Painting Warcry terrain
A couple of weeks ago, Ana showed us how to convert plastic Warcry terrain. This week she paints them in our hobby related articles series. If you wish to participate with your own articles, let us know here ums.agram@gmail.com
Before painting, I gave the terrain a coat of primer. I used black, grey and white sprays to achieve pre-shading in a quick and simple manner. Since these kits are covered in sculpted detail and texture, this method was highly effective.
There are three types of surfaces here: masonry, wood and metal. I deliberately painted them in that order. The paints I used were all water-based acrylics.
Stone surfaces are the largest and lightest in colour, so I painted them first. Step one was a watered- down dark green, which I got by mixing ochre and black. This was applied all over the stone walls. I use cheaper craft acrylics for this kind of work.
Step two was a light grey highlight applied with sponge. With this technique, paint sticks to extruded parts and highlights details. It also leaves an uneven, blotchy texture, which fits an old stone surface. This is why I prefer it to drybrushing in this case.
Once the highlight was dry, I re-applied the dark green wash from step one. However, this time I focused only on the lower half of the wall. These two steps (wash and sponge highlight) can be repeated a number of times, until the desired contrast is achieved. If your green wash is very transparent, it will take several coats for it to become visible enough. The highlights can go from light grey to white, but it's not good to go overboard.
When I was happy with my shades and highlights, I applied Typhus Corrosion (Citadel Technical) on the horizontal surfaces of the ruins. I added water to the paint and applied it with brush as well as sponge, to get uneven stains on the stone. If you find places on the vertical surfaces of the walls where you find you want to add starker contrast, you can apply a bit of this mix there as well.
The wooden beams and floors were next in line. The wooden areas may already be slightly stained from the process of painting stone, but that is perfectly fine in this case and there is no need to touch them up before the next step. I made a glaze by watering down Umber and covered all wooden surfaces - making sure I didn't mess up the previously painted stone parts. I find flat brushes really convenient for this task. When that was dry, I applied a watered-down black. I didn't go over the entire wood surface, but rather stained random spots on the planks. Then I did the same wit watered-down white. Finally, I took watered-down Typhus Corrosion and painted evenly over all wood surfaces. This final glaze ties it all together and provides a warmer tint.
Wood and stone then got splattered with black and white drops of paint, using a large stiff brush. This gives the terrain extra texture and interest. I don't want this effect on the metal surfaces, and that's why I did it before getting started with metal.
There are lots of iron bars in the Warcry terrain kit. I started by carefully painting all of them with matt black, without getting black paint on the already finished surfaces around them. This can take a while when you're painting several kits at once, so it's important to be patient and have a larger brush with a good tip – it will hold enough paint but still provide good control.
The bars were weathered using Secret Weapon Weathering Acrylics Red Rust and Orange Rust. These were applied as washes and unevenly.
There are several parts I wanted in bronze, such as the bell. I used a bronze paint for the basecoat. This got a coat of Typhus Corrosion and then Nihilakh Oxyde (also Citadel Technical) to simulate verdigris.
The scenery was then sprayed with matt varnish.
Since I had several fountains, I played with water effects. Where I needed a pool od water I poured Vallejo Still Water. It was done in several thin layers, as this prevents long drying time and possible clouding. Fountains attached to walls got water streams made of shrink wrap heated over a candle. This was cut to length and attached with superglue before I poured Still Water. When all was dry, I used Greenstuff World Splash Gel to create waves and splashes.
Latest articles
- Painting Faces at Tabletop Level Marko Paunović, 20th May 2026
- Pigmentation principles: why do the colors look the way they do? Dunja Singer, 20th May 2026
- Painting a Floral Kimono Ivan Knezović, 5th May 2026
-
Pigmentation principles: why powdered pigment doesn't work
- • Titanium dioxide (TiO₂) — IR around 2.7 → excellent coverage, strongest white pigment
- • Zinc oxide (ZnO) — IR around 2.0 → good coverage
- • Calcium carbonate (CaCO₃) — IR around 1.59 → poor coverage, filler
- • Calcium sulfate / gypsum (CaSO₄) — IR around 1.52 → almost transparent in a binder, filler
This means that gypsum and chalk, although white as a powder, become almost transparent in the formulation of a coating or mass. They do not compete with the pigment — they are subordinate to it. That's why a small amount of pigment easily and evenly colors a gypsum or chalk-based mass, while the same amount of pigment in a mass containing TiO₂ would be barely visible.
