count mannfred master class

8/6/2019 Count Mannfred Master Class

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COUNT M ANNFRED

Mnnfred von Carstein spent manyyears in the guise of an ImperialLord with bold features and ashock of raven-black hair. It is said thenoble ladies of the courts he visited wouldgo faint just by being in his striking,chrarismatic presence.The Imperial Lord, however, was adeception, a magical disguise to hide

Mannfred's true nature. When Mannfredfinally chose to reveal his true self he wasinfused with necromantic energy. Mountedatop a terrible Nightmare, he was aterrifying sight for all to behold.

Mark Harrison's bril liant miniaturecaptures this image of Mannfred at theheight of his power, when he wascommanding the hordes of SylvanianUndead against the Empire. To make surethe model got the treatment it deserved wehanded it to Neil Green, a veteran of the'Eavy Metal painting team.Neil's first job was to clean up all themetal components with a Hobby Knife andHobby File. The next step was to assemblethe figure and undercoat it Chaos Black.Count Mannfred von Carstein was thenready for painting.

UYouWill NeedYou wil l need these colours from the Citadel Colour and Foundation ranges of paints. Chaos Black Spray Graveyard Earth 0 Skull White0'Ard Coat Khemri Brown Scorched Brown Bestial Brown Liche Purple Shadow Grey0Bleached Bone 0Mithril Silver 0 Shining Gold0Bronzed Flesh Regal Blue Scorched Brown Brown Ink 0 Shining Gold 0Tentacle Pink Black Ink 0 Space Wolves Grey Warlock Purple Blood Red Scab Red 0 Vomit Brown Chaos Black Shadow Grey Blue Ink Codex Grey Scaly Green


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Painting Mannfred's Skin and Fur

When the skin had been painted,Neil added some paint effects likethe pale veins visible on the side ofMannfred's head, achieved with afine tip and a steady hand!

It's always worth planning out the order in which youintend to paint your figures. As a general rule of thumb it'salways best to work from the "inside out". However, thereare many exceptions to this and so you should give a bit ofthought to every model before you begin painting. Forinstance, with Mannfred, Neil knew the furs would need

The FurAll of the fur was paintedwith a basecoat of BestialBrown. This was thenfollowed by a drybrushusing a 1:1 mix of BestialBrown and Vomit Brown.The next three layers werepainted highlights, usingVomit Brown, thenBleached Bone and, finally,Skull White. A glaze ofBrown Ink was applied allover the fur to tie all thelayers together.

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Drybrushing is a messy technique,so be sure to get all the little bits ofthe fur cloak out of the way beforemoving onto other areas.

some drybrushing, a messy technique that should be donebefore the skin. No matter what area you work on there isalways a chance your brush may slip and you'll put paintwhere you don't want it. In these situations, the best optionis to flood the area with water to wash away the paint spillbefore it dries.

Painting the Skin and Face

Step 1.Neil started with a verydark basecoat so it would act asthe shade as well. He used a 3:1mix of Bronzed Flesh andScorched Brown.

Step 4. Skull White was added tothe mix and another highlight wasapplied, concentrating more on theraised areas. Neil then repeatedthis layer with more white added.

Step 2. Bleached Bone was addedto the basecoat mix, and this wasused as the first highlight, whichNeil painted over everything butthe deepest recesses.

Step 5. Regal Blue was added tothe lasthighlight mix, and this waspainted around the eyes. A spot ofSkull White was added to thebluish mix to highlight this area.

Step 3. The next highlight wasapplied with even more BleachedBone added to the mix. Neilpainted the eyes by dotting SkullWhite either side of the pupil.

Step 6. A final highlight of SkullWhite was added to the very edgesof the raised areas. Painted details,such as the veins, were appliedwith Neil's legendary steady hand!


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Painting the NightmareThe bands on thespikes are paintedgold using themethod describedearlier. It's best topaint the spikesbefore you start workon the banding.

The Nightmare's flesh, mostprominently seen on the tail, isworked up from a small paletteof just Khemri Brown, ScorchedBrown and Bleached Bone.

For the next part of the project Neil focussed on Mannfred'sterrifying steed, specifically the creature's skeletal head (A),its hooves (B) and serpentine tail (C). As he was using palecolours to get the effect of bone at this stage, he alsotackled the spiky protrusions jutting from Mannfred's back(D). The spikes were painted using a Scorched Brown

basecoat and then highlighted with a 1:1 mix of ScorchedBrown and Graveyard Earth. This was followed bysuccessive layers of Graveyard Earth and then Graveyardand Bleached Bone, up to pure Bleached Bone and, finally,Skull White. The points were painted by adding increasingamounts of Chaos Black to the mix.

Painting the Skull

Step 1. The skull was given abasecoat of Scorched Brown. Anink shade using a mix of 1: 3Scorched Brown and Black Ink wasthen applied to the whole skull.

Step 4. This stage consisted ofanother two highlight layers. Thefirst was pure Bleached Bone, thesecond was a 3:1 mix of BleachedBone and Skull White.

Step 2. Neil reapplied theScorched Brown base, leaving theink uncovered in the recessedareas. A liberal highlight of BestialBrown was then painted on top.

