Uploaded July 2026 | Updated September 2026, 1 week ago
Starting with the actual weathering colour and dry-brushing metal on top of it, so it stays in the recesses, isn't unheard of. But this recipe heavily uses oil and wax base paints that mix into each other, with acrylic coats serving as a sort of save-point.
We start with the Nihilakh Oxide and enamel wash, dry-brushing a wax-based metal on top, blending with the enamel that stays in the shadows, so the oxide still shows through.
Then, since it's still active and not cured, we can mix in different weathering tones into the metal itself using oil paints, the slight sprayed filter of Coelia Greenshade locking it all, and making it safe to work on top with more oil/wax based paints, which would reactivate the bottom layers without the acrylic save-point.
Don't limit yourself to a single paint medium; explore all that the hobby offers and find your own way.
Starting with the actual weathering colour and dry-brushing metal on top of it, so it stays in the recesses, isn't unheard of. But this recipe heavily uses oil and wax base paints that mix into each other, with acrylic coats serving as a sort of save-point.
We start with the Nihilakh Oxide and enamel wash, dry-brushing a wax-based metal on top, blending with the enamel that stays in the shadows, so the oxide still shows through.
Then, since it's still active and not cured, we can mix in different weathering tones into the metal itself using oil paints, the slight sprayed filter of Coelia Greenshade locking it all, and making it safe to work on top with more oil/wax based paints, which would reactivate the bottom layers without the acrylic save-point.
Don't limit yourself to a single paint medium; explore all that the hobby offers and find your own way.