3. Agglomeration — the enemy of even color
Pigment powders do not exist as perfectly separate particles. Due to electrostatic attractive forces and surface tension, the particles spontaneously group into clusters called agglomerates or aggregates. Agglomeration is particularly pronounced in: fine particles (the smaller the particle, the higher the surface area to volume ratio, so the attractive forces are relatively stronger) pigments with a high specific surface area, such as carbon black high temperature or humidity conditions When pigment powder is mixed with filler or binder powder, the agglomerates do not break down—they remain as compact clusters. The visual result is an uneven color: dark spots where pigment particles have accumulated, and pale areas where they are absent. The user then concludes that "more pigment is needed"—but this is not true. The problem is not a lack of pigment, but its poor distribution.
4. Dispersion — meaning properly dispersed pigment
Dispersion is the process of breaking up agglomerates and evenly distributing individual pigment particles throughout a medium (water, oil, binder). A well-dispersed pigment means that the particles are as evenly distributed as possible — each filler or binder particle "sees" the pigment, not just the neighborhood of the agglomerate. Dispersion is achieved by mechanical and chemical means:
- • Mechanical: mixing with high shear forces (mixers, mill aggregates, ultrasound). Mixing with a spoon or spatula is not sufficient to break up agglomerates.
- • Chemical: the use of dispersants and surfactants that adsorb to the surface of the particle and prevent it from re-adhering to neighboring particles.
5. Why liquid colorant works better than powdered pigment
Liquid colorants are not just pigment dissolved in water. They are ready-made systems that contain: Pigment — already dispersed to the level of individual particles or very small clusters Dispersants and surfactants — which keep the particles separated and prevent re-agglomeration Liquid medium — which allows the pigment to be evenly distributed throughout the material being colored before that material begins to set or dry When a liquid colorant is added to the mixing water (e.g. in gypsum, concrete, mortar), the pigment is already in an ideal state of dispersion. The same amount of pigment is evenly delivered to each part of the mixture. The color effect is therefore much more intense than with dry-mixed pigment — with a significantly lower total amount of pigment. The same logic applies to paints and varnishes: pigment pastes and dispersed pigments provide better coverage and color uniformity than pigments that have not undergone the dispersion process.
6. Practical application — gypsum example
Gypsum is a good example because it illustrates all the above principles at once. Because it has a low refractive index (~1.52), it is not a true white pigment — it does not resist staining when mixed with a binder. This means that a small amount of black pigment can easily and evenly color the gypsum mass. Why then does it happen to many people that they have to add a large proportion of pigment in relation to the mass of plaster? Because they mix the pigment in powder form directly into the gypsum powder. Pigment agglomerates (especially Fe₃O₄ or carbon black) remain intact, the distribution is uneven, and the result is disappointing. The conclusion "we need more" is wrong — we need better.
Correct procedure:
Add the colorant (or pigment dispersed in water) to the mixing water Mix the water with the colorant well Only then add the gypsum and mix until a homogeneous mixture This way, the pigment is distributed throughout the entire mass before the gypsum begins to set. The result is an even, intense color with a much smaller amount of pigment than with dry mixing. For those who do not have access to professional colorants, a good alternative are liquid pigment additives available in building paint stores — usually in the form of small bottles intended for tinting wall paints. It is the same principle: the pigment is already dispersed in a liquid medium with additives that prevent agglomeration. Added to the mixing water, they give a more even result than powdered pigment with a significantly smaller amount.
Conclusion
The intensity and uniformity of color in a mass depend not only on the amount of pigment — they depend on how well the pigment is dispersed. A pigment powder mixed with a powder of another material almost always gives worse results than a pigment that has been previously dispersed in a liquid medium, in the presence of dispersants. When you encounter the problem of "the pigment does not color enough," it is worth asking yourself: is the problem not in the way it was added — and not in the amount.
" ["content_hrv"]=> string(9431) "Ovaj tekst nastao je nakon druženja srijedom na kojem se razvila rasprava o pigmentaciji gipsa. Kako nisam uspjela sve objasniti na licu mjesta, odlučila sam to složiti na papir — a principi o kojima je riječ ionako vrijede šire od samog gipsa.
