This way, if the resin water effect wasn’t successful, I hadn’t wasted time and effort painting an entire giant,” Clayton wrote.Īssembly had been all about capturing this instance between two lumbering creatures, but how could he capture moving water with the same acuity? With a nautical-themed palette, “the first part of the piece to be painted were the giant’s feet and the terrain of the seabed. “It would be easy for this piece to become fussy, so by keeping to a few key colours and then using tints and shades around those choices I could keep the colours consistent and homogeneous.” “I always like to work with a limited palette especially on something so large and detailed,” Clayton wrote. Over the next 360 hours - 8-hour days for 10 weeks as the English spring slid into summer last year - Clayton labored. A great deal of resculpting, rethinking, chopping, hacking, and gluing later, Clayton had the bones of the duel - giant, hydra, and all the details of the shallow sea floor beneath them. The main components of the model came from the 8-inch-tall Kraken-eater Mega-Gargant ($210) and the Kharibdyss ($70), a model originally designed for the Dark Elves faction in Warhammer: Age of Sigmar. “I had seen some wonderful examples of ship modeling where submarines were breaking through the surface of seas and thought that it would be really cool to incorporate this type of effect into a fantasy piece.” ”It was essential to the success of the realization of the whole piece,” Clayton wrote. Part of that planning laid the groundwork for the intricate base of the duel. Our Kraken Eater had happened across this sailor the sailor, now undead, had bargained with the giant to travel with him in order to seek revenge on his former crew.”Īfter the story came “exhaustive” structural diagrams to create “a convincing notion of movement, tension and realism,” to pluck that moment out of time. “I envisaged a sailor being strung up, cursed and set adrift by his crew for some superstitious nautical misdemeanour. As I built the piece I started to create a story to fit the visual narrative of the sculpt.” “They lend a sense of scale and if anything, reinforce the fragility of being a human in these worlds. “I love monsters and the bigger the better,” Clayton wrote. This was where this year’s Slayer Sword-winning entry was born, and this is where the sword now rests. Even pictures of painted miniatures were rare.”Īfter 38 years of painting, today Clayton works out of what he labels a “modest studio,” where the windows are wrapped in light-diffusing film where pots of Citadel paint share space with acrylic lacquers, oil paints, airbrushes, and sable-hair brushes and where music can always be heard “to evoke or enhance memory,” Clayton wrote. “Back then, miniature painting was in its infancy and there was very little in the way of instruction or technique let alone materials or community. “For me personally, miniature painting was an escape from the everyday,” Clayton told Polygon recently in an email. This year, it was Clayton’s sword to lift, for a monstrous duel he plucked out of time. Clayton was just 14 years old when the inaugural Slayer Sword was awarded. Thirty-five years ago, Clayton had a couple of early wins in painting competitions around the U.K., back when Games Workshop only had eight stores to its name. The legendary Slayer Sword is raised by the champion! /CzwbWXGnXX- Warhammer Community October 2, 2022
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