By Simon R. Green

Meet the operatives of the Carnacki Institute—JC probability: the staff chief, courageous, captivating, and nearly unbearably conceited; Melody Chambers: the technology geek who retains the antisupernatural gear operating; and chuffed Jack Palmer: the terminally gloomy telepath. Their undertaking: focus on Ghosts. Lay them to relaxation, ship them packing, or simply kick their nasty ectoplasmic arses…

Their most recent task takes JC and the crew to a small state village, website of a famously haunted lodge. before everything, JC thinks that the spirits within the King’s hands are extra the stuff of city legend than something that wishes the Ghost Finders’ services. Then one tale jewelry actual: the story of a vacationer trapped via an strange thunderstorm who retired to her room for the night—and vanished.

Trapped via an strange thunderstorm—like the one who starts raging outdoor presently when they arrive…

As the crew investigates, they're pressured, one after the other, to stand a few challenging truths approximately themselves, their relationships, and the haunting itself—truths that could push chuffed Jack over the sting into the insanity that he has continually feared...

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Additional resources for Spirits from Beyond (Ghost Finders, Book 4)

Sample text

For the silver thread, we’ll use Neutral Grey (992) as the base colour (Figure 72). The highlights will be painted as with Drouot, but using Light Grey (990) for the first highlight (Figure 73), Sky Grey (989) for the second highlight (Figure 74) and Mithril Silver (61-55) for the final metallic touches (Figures 75-76). 3. We’ll paint the other colours to complete the figure (Figures 77-79). As Napoleon’s Orderly, Gourgaud’s uniform has to look brighter and more impressive than, for example, a Bavarian private.

This will absorb most of the paint … but not all of it. This way, there will still be some paint on the brush, but it won’t run or drip off. Now go to the figure and ‘wipe’ the whole area to paint with the brush (Figure 13). As the brush is mainly dry, the little paint that remains on it will highlight only the raised areas (Figure 14). Given its simplicity, the drybrush technique is perfect for a fast paint style, but not suitable for a quality finish except to work on very specific areas, either rough or textured (such as chainmail, terrain, furs or horses tails and manes) or especially plain (cannon or wagon woodwork).

Regarding the metals, the technique I use to paint bronze guns is very easy, but involves more steps than usual, and requires some drying time in between steps. Citadel Colour references are going to be used as, in my opinion, this company’s metallic paints are superior to Vallejo’s. I follow a five step process: (Figure 151) (Figure 152) 1. Base colour: Paint the gun barrel with several layers of watered down Citadel Shining Gold (61-63) to get a smooth result: we don’t want a rough or lumpy finish!

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