1. Što je pigment — i što nije
Pigment je tvar koja daje boju tako što selektivno apsorbira određene valne duljine vidljivog svjetla i reflektira ostale. Crni pigment apsorbira gotovo sve valne duljine; crveni apsorbira plavu i zelenu, a reflektira crvenu. Važno je razlikovati pigment od punila. Punila su bijele ili neutralne tvari koje se dodaju u boje, premaze i mase kako bi povećala volumen, poboljšala teksturu ili snizila cijenu — ali same po sebi ne daju snažnu boju ni dobru pokrivnost. Tipična punila su kalcijev karbonat (kreda, CaCO₃), kalcijev sulfat (gips, CaSO₄), barijev sulfat i slični materijali. Razlika između pravog pigmenta i punila nije samo u boji — leži u fizikalnom svojstvu koje se zove indeks refrakcije.
2. Indeks refrakcije i pokrivnost
Indeks refrakcije (IR) opisuje koliko se svjetlost lomi i raspršuje kada prolazi kroz neku tvar ili nailazi na njezinu površinu. Što je veći, to čestica jače raspršuje svjetlost — i time djeluje neprozirnije, "pokrivnije". Nekoliko usporednih vrijednosti:
- • Titanijev dioksid (TiO₂) — IR oko 2,7 → izvanredna pokrivnost, najjači bijeli pigment
- • Cinkov oksid (ZnO) — IR oko 2,0 → dobra pokrivnost
- • Kalcijev karbonat (CaCO₃) — IR oko 1,59 → slaba pokrivnost, punilo
- • Kalcijev sulfat / gips (CaSO₄) — IR oko 1,52 → gotovo transparentno u vezivu, punilo
Ovo znači da gips i kreda, premda su bijeli kao prah, u formulaciji premaza ili mase postaju gotovo prozirni. Ne natječu se s pigmentom — podređuju mu se. Zato mala količina pigmenta lako i ravnomjerno oboji masu na bazi gipsa ili krede, dok bi ista količina pigmenta u masi koja sadrži TiO₂ jedva bila vidljiva.
3. Aglomeracija — neprijatelj ravnomjerne boje
Pigmenti u prahu ne postoje kao savršeno odvojene čestice. Zbog elektrostatičkih privlačnih sila i površinske napetosti, čestice se spontano grupiraju u nakupine koje se zovu aglomerati ili agregati. Aglomeracija je posebno izražena kod: sitnih čestica (što je čestica manja, veći je omjer površine i volumena, pa su privlačne sile relativno jače) pigmenata visoke specifične površine, poput carbon blacka (čađe) uvjeta visokih temperatura ili vlage Kada se prah pigmenta umiješa u prah punila ili veziva, aglomerati se ne raspadaju — ostaju kao kompaktne nakupine. Vizualni rezultat je neujednačena boja: tamne mrlje tamo gdje su se nakupile čestice pigmenta, i blijeda područja tamo gdje ih nema. Korisnik tada zaključuje da "treba više pigmenta" — ali to nije točno. Problem nije nedostatak pigmenta, nego njegova loša raspodjela.
4. Disperzija — što znači pravilno dispergiran pigment
Disperzija je proces razbijanja aglomerata i ravnomjernog raspoređivanja pojedinačnih čestica pigmenta kroz medij (vodu, ulje, vezivo). Dobro dispergiran pigment znači da su čestice što ravnomjernije raspoređene — svaka čestica punila ili veziva "vidi" pigment, a ne samo susjedstvo aglomerata. Disperzija se postiže mehaničkim i kemijskim putem:
- • Mehanički: miješanje s visokim smičnim silama (mikseri, mlinski agregati, ultrazuk). Miješanje žlicom ili lopaticom nije dovoljno za razbijanje aglomerata.
- • Kemijski: upotreba dispergirnih sredstava (dispergatora) i surfaktanata koji se adsorbiraju na površinu čestice i sprječavaju njezino ponovno lijepljenje za susjedne čestice.
