Painting

Adeptus Custodes auramite gold and red

Warm auramite gold and red cloth give the Custodes their ceremonial contrast. Dark weapon frames, cool steel blades and selective bright gold reflections keep the armour, fittings and working parts distinct.

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Colours on the model

Letters identify paints. The same letter can appear in several places.

Painting stages

All stages

Stage 1 of 7

Prepare the model

Where to paintWhole model

For this stage

Blackvallejo · 70.602

Detailed instructions · 1

Create a clean foundation without softening the dense gold relief or weapon details.
Wash the assembled miniature in warm water with a drop of dish soap. Use a soft brush around the axe grip, under the arms and between the cloak folds, rinse well and let every recess dry completely. Spray Black Surface Primer in light passes while turning the model; check the underside of the axe head and the space behind the cloak before you stop.
Expected result
The primer is thin and matte, and every engraved line, rivet and finger remains crisp.
Points to watch
Do not prime a damp model or hold the spray over the faceplate, hands or ornamented shoulders.

Read the complete guide · 7

1. Prepare the model

Create a clean foundation without softening the dense gold relief or weapon details.
Where to paint: Whole model
Blackvallejo · 70.602
Wash the assembled miniature in warm water with a drop of dish soap. Use a soft brush around the axe grip, under the arms and between the cloak folds, rinse well and let every recess dry completely. Spray Black Surface Primer in light passes while turning the model; check the underside of the axe head and the space behind the cloak before you stop.
Expected result
The primer is thin and matte, and every engraved line, rivet and finger remains crisp.
Points to watch
Do not prime a damp model or hold the spray over the faceplate, hands or ornamented shoulders.

2. Apply the base colours

Establish a rich metallic body colour while preserving black separation between armour plates.
Where to paint: Gold armour, glove plates, wrist guards and raised ornament
Retributor Armourcitadel · 21-35
Thin Retributor Armour until it leaves the engraving open, then build an even opaque finish in thin layers. Work from the helmet down through the chest, shoulders, arm armour and each raised plate on the fingers and knuckles, then continue over the right-arm reliquary, segmented waist belt, thigh plates, greaves and boots. Leave the recessed glove padding and palms dark for leather, and stop cleanly at every leather strap, ivory rope and true mechanical conduit.
Expected result
The gold is opaque and smooth, with clean dark lines separating every major plate.
Points to watch
Do not flood the wing feathers, helmet vents or tiny relief around the waist.
Create a quiet black structure that separates the gold armour and weapons.
Where to paint: Black axe haft, under-armour suit, flexible joints, grips and deep weapon recesses
Abaddon Blackcitadel · 21-25
Build an even Abaddon Black finish on the axe shaft, weapon grips, visible ribbed suit and the deepest mechanical recesses. At the elbows, hips and knees, stop exactly where the ribbing meets smooth gold armour. Keep the oxblood gloves and every silver tube completely clear.
Expected result
The shaft and joints are clean black, with no spill onto the leather gloves, silver tubes or gold plates.
Points to watch
Do not paint the smooth armour beside a joint or close the gaps between fingers.
Set a cold steel foundation that separates every flexible tube from the warm auramite fittings.
Where to paint: Silver tubes at the neck, waist and wrists; steel misericordia and exposed mechanisms
Leadbelchercitadel · 21-28
Build an opaque Leadbelcher finish on the misericordia and exposed mechanisms. Then follow each flexible pipe from one fitting to the next, painting the raised rings without filling the gaps between them. Keep the gold couplings, black grips and the entire broad face of the axe blade clean.
Expected result
Steel is opaque and smooth; every tube is silver from fitting to fitting, and all material boundaries are clean.
Points to watch
Do not leave a tube black or gold, spread metallic grains onto the leather gloves, or cover the axe blade with steel.
Lay down the deep crimson that frames the gold armour.
Where to paint: Helmet plume, rear cloak, hanging cloth and recessed shoulder fields
Mephiston Redcitadel · 21-03
Build an even Mephiston Red base in thin layers. Follow the plume blades from root to tip and the cloak folds from top to bottom. Fill the recessed shoulder fields with the point of the brush, stopping cleanly at the raised gold eagles and rims. Leave both gloves for their separate oxblood leather treatment.
Expected result
The red is solid and clean; every feather and fold remains distinct, and both shoulder fields have sharp gold boundaries.
Points to watch
Do not fill the narrow gaps in the plume or paint over the raised gold decoration on the shoulders.
Give the leather, cords and parchment distinct warm base colours.
Where to paint: Warm brown straps and scabbard, ivory cords, beads and hanging parchment
XV-88citadel · 21-21
Zandri Dustcitadel · 21-16
Paint the belt, straps and scabbard with XV-88, leaving a fine black line at every gold buckle. Cover the cords, beads, tassels and parchment with Zandri Dust. Use several thin passes around the hanging details so their edges remain separate.
Expected result
Leather is warm brown, ivory elements are lighter, and every buckle remains sharply framed.
Points to watch
Do not use one colour for leather and parchment or paint over the gold fittings.
Establish a dark leather foundation beneath the articulated gold glove plates and on each sculpted strap.
Where to paint: Oxblood glove lining, wrist wraps and buckled leather straps
Charred Brownvallejo · 72.045
Build Charred Brown to a solid finish on the visible palms and the narrow padding between the gold finger plates. Continue onto the wraparound bands at both wrists and every flat strap with a buckle on the thighs and legs. Stop at each gold plate and buckle; broad armour rims moulded into the greaves and boots are not straps and remain gold.
Expected result
The gold hand plates sit visibly over dark leather, and every strap is separated cleanly from its gold buckle and neighbouring armour.
Points to watch
Do not paint a raised glove plate brown, turn an armour rim into a strap, or cover a gold buckle.

