up Army Painter Bronzed Flesh. This too k a lot of careful layering as the coverage of the paint is not great and really I might have made too big of a step in colour shift. This layering had two elements, a thinner less opaque coverage of all of the skin (kind of like a general zenithal). I emphasised this with picking out the muscle bulges with more intense layering of the colour.At this point the Skin still felt a little too muted so I went back with VMA Sand to push the highlights further. Finally I used a glaze of Reikland Fleshshade to introduce more red tones and unify the paint.The Skull that Fjul-Grimnir is stood on was painted with a layer of Vallejo Model Colour Chocolate Brown, highlighted up with VMA Sand and the lower areas were glazed with Reikland Fleshshade.While sitting on a work call, I masked up the helmets to attempt some Gold NMM using the airbrush. Having done this the process was pretty straight forward:This method does miss the top most highlights where you'll want some pure white points, but I am really pushing to see how far I can go with just an Airbrush even on fairly detailed modelsIn Part 2 I'll paint up the bases, the Axes, Fabric, Tattoos, finish the Hair and other details.