Step 5. The final highlight layerwas a thin coat of Skull White.Neil added a second layer to theextreme edges, ensuring that theoverall effect was subtle.

Step 3. For this stage a highlightusing a 1: 1 mix of Vomit Brownand Bestial Brown was used. Afurther layer of Vomit Brown wasapplied to the raised areas.

Step 6. Neil painted the chips andscratches on the skull with finelines of thinned-down ScorchedBrown, and highlighted the edgeswith Skull White.

Nightmare's SkinThe Nightmare's fleshreceived a basecoat ofKhemri Brown. Itwas thenshaded with a 1:1 mix ofKhemri Brown andScorched Brown. A secondshade was applied with a1:3 mix of Khemri andScorched. The raised areaswere then highlighted witha Khemri Brown andBleached Bone mix - moreBleached Bone was addedwith every layer until Neilwas using just BleachedBone. The final highlightwas a 1:1 mix of BleachedBone and Skull White.Finally, Neil applied aScorched Brown andChaos Black glaze to theshaded areas.

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Painting the Cloak and Leather

The straps were painted usingthe same method asMannfred'sgauntlets, below.

The tome was given a 1:1basecoat mix of Chaos Blackand Scab Red. Bleached Bonewas added to the basecoat mixfor the next two layers, before aChaos Black and Scab Redglaze was applied.

For the next stage Neil concentrated on Mannfred's etherealcloak (A), his gloved hands (B)and the Nightmare'scaparison (C), which is a form of cloth barding, seen hereunderneath the steed's chainmail. The caparison waspainted using the same method as Mannfred's cloak. Neilalso tackled other bits of detail like the bats (D) and the

Leather and WoodThe red leather startedwith a basecoat of ScabRed, followed by a 1:1Scab Red and Blood Redmix that was worked up toa highlight of BlazingOrange. A 1:1 Scab Redand Chaos Black glaze wasused to blend the layers.The weapon shaft receiveda 3:1 basecoat of ChaosBlack and Bubonic Brown.Successive layers addedmore Bubonic Brown tothe mix until Neil wasworking with pureBubonic Brown. The shaftwas highlighted with a 1:1mix of Bubonic Brown andBleached Bone.

The bats werepainted with a ChaosBlack, ScorchedBrown and GraveyardEarthmix, asdescribed below.

tome Mannfred carries on his person (E).The bats werebasecoated with a 3:1 mix of Chaos Black and ScorchedBrown. They were then highlighted using the samebasecoat mix with equal amounts of Graveyard Earthadded. The next highlight was Codex Grey and this was alltied together with a Chaos Black glaze.

Painting the Cloak and Spirits

Step 1. The cloak was basecoatedLiche Purple, while the spirits werepainted Shadow Grey. A 1:1 mix ofRegal Blue and Black Ink waswashed over the whole area.

Step 4. The spirits were thenhighlighted with Space WolvesGrey. The raised areas of the cloakreceived a highlight of pureTentacle Pink.

Step 2. The spirits were touchedup with a 1:1 mix of Shadow Greyand Space Wolves Grey. The cloakwas layered with a 1:1 mix ofLiche Purple and Warlock Purple.

Step 5. The cloak was weatheredby applying a Scorched Brownwash to the edges. A glaze of BlueInk was applied to the spirits tosmooth out the previous layers.

Step 3. The cloak was highlightedusing the previous mix, plus a spotof Tentacle Pink. The spirits werehighlighted with a 1:3mix ofShadow and Space Wolves.

Step 6. The spirits were given afinal highlight of Skull White. Thecloak was "worn in" even furtherwith a light stippling of ChaosBlack around the edges.

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Final Details

The glowing eye of the Nightmarewas built up using Scaly Greenglazes, the exact method for whichis described below.

Mannfred's cloak viewed frombehind, illustrating the three separateareas: bats, cloth and spirits.

Mannfred von Carstein unleashed.

Mannfred was now ready to be attached to his legs! Neilthen had to just finish the last few details and base up thisfantastic miniature. The most notable of these was theNightmare's ethereal glowing green eye. To get this effectNeil first painted the eye with a Scaly Green glaze insidethe socket. A second glaze followed using a 1:1 mix of

Red and purple not only provide afitting, regal contrast, but are alsotraditional colours of the Undead.

The Nightmare's ornate criniere(neck barding). Note the weatheringon the black plates.

Scaly Green and Bubonic Brown. Around the eye socketand along the nasal ridge of the skull, Neil applied a 1:3glaze mix of Scaly Green and Bubonic Brown. When dry, afurther glaze using the previous mix with a spot ofBleached Bone, was applied to the same area. Finally, a dotof Skull White was placed in the eye socket.

Bloodstains

Step 1. The realistic blood smears along thesword were created by dabbing watered-downBlood Red along the blade with a fine brush.

Step 2. For the next layer, Neil used a 1:1mix ofBlood Red and Chaos Black, applying it to themore concentrated areas of the smeared blood.

Step 3. Finally, 'Ard Coat gloss varnish wasbrushed on to the blood smear, giving the blooda wet, glistening effect.

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count mannfred master class

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