3. Build the shadows

Give the gold warm red-brown depth without staining the open surfaces.
Where to paint: Gold armour, glove plates, wrist guards and raised ornament
Reikland Fleshshadecitadel · 24-24
Load a fine brush with Reikland Fleshshade and touch it into the joins beneath the brow, shoulder rims, chest eagle and knee ornaments. Draw any pool away with a clean damp brush. Once dry, add a second pass only beneath the downward-facing plates and inside the deepest curls of the engraving.
Expected result
The deepest gold reads red-brown, while broad plates remain bright and unstained.
Points to watch
Do not wash the whole figure at once or leave glossy rings on flat armour.
Deepen the cloth with burgundy-brown shadows while keeping the raised red areas clean.
Where to paint: Helmet plume, rear cloak, hanging cloth and recessed shoulder fields
Agrax Earthshadecitadel · 24-15
Place Agrax Earthshade at the roots of the plume and in the deepest cloak folds. Before it dries, soften the outer edge with a clean damp brush. On each shoulder, draw one narrow shaded band along the lower edge of the red field and blend it upward; keep the centre red and matte.
Expected result
The deepest folds are clearly darker, but the cloth remains rich red rather than brown.
Points to watch
Do not wash the entire plume or let shade dry in glossy puddles.
Define each cord, bead and leather fold with a controlled warm shadow.
Where to paint: Warm brown straps and scabbard, ivory cords, beads and hanging parchment
Agrax Earthshadecitadel · 24-15
Touch Agrax Earthshade into the leather seams, around the scabbard fittings and between individual beads. On the parchment, draw a narrow line only into the fold and along the upper attachment. Wick away any pool before it stains the flat centre.
Expected result
Individual beads and folds are readable, while the broad leather and parchment remain clean.
Points to watch
Do not coat the entire parchment with wash or leave dark rings around beads.
Deepen the seams and undersides without making the leather look black.
Where to paint: Oxblood glove lining, wrist wraps and buckled leather straps
Agrax Earthshadecitadel · 24-15
With a fine brush, place Agrax Earthshade in the finger gaps, palm creases and directly beneath each gold knuckle plate. Run the same narrow shadow along the lower edge of the wrist wraps and leg straps, then remove any pool before it stains the flat leather.
Expected result
The articulated gold fingers remain distinct over deep leather shadows, and the layered straps no longer merge together.
Points to watch
Do not coat the whole glove with wash or leave glossy pools beside the weapon grips.

