ISSUE # 6

REVIEWS OF
Painting Buddha’s Target Identified 1.1
Nocturna’s Il Ratto Delle Sabine
Outworld Miniatures
Lion & Barbarian Busts
Scale 75’s Holmes & Watson
Wonderlands Project’s
Sergeant Corwinn
Ax Faction’s Feral Lass

£1

www.figurepaintermagazine.co.uk
OCTOBER 2013

ISSN 2052-8507
Our Pigments are finely ground Natural Earth Pigments and of the highest quality. Over recent
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 Editorial

Figure Painter Magazine is published by

Robot Pigeon Publishing. South Cheshire. UK

Contact Figure Painter Magazine

Web www.figurepaintermagazine.co.uk
Email info@figurepaintermagazine.co.uk

Editor Shane Rozzell editor@figurepaintermagazine.co.uk

News Editor Robert Monnar news@figurepaintermagazine.co.uk

Content Editor Marko Paunovic content@figurepaintermagazine.co.uk

Sales Sarah Evans sales@figurepaintermagazine.co.uk

Proof Readers Martyn Dorey

Jason Martin
Sean Fulton

Reviewers Marta Slusarska

Mario B Delgado (mbd)
Martyn Dorey
Jake Cannon (Gamespace)
Marko Paunovic
Shane Rozzell

Cover Artist Kev White

Marko Paunovic, Barry Ford, Martyn Welcome to issue 6 of Figure Painter Magazine we hope you like it.
Other Contributors Dorey, Michał “ARBAL” Walczak, Ana
Polanscak, Andrija Jurisic
Well, show season is coming to an end and we’ve seen some superbly
painted miniatures. Roman Lappat’s chaotic portrayal of war in the 41st millen-
nium in “The Last Light”. David Soper’s Dark Eldar diorama and 'La Victoire at
a Nous!' by Antonio Zapatero and Gustavo Gil who took best in show at Euro
Militaire are just a few that will remain in people memories for a long time.

Shows can leave some people feeling flat and reluctant to pick up the
brushes, but fear not! We have the perfect remedy that will get you back in the
The views and opinions relating to all material herein
does not necessarily reflect the opinions of Figure
painting “saddle”. Simply scroll through the following pages and have a good
Painter Magazine staff, editors or publishers who are look at all the fantastic miniatures on show; I guarantee they’ll get your crea-
not liable of said opinions. Figure Painter Magazine tive juices flowing again and you’ll be itching to grab something from the pile
cannot be held responsible for inaccuracies in any of its
publications. Furthermore, responsibility for any losses, of miniatures you recently acquired from that show you went to.
damages or distress resulting from adherence to any
information made available through this magazine or
its website is not the responsibility of Figure Painter Happy Painting 
Magazine or its publisher, Robot Pigeon Publishing.
Adverts and advertisers appearing in Figure Painter
Magazine carry no implied recommendation from the
magazine or the publishers. Artwork has also been
either taken from company websites pertaining to the
image and may not be reproduced (except for personal
use) without prior written permission from the said
author / artist. Most product names are trademarks
owned by the companies that publish those products.
Photos sent to Figure Painter Magazine will be treated
as offered unconditionally for publication and copy- Web www.figurepaintermagazine.co.uk
right purposes and are subject to editing and comments
by the editors. Please ensure that all photos have cred-
its attached if necessary. All rights reserved. No part Email info@figurepaintermagazine.co.uk
of this publication may be reproduced without prior
consent from Figure Painter Magazine.

www.figurepaintermagazine.co.uk 3
 Contents

10 44

Insight Tutorial

17 58

Gamespace Exposé
4 www.figurepaintermagazine.co.uk
 Contents

22 HIGHLIGHTS
Exhibition
Page 95

Game
Table
Page 64

6 Headlines The latest news from the hobby

8 Review Outworld Miniatures

Review 10 Insight Insider interviews

17 Gamespace Regular game review

22 Review Painting Buddha’s T.I. 1.1

79 30 Show Report Revenge of the UKGK

36 Market Place Tools roundup

42 Review Scale75’s Holmes & Watson

44 Tutorial Princess of Mars

54 Review Il Ratto Delle Sabine

58 Exposé What’s hot this month

64 Tutorial Malifaux gaming table Part 6

72 Show Report September Roundup

79 Tutorial Concrete Base by ARBAL

86 Review Ax Faction’s Feral Lass

91 Review Wonderlands Sgt. Corwinn

95 Exhibition Reader image submissions

Tutorial
www.figurepaintermagazine.co.uk 5
 Headlines

Great news for those of us who are

awaiting the start of Marrow Produc-
tion’s “Journey” Kick Starter. It’s going
live 16th October 2013 and they have
Due to the overwhelming response to the work-in-progress posts made by revealed that a booklet “The Art and
Chris Clayton on his CCModelworks blog, Gigantic Miniatures is very pleased to an- Making of the Monkey King” will be in-
nounce that the Award winning ‘Hush’ is now in production and will be available cluded with some of the pledge levels.
to buy from the Gigantic Miniatures webstore very soon. She comprises of seven
separate parts and will be cast in high quality resin including a clear visor piece. At
1/6 scale she measures 150mm from the base of figure to the top of the rifle.

