+ inload: Muster LII +

+ Prelude to Conflict +

+ Painting for gaming +

+ I've got an Age of Darkness game scheduled with Bob Hunk next week, and it's kicked me back into action on the painting front. It's funny – I think of myself more as a painter than a gamer, but the prospect of a game is often the thing that gets me most productive in painting terms. Perhaps it's a desire for innovation, perhaps simply not wanting to let the other person down? +

+ Anyway, another thirteen Iron Warriors are approaching completion:

+ The scheme – detailed in an earlier inload [+noospheric inloadlink embedded+] is quick and effective, so I've been able to crack through these chaps fairly quickly. They need detailing, weathering and some more attention to the bases, but are almost there. +

+ One thing I find interesting about the Space Marine Legions is how numerous they are – there's something visually striking about a horde of marines on the table. This can lead to things becoming a bit dull as you churn through your fortieth 'bloke with boltgun', but I find a lot of enjoyment in tiny variations – whether in pose, armour detailing or painting. Finding the balance between keeping things interesting but not compromising the overall effect is important. +

+ The chaps above are all armed with chainswords – representing a 'Despoiler' Tactical squad – but a closer look will reveal they're all quite different. Tiny things, like chainsword casings, different helm types, and sparing use of hazard striping marks them out as individuals; but importantly, at first glance they're very similar. +

+ Having everyone in a dynamic action pose sounds cool, but gives a disorganised overall result. Great for orks and so forth, not so fitting for more disciplined forces. For that reason, I always aim to balance more dynamic poses with an equal amount of more conservative postures – like the ones above. Note that these still have variation in the components used: it's counter-productive to the overall effect if some models are marked out by posture and unique components, while others are literally uniform. +

+ A few more. Inevitably, you'll find some postures or combinations of bits just appeal more to you for one reason or another. The chap on the left just seemed to work particularly well for me. I keep such models as markers when I'm batch painting – working on a favourite helps punctuate things and stops things being boring. +

+ Another advantage of painting en masse is not having to think particularly hard – you can just lose yourself in the flow of the work, enjoy some music and generally relax. For non-standard models, like the character in the centre here, I had to keep stopping and working out how I would tackle his (unique) markings and odd component parts. +

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