4. Build the highlights

Restore the light with broad controlled reflections that describe the armour volume.
Where to paint: Gold armour, glove plates, wrist guards and raised ornament
Liberator Goldcitadel · 22-71
Layer Liberator Gold over the planes facing the upper-left light. Keep each reflection wider near the helmet and chest, then narrow it across the forearms, thigh guards and boots. Feather the lower edge with a damp brush so the transition joins the Retributor Armour instead of forming a hard stripe.
Expected result
The head and chest carry the strongest gold light, with quieter reflections toward the feet.
Points to watch
Do not brighten every plate equally or cover the warm shadows around the relief.
Bring the exposed leather padding and straps up to a restrained oxblood red.
Where to paint: Oxblood glove lining, wrist wraps and buckled leather straps
Cavalry Brownvallejo · 70.982
Layer Cavalry Brown onto the leather visible between the gold finger plates, along the upper edges of the wrist wraps and over the light-facing halves of the thigh and leg straps. Leave Charred Brown in the creases, beneath the plates and beside every buckle, then soften the transitions with a thin glaze.
Expected result
The flexible material beneath the gold hand plates and every real strap read as the same burgundy leather.
Points to watch
Do not paint the raised finger plates red or spread the leather colour onto a buckle, greave rim, axe shaft or dagger.
Reveal the black forms without turning them grey.
Where to paint: Black axe haft, under-armour suit, flexible joints, grips and deep weapon recesses
Eshin Greycitadel · 22-51
Dawnstonecitadel · 22-49
Run a narrow Eshin Grey line along the light-facing side of the axe haft and pick out the upper ridges of the flexible joints. Add Dawnstone to only three or four sharp corners near the axe head and hand; leave the lower half of the shaft almost black.
Expected result
The black parts have readable edges but remain the darkest material on the model.
Points to watch
Do not trace every rib with bright grey or highlight the shaded underside of the haft.
Polish the small steel parts without competing with the glowing axe.
Where to paint: Silver tubes at the neck, waist and wrists; steel misericordia and exposed mechanisms
Stormhost Silvercitadel · 22-75
Nuln Oilcitadel · 24-14
Ironbreakercitadel · 22-59
Place Nuln Oil in the gaps between tube segments and along the lower third of the misericordia. Restore the upper half of every raised ring with Ironbreaker, then add Stormhost Silver to only the tube segments nearest the chest and to a hairline running from the midpoint of the dagger to its tip.
Expected result
The tubes read as articulated silver metal, the dagger reads as polished steel, and the smaller mechanisms remain darker.
Points to watch
Do not blend the reflections into a soft airbrushed gradient or brighten the whole blade equally.
Define the sweep of the plume and cloak with selective scarlet light.
Where to paint: Helmet plume, rear cloak, hanging cloth and recessed shoulder fields
Evil Sunz Scarletcitadel · 22-05
Wild Rider Redcitadel · 22-06
Layer Evil Sunz Scarlet over the upper third of each plume blade and along the forward crests of the cloak. On the shoulders, glaze a soft crescent into the upper-left quarter of each red field without tracing the gold rim. Blend every transition back into Mephiston Red, then reserve Wild Rider Red for a few plume tips and the sharpest cloth fold.
Expected result
The plume leads the eye toward the helmet, and the cloak keeps broad smooth red transitions.
Points to watch
Do not edge every fold or turn the whole plume bright orange-red.
Lift the ivory details without making them as bright as the metal glints.
Where to paint: Warm brown straps and scabbard, ivory cords, beads and hanging parchment
Ushabti Bonecitadel · 22-32
Screaming Skullcitadel · 22-33
Return Ushabti Bone to the raised halves of the cords and the fronts of the beads. On the parchment, pull the colour toward the lower edge and leave the fold shaded. Add Screaming Skull to only the nearest cord loops, the tips of two tassels and the sharpest torn parchment corner.
Expected result
The ivory looks dry and readable, with brighter points only on the nearest details.
Points to watch
Do not turn every bead pure ivory or paint artificial writing on the tiny parchment.
Add a few cool glints that make the warm auramite look polished rather than yellow.
Where to paint: Gold armour, glove plates, wrist guards and raised ornament
Stormhost Silvercitadel · 22-75
Use the side of a very fine brush to place short Stormhost Silver catches on the edges nearest the light. Put the brightest marks around the faceplate and chest gem; farther down the model, break the line into isolated points on rivets and corners.
Expected result
Silver appears only at decisive light catches and does not turn the armour pale overall.
Points to watch
Do not outline every edge or draw continuous silver rings around shoulder plates.
Finish the leather with small warm catches on the most exposed wraps and straps.
Where to paint: Oxblood glove lining, wrist wraps and buckled leather straps
Red Leathervallejo · 70.818
Use Red Leather for a few short marks on the leather visible between the nearest gold hand plates. Add broken highlights to the upper edges of the wrist wraps and to only the most exposed leg straps. Keep the marks away from the gold buckles and stop before the leather starts to look orange.
Expected result
The brightest marks explain the layered straps and flexible glove padding without competing with the gold plates.
Points to watch
Do not add pale scratches, metallic shine or continuous bright outlines around the straps.
Finish the gems with tiny matching reflections.
Where to paint: Turquoise gems on the forehead, chest, belt and armour
Stormhost Silvercitadel · 22-75
With the point of the brush, place one Stormhost Silver dot on the upper-left edge of each gem. The dot on the chest may be slightly larger; all others should be barely visible until the miniature is held close.
Expected result
The reflections share one direction and the chest gem remains the strongest jewel focal point.
Points to watch
Do not enlarge the dots into white patches or place them outside the gold rims.

