How to Paint Dead Wood
How to Paint Dead Wood on Miniatures – Terrain Trees and Weathered Logs
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This article continues my work on painting terrain, focusing on dead wood and tree bark.
I’ve used this method for smaller elements such as tree stumps and fallen logs on miniature bases, but it works equally well for larger terrain pieces. I generally prefer my terrain to be slightly darker, as this helps brighter miniatures stand out more clearly on the tabletop.
For this guide, I used the dead trees from the Stormcast Aetherwings kit, although the same approach can be applied to larger scenery pieces and woodland terrain.
As an Amazon Associate I earn from qualifying purchases. This helps support the blog at no extra cost to you.
This article continues my work on painting terrain, focusing on dead wood and tree bark.
I’ve used this method for smaller elements such as tree stumps and fallen logs on miniature bases, but it works equally well for larger terrain pieces. I generally prefer my terrain to be slightly darker, as this helps brighter miniatures stand out more clearly on the tabletop.
For this guide, I used the dead trees from the Stormcast Aetherwings kit, although the same approach can be applied to larger scenery pieces and woodland terrain.
Brushes and Tools Used
Everyday brushes
- Citadel Small Layer Brush
- Citadel Medium Layer Brush
- Citadel Medium Shade Brush
For this type of work, I tend to use a larger brush initially to achieve a smooth base layer, then switch to a finer brush for building up texture and definition.
Brush care
- Masters Brush Cleaner (Amazon affiliate link)
Once I’ve finished painting, I always clean my brushes with this to keep them in good condition.
Paints Used
Paints Used
- Matt Black spray (Amazon affiliate link)
- Dryad Bark
- Army Painter Strong Tone (Amazon affiliate link)
- Agrax Earthshade
- Athonian Camoshade
- Gorthor Brown
- Baneblade Brown
- Rakarth Flesh
- Seraphim Sepia
- Lahmian Medium
- Deathworld Forest
- Elysian Green
- Nuln Oil (optional)
This palette focuses on a range of browns supported by selective shading and subtle colour variation to create a natural finish.
- Matt Black spray (Amazon affiliate link)
- Dryad Bark
- Army Painter Strong Tone (Amazon affiliate link)
- Agrax Earthshade
- Athonian Camoshade
- Gorthor Brown
- Baneblade Brown
- Rakarth Flesh
- Seraphim Sepia
- Lahmian Medium
- Deathworld Forest
- Elysian Green
- Nuln Oil (optional)
This palette focuses on a range of browns supported by selective shading and subtle colour variation to create a natural finish.
The Painting Method
1. Priming and Basecoats
The miniature was undercoated with Matt Black spray, which provides a strong, dark base for building up the wood tones. This helps maintain the darker overall feel that works well for terrain.
Once primed, the wood was basecoated with Dryad Bark. It is worth applying this in a couple of thin layers to achieve a smooth and even finish.
1. Priming and Basecoats
The miniature was undercoated with Matt Black spray, which provides a strong, dark base for building up the wood tones. This helps maintain the darker overall feel that works well for terrain.
Once primed, the wood was basecoated with Dryad Bark. It is worth applying this in a couple of thin layers to achieve a smooth and even finish.
2. Washes and Shading
The wood was then given a wash of Army Painter Strong Tone, although Agrax Earthshade works equally well. Strong Shade tends to cling slightly better to flatter surfaces, which can help bring out more texture.
While the main wash was drying, patches of Athonian Camoshade were applied to add subtle variation. In deeper recesses, a small amount of Nuln Oil can be introduced to further deepen the shadows and increase contrast.
The wood was then given a wash of Army Painter Strong Tone, although Agrax Earthshade works equally well. Strong Shade tends to cling slightly better to flatter surfaces, which can help bring out more texture.
While the main wash was drying, patches of Athonian Camoshade were applied to add subtle variation. In deeper recesses, a small amount of Nuln Oil can be introduced to further deepen the shadows and increase contrast.
3. Building the Wood Grain
With the base and shading in place, the next stage is to build up the appearance of bark.
Gorthor Brown was thinned down and applied using a fine detail brush to create vertical lines across the surface. These lines help suggest the texture and grain of the wood, but at this stage they should be applied lightly.
Baneblade Brown was then used in the same way, but with finer, more broken lines. Allowing some of the previous layer to remain visible helps to create a more natural and less uniform appearance.
With the base and shading in place, the next stage is to build up the appearance of bark.
Gorthor Brown was thinned down and applied using a fine detail brush to create vertical lines across the surface. These lines help suggest the texture and grain of the wood, but at this stage they should be applied lightly.
Baneblade Brown was then used in the same way, but with finer, more broken lines. Allowing some of the previous layer to remain visible helps to create a more natural and less uniform appearance.
4. Highlighting and Texture
A final highlight was applied using a 2:1 mix of Baneblade Brown and Rakarth Flesh. This was used more sparingly, focusing on raised areas that would naturally catch the light.
At this point, the wood already has a convincing texture, but further steps can be taken to add variation.
A final highlight was applied using a 2:1 mix of Baneblade Brown and Rakarth Flesh. This was used more sparingly, focusing on raised areas that would naturally catch the light.
At this point, the wood already has a convincing texture, but further steps can be taken to add variation.
5. Adding Colour Variation
To unify the highlights and soften transitions, a glaze of Seraphim Sepia mixed with Lahmian Medium was applied across the surface.
For a more damp or aged appearance, this can be adjusted to include Athonian Camoshade, creating a slightly greener tone.
Once this had dried, one side of the wood was lightly drybrushed with Deathworld Forest followed by Elysian Green. This helps to simulate moss or algae growth and adds a more organic feel to the piece.
To unify the highlights and soften transitions, a glaze of Seraphim Sepia mixed with Lahmian Medium was applied across the surface.
For a more damp or aged appearance, this can be adjusted to include Athonian Camoshade, creating a slightly greener tone.
Once this had dried, one side of the wood was lightly drybrushed with Deathworld Forest followed by Elysian Green. This helps to simulate moss or algae growth and adds a more organic feel to the piece.
Key Points
- Thin layers create a more natural finish than heavy drybrushing
- Broken lines help suggest realistic wood grain
- Subtle colour variation improves realism
- Greens can be used sparingly to add an organic feel
- Thin layers create a more natural finish than heavy drybrushing
- Broken lines help suggest realistic wood grain
- Subtle colour variation improves realism
- Greens can be used sparingly to add an organic feel
Related Guides
This guide is part of my Miniature Painting Guides collection.
Discussion
How do you approach painting terrain wood and bark?
Do you prefer darker, more natural tones, or something lighter and more stylised?
Let me know in the comments, I’d be interested to hear what’s worked for you.
Happy hobbying!
If you’re enjoying the content, feel free to follow the blog, it really helps and keeps you updated with new tutorials.
Return to the home page.
How do you approach painting terrain wood and bark?
Do you prefer darker, more natural tones, or something lighter and more stylised?
Let me know in the comments, I’d be interested to hear what’s worked for you.
Happy hobbying!
If you’re enjoying the content, feel free to follow the blog, it really helps and keeps you updated with new tutorials.
Return to the home page.
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