5. Zašto tekući kolorant radi bolje od pigmenta u prahu
Tekući koloranti nisu samo pigment otopljen u vodi. To su gotovi sustavi koji sadrže: Pigment — već dispergiran do razine pojedinačnih čestica ili vrlo malih klastera Dispergatore i surfaktante — koji drže čestice razdvojenima i sprječavaju ponovnu aglomeraciju Tekući medij — koji omogućuje da se pigment ravnomjerno rasporedi kroz materijal koji se boji još prije nego što taj materijal počne vezati ili sušiti Kada se tekući kolorant doda u vodu za miješanje (npr. kod gipsa, betona, žbuke), pigment je već u idealnom stanju disperzije. Svakom dijelu smjese ravnomjerno se isporučuje ista količina pigmenta. Efekt boje je stoga mnogo intenzivniji nego kod suho miješanog pigmenta — uz znatno manju ukupnu količinu pigmenta. Ista logika vrijedi za boje i lakove: pigmentne paste i disperzirani pigmenti daju bolju pokrivnost i ravnomjernost boje od pigmenata koji nisu prošli proces disperzije.
6. Praktična primjena — primjer gipsa
Gips je zahvalan primjer jer ilustrira sve navedene principe odjednom. Budući da ima nizak indeks refrakcije (~1,52), nije pravi bijeli pigment — u smjesi s vezivom ne pruža otpor bojanju. To znači da mala količina crnog pigmenta može lako i ravnomjerno obojiti gipsanu masu. Zašto se onda mnogima događa da moraju dodati veliki udio pigmenta u odnosu na masu gipsa? Jer pigment miješaju u obliku praha direktno u prah gipsa. Aglomerati pigmenta (posebno Fe₃O₄ ili carbon black) ostaju netaknuti, raspodjela je neujednačena, i rezultat je razočaravajući. Zaključak "treba više" je pogrešan — treba bolje.
Ispravni postupak:
Kolorant (ili pigment dispergiran u vodi) dodati u vodu za miješanje Dobro promiješati vodu s kolorantom Tek tada dodati gips i miješati do homogene smjese Na taj način pigment bude raspoređen kroz cijelu masu još prije nego gips počne vezati. Rezultat je ravnomjerna, intenzivna boja uz višestruko manju količinu pigmenta nego pri suhom miješanju. Za one koji nemaju pristup profesionalnim kolorantima, dobra alternativa su tekući pigmentni dodaci dostupni u trgovinama građevinskih boja — najčešće u obliku malih bočica namijenjenih nijansiranju zidnih boja. Radi se o istom principu: pigment je već dispergiran u tekućem mediju s aditivima koji sprječavaju aglomeraciju. Dodani u vodu za miješanje, daju ravnomjerniji rezultat od pigmenta u prahu uz znatno manju količinu.
Zaključak
Intenzitet i ravnomjernost boje u nekoj masi ne ovise samo o količini pigmenta — ovise o tome koliko je taj pigment dobro dispergiran. Prah pigmenta miješan u prah drugog materijala gotovo uvijek daje lošije rezultate od pigmenta koji je prethodno dispergiran u tekućem mediju, uz prisustvo dispergirnih sredstava. Kada se susretnete s problemom "pigment ne boji dovoljno", vrijedi si postaviti pitanje: nije li problem u načinu na koji je dodan — a ne u količini.
" ["created"]=> string(19) "2026-05-04 12:54:47" ["modified"]=> string(19) "2026-05-04 20:10:17" } ["Member"]=> array(10) { ["id"]=> string(3) "108" ["group_id"]=> string(1) "2" ["first_name"]=> string(5) "Dunja" ["last_name"]=> string(6) "Singer" ["first_name_mask"]=> string(5) "dunja" ["last_name_mask"]=> string(6) "singer" ["username"]=> string(5) "Dunja" ["password"]=> string(40) "772414a5d6b32309f32f46e9009f1e550809c62d" ["born"]=> string(19) "2006-01-01 00:00:00" ["created"]=> NULL } } Dunja Singer, 4th May 2026 - We visited: Warhammer World – pt.3 Ivan Vedak, 4th May 2026
Latest battle-reports
- Kill Team - Blooded vs. Vespid Stingwings 28th February 2025, GW - Warhammer 40.000, and Antoni Pastuović (Imperial Guard)
- 22nd April 2022, GW - Warhammer 40.000, Borna Pleše (Space Marines) and Kristijan Kliska (Tau Empire)
- 17th November 2021, GW - Warhammer 40.000, and Nino Marasović (Space Marines)