5. Paint the details

Turn each sculpted cabochon into a dark turquoise gem with a clear lower glow.
Where to paint: Turquoise gems on the forehead, chest, belt and armour
Kantor Bluecitadel · 21-07
Fenrisian Greycitadel · 22-68
Fill the glass with Kantor Blue, leaving the gold rim untouched. Paint a small crescent of Fenrisian Grey along the lower edge of each gem. Make the chest stone brightest and reduce the crescent on the smaller belt and armour gems.
Expected result
Every gem has a dark upper half, a turquoise lower crescent and a clean gold rim.
Points to watch
Do not spread blue outside the sculpted glass or make all gems equally bright.

6. Add effects and weathering

Build the full blue power field visible across the Castellan axe blade.
Where to paint: Complete blue power field across the Castellan axe blade
Stormhost Silvercitadel · 22-75
Kantor Bluecitadel · 21-07
Calgar Bluecitadel · 22-16
Fenrisian Greycitadel · 22-68
Build a smooth Kantor Blue base across the blade. Mix in Calgar Blue and work three broad curved bands toward the cutting edge, leaving the inner spine dark. Narrow each lighter band so the transition follows the arc of the blade. Add Fenrisian Grey along the outer quarter, then finish with a hairline of Stormhost Silver on the sharp edge and at the tip.
Expected result
The blade reads dark blue at the spine, luminous blue across the face and nearly white only at the cutting edge.
Points to watch
Do not cover the blade with thick lightning, reverse the gradient, or paint the gold housing blue.

7. Finish the model

Build a pale, warm marble floor without losing the joins between the slabs.
Where to paint: Pale palace marble, fine veins and a clean black base rim
Zandri Dustcitadel · 21-16
Ushabti Bonecitadel · 22-32
Screaming Skullcitadel · 22-33
Cover the marble with Zandri Dust, then layer Ushabti Bone across each slab, leaving the warmer colour in the joins and in a narrow shadow around the boots and axe shaft. Smooth the finish with thin coats. Add Screaming Skull toward the front and across the upper faces, but stop before the recessed joins so the slab pattern stays clear.
Expected result
The base reads as warm ivory marble; the slab joins remain crisp and the figure's feet are clean.
Points to watch
Do not drybrush over the gold boots, fill the slab joins or push the marble to chalky white.
Add restrained veins that suggest real marble without turning the base into a map.
Where to paint: Pale palace marble, fine veins and a clean black base rim
Agrax Earthshadecitadel · 24-15
Screaming Skullcitadel · 22-33
Administratum Greycitadel · 22-50
With a sharp brush, draw a handful of broken Administratum Grey veins. Split each line into short branches instead of carrying it straight across a slab. Use heavily thinned Agrax Earthshade to warm a few joins. If a vein becomes too strong, soften part of it with Screaming Skull so it sits inside the stone rather than on top of it.
Expected result
The marble has sparse natural variation, and no single vein pulls attention from the captain.
Points to watch
Do not cover every slab with branching lines or use black veins, oversized cracks or decorative inlay.
Frame the finished piece with a clean matte black rim.
Where to paint: Pale palace marble, fine veins and a clean black base rim
Abaddon Blackcitadel · 21-25
Wipe dust from the rim, then build an even Abaddon Black finish with a flat brush. Rotate the base against a fixed brush position so the upper edge stays level. Check the full circumference under a side light and correct any pale specks.
Expected result
The rim forms one level, uninterrupted matte-black circle with no dust or fingerprints.
Points to watch
Do not leave grey drybrush on the rim or repaint the sculpted top edge black.

