Painting: Land Raider Crusader – Part 4

Finally finished with the first passenger side of the interior, and well on the way with the rest, I can finally sight the end of the first part of painting. Well, barely glimpse it would perhapse be more accurate.

As you can see, the engine has now been included in the process. Bit of a challenge that one, if you intend to be thorough.

The Painting: Land Raider Crusader posts

Painting: Land Raider Crusader – Part 1
Painting: Land Raider Crusader – Part 2
Painting: Land Raider Crusader – Part 3
Painting: Land Raider Crusader – Part 5
Painting: Land Raider Crusader – Part 6
Painting: Land Raider Crusader – Part 7

Since last time

First of all: It’s not my thing to start off making all sorts of creative excuses for the post being late, so let’s just say I’ve been otherwise occupied and be done with it. Buy it if it’s within your good graces to do so. So anyway, there has been some development on the Land Raider interior, as both the introductory text and image suggests. Most of it very pleasing, some less. Before I forget though; be advised that a new model has entered the model gallery, so why not stop by when you’re finished here?

How did I do that?

The first image shows you the right passenger side,  now all cleaned up and given a few coats of Boltgun Metal. The left side is, as I’ve mentioned, completely finished, except for varnishing (yes, I DO bother with this, so don’t even BOTHER asking). The shrine will, after some consideration (hardly any), most likely remain black and empty. The metallics were drybrushed with Chainmail, the seats highlighted with Bestial Brown and all the studs tipped with Mithril Silver. The keypad in the foremost compartment is mostly Skull White, and otherwise Scorpion GreenBlood Red and Goblin Green. The small “backlighting effect” attempted on these last keys were achieved using, respectably, heavily watered down Sunburst Yellow, Blazing Orange and Scorpion Green. You probably didn’t even notice it before I told you, but I consider it practise.

One thing I’m less pleased with is the metal skull seen on the panel in the third picture. Like the rest of the metallics, it was highlighted by drybrushing on Chainmail. And on such a tiny object the drybrushing proved to obscure a lot of detail. So what I SHOULD have done was using the overbrushing technique, as practised upon the Imperial Eagle seen in the last picture. That one I’m really happy with, so the trick will be not to spoil it with the next highlight.

Basic tips n’ tricks

The overbrushing technique is all about using a fairly dry brush and applying very little pressure. Dip the brush in the paint, without watering it down first, and then stroke off most of the paint, preferrably leaving the brush nice and flat. Now you can carefully apply the paint to the model, for example a grille or chainmail armour, without the paint running into any cracks. It is, in principle, about the same as drybrushing, but doesn’t leave a “chalky” result (somtimes this is preferable though). It is more gentle with tiny detail, but not the best if the goal is a subtle and seamless coat (like on the body of my Necrons).

Next time

In the following post I will hopefully have started on the engine itself, and perhaps even finished the so far ignored floor. The ramp parts will most likely also be finished, and the right passenger side given a few more layers. Will there, however, be something in between? Well, we’ll see, won’t we?

Comments in both English and Norwegian are appreciated!

About Tejech

Film student with a taste for movies (!), the heavier part of rock music and the phenomenon that is Warhammer 40,000. View all posts by Tejech

2 responses to “Painting: Land Raider Crusader – Part 4

  • UTK

    Looks amazing, I love the light cast from the lights on the left side panel. I saw that technique mentioned somewhere but don’t really have anything yet that I can try it out on. >.<;

    • Tejech

      Thanks for the praise, it lifts a painter’s spirit! :)What I do is simply add more and more of the wall colour to the yellow, so that it gets more faint the farther out from the source. Also I use a brush with very little, watered down paint, or simply drybrush. Drybrushing is good for an uneven surface, as the light would primarily catch anything standing out.

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