Empire Amethyst Wizard Tutorial:

 I received this figure in a trade for leftover parts at my local Games Workshop Hobby Center. Thanks to feedback from folks on the Relicnews Painting & Modeling Forum, a little bit of digging through my recent White Dwarf issues and some poking around in Warhammer books at the local GW store, I think I've settled on a color scheme that to me seems to suit an Amethyst Wizard nicely. As a practitioner of the Lore of Death, the general color scheme tends to be purples and blacks, with pale skin and decorative tokens of that particular College of Magic: hourglasses, roses, and scythes. Most of that is already covered in the figure itself. The figure was undercoated in black when I received it - I'm assuming Games Workshop Chaos Black spray - and I see no reason to go about changing that now. Actually, as I've had very little experience working from a black undercoat and certainly nothing I've painted to a high-end level, I'm going to keep it as-is and experiment with things as I go along.

So far as color scheme, I'll be trying for a greyish, ashen skin tone to coordinate with the black robes saturation-wise. I settled on a cream or bone color for his flowing draped cloth and hat as I felt something like black would make the overall figure just too plain dark. I settled on a reddish/purple color of rose that happens to match the shade of the flowers from the rose bush in our backyard (sticking with what I know, and I've got great examples for color reference). I'd like a fairly dark shade to the gold, and rather than using inks mixed with the metal color, I plan on using GW Scorched Brown mixed in for both better coverage and to tie the metal figure details in with the reddish-purples of the rest of the figure. So far as the spirit in the potion bottle, I decided to move away from my initial plan of a straight-up blue color scheme to maybe more of a purple-blue ghostly appearance, which I think it ought to tie it more into the purples and magentas of the rest of the figure. For ease of painting, I plan on ideally working from the innermost (or trickiest) parts outward, except where there are reasonably open areas to work, like with the roses, the flowing cloth, etc.