All paints and materials (26)

Blackvallejo · 70.602

Retributor Armourcitadel · 21-35

Reikland Fleshshadecitadel · 24-24

Liberator Goldcitadel · 22-71

Stormhost Silvercitadel · 22-75

Mephiston Redcitadel · 21-03

Agrax Earthshadecitadel · 24-15

Evil Sunz Scarletcitadel · 22-05

Wild Rider Redcitadel · 22-06

Charred Brownvallejo · 72.045

Cavalry Brownvallejo · 70.982

Red Leathervallejo · 70.818

Abaddon Blackcitadel · 21-25

Eshin Greycitadel · 22-51

Dawnstonecitadel · 22-49

Leadbelchercitadel · 21-28

Nuln Oilcitadel · 24-14

Ironbreakercitadel · 22-59

Kantor Bluecitadel · 21-07

Calgar Bluecitadel · 22-16

Fenrisian Greycitadel · 22-68

XV-88citadel · 21-21

Zandri Dustcitadel · 21-16

Ushabti Bonecitadel · 22-32

Screaming Skullcitadel · 22-33

Administratum Greycitadel · 22-50

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Adeptus Custodes auramite gold and red

◉BrushDojoOfficial guide

Colours on the model

Letters identify paints. The same letter can appear in several places.

Painting stages

All stages

Stage 1 of 7

Prepare the model

Where to paintWhole model

For this stage

Blackvallejo · 70.602

Detailed instructions · 1

Create a clean foundation without softening the dense gold relief or weapon details.
Wash the assembled miniature in warm water with a drop of dish soap. Use a soft brush around the axe grip, under the arms and between the cloak folds, rinse well and let every recess dry completely. Spray Black Surface Primer in light passes while turning the model; check the underside of the axe head and the space behind the cloak before you stop.
Expected result
The primer is thin and matte, and every engraved line, rivet and finger remains crisp.
Points to watch
Do not prime a damp model or hold the spray over the faceplate, hands or ornamented shoulders.

Adeptus Custodes auramite gold and red

Colours on the model

Painting stages

Prepare the model

For this stage

Create a clean foundation without softening the dense gold relief or weapon details.

Expected result

Points to watch

1. Prepare the model

Create a clean foundation without softening the dense gold relief or weapon details.

Expected result

Points to watch

2. Apply the base colours

Establish a rich metallic body colour while preserving black separation between armour plates.

Expected result

Points to watch

Create a quiet black structure that separates the gold armour and weapons.

Expected result

Points to watch

Set a cold steel foundation that separates every flexible tube from the warm auramite fittings.

Expected result

Points to watch

Lay down the deep crimson that frames the gold armour.

Expected result

Points to watch

Give the leather, cords and parchment distinct warm base colours.

Expected result

Points to watch

Establish a dark leather foundation beneath the articulated gold glove plates and on each sculpted strap.

Expected result

Points to watch

3. Build the shadows

Give the gold warm red-brown depth without staining the open surfaces.

Expected result

Points to watch

Deepen the cloth with burgundy-brown shadows while keeping the raised red areas clean.

Expected result

Points to watch

Define each cord, bead and leather fold with a controlled warm shadow.

Expected result

Points to watch

Deepen the seams and undersides without making the leather look black.

Expected result

Points to watch

4. Build the highlights

Restore the light with broad controlled reflections that describe the armour volume.

Expected result

Points to watch

Bring the exposed leather padding and straps up to a restrained oxblood red.

Expected result

Points to watch

Reveal the black forms without turning them grey.

Expected result

Points to watch

Polish the small steel parts without competing with the glowing axe.

Expected result

Points to watch

Define the sweep of the plume and cloak with selective scarlet light.

Expected result

Points to watch

Lift the ivory details without making them as bright as the metal glints.

Expected result

Points to watch

Add a few cool glints that make the warm auramite look polished rather than yellow.

Expected result

Points to watch

Finish the leather with small warm catches on the most exposed wraps and straps.

Expected result

Points to watch

Finish the gems with tiny matching reflections.

Expected result

Points to watch

5. Paint the details

Turn each sculpted cabochon into a dark turquoise gem with a clear lower glow.

Expected result

Points to watch

6. Add effects and weathering

Build the full blue power field visible across the Castellan axe blade.

Expected result

Points to watch