More details including release date and price will follow soon, so if you haven’t
already, sign up to the Gigantic Miniatures newsletter to receive all the latest
news on future releases.

Scale75 are
enticing us yet You now can order a TubeTool and
again with an- BeeSPutty: Hard (80g) as a set. The per-
other addition to fect symbiosis between Putty and Tool.
they fast growing Get your set now on MASQMINI.COM
paint range. This
set, entitled Sky &
Ice Blue Paint Set,
retails for 20.66 €
and like all of the
other paint sets
consists of 8 drop-
per bottles.

6 www.figurepaintermagazine.co.uk
 Headlines

The opportunity to take over

Andrea’s fledgling but beauti-
fully realised range was an easy
decision to make. We are look-
ing forward to making these
available soon and adding to
the range in the future”.

Warlord Games are pleased Andrea Magnani, owner

to announce we have pur- of Arsenal Miniatures, says
chased the Arsenal Miniatures “When Warlord approached me
28mm ‘Revenge of Christen- about my miniatures I was very
dom’ range of figures from pleased. Due to work commit-
Andrea Magnani. Paul Sawyer ments I have been unable to
of Warlord Games, says “Whilst develop the range as much
we are still supporting our as I had wanted and Warlord
large Thirty Years War and Games have a track record of
English Civil wars ranges we taking ranges on to the next
were keen to expand into new level. I look forward to seeing
conflicts for Pike & Shotte. the range grow!”.

Sulphur Kickstarter, is go! Sulphur, created by Ter-

ragnosis Miniatures, is an exhilarating game of futuristic
table-top combat using 32mm vehicles and
miniatures where players can design
their own vehicles and match their
forces to suit their own style of
fighting. Challenge your op-
ponents, create a force to ex-
ploit their weaknesses and
be ready to exact revenge
when they find yours
first!

Pegaso Models are celebrating their 20th year in the busi-

ness and to commemorate this they are releasing a limited
edition model. 42nd Royal Highlanders Standard Bearer,
1815. It’s 1:24th scale and sculpted by Ebroin.

For more detail follow this link.

www.figurepaintermagazine.co.uk 7
 Review

By Mario B Delgado

Outworld Miniatures

The Knight of The Lion Order &

The Moor Wanderer
Outworld Miniatures is a new company that showed
Material: Resin their first releases at Euro Militaire this past September.
The company is the venture of a well-known tandem
Scale: 1:12 scale of Spanish modelers. Antonio “PIQUI” Fernandez and Alex
Price: Both 24.95 € “IGUAZZU” Varela. They have decided to release a group of
busts that will have in common a fantasy background along
Available from: the lines of D&D. The first two busts released are those of a
“knight” and a “barbarian”.
Heroes & Villains/Outworld
The Knight of The Lion Order is a two piece bust; the
torso and a choice of two heads. One represents an older
nobleman and the other is a skull. There are also two choices
of decorations to place on the armour. There is a little intro-
duction to the character that adds a bit of background which
is a very nice detail.

The Moor Wanderer is a barbarian type character with

the main bust cast as a single piece and a half shield and axe
to place on the back. As with the knight, there is a nice little
narrative with some background “fluff” to introduce the
model.

Both busts are well cast and have some fine detail but
also plenty of “wide open areas” to tempt the most demand-
ing painter. The choice of heads supplied with the knight are
a nice touch and the skull has plenty of detail for something
as “plain” as a human skull.

8 www.figurepaintermagazine.co.uk
 Review

Both busts, as well as the rest of umbrella. Hopefully, this will encourage
the Outworld miniatures, are being the widespread growth of the popular-
marketed by H&V Miniatures, another ity of their miniatures.
Spanish company that is opening the
market to model makers in a very intel- Here are some of the pictures of
ligent way. Which is that although the both busts Out of the box and also
different sculptors have their own line some pictures of the painted boxart
of releases and their own independ- presented at Euro’s by Alex Varela and
ence, all are marketed under the same Ivan Hortal.

www.figurepaintermagazine.co.uk 9
 Insight

Place of Origin? That's a vague question. I was

born in Chelmsford. Lived there for the first
seven years and then moved to Suffolk. My
"origin" in the so called “Industry” was March
1992 when I got a job as a mini painter on the
‘Eavy Metal team at GW in Nottingham.

Years Sculpting? 20 years, or there abouts. I

started faffing about with greenstuff in my
lunch breaks a few months after starting work
at GW. I suppose it turned from extreme converting to
sculpting in the autumn of 1992. So, 21 years.

Major achievements? Not dying of liver failure when I lived

in Nottingham, that's an achievement. As for stuff I'm proud
of, there isn't a lot miniature wise. There are always aspects
of a miniature I'm not happy with and that I know I could do
better if I had the time to go back and do it. I'm proud of my
wife and kids and I suppose I am pleased to have at least one
miniature produced by GW (Theodore Bruckner for Forge
World) because up until a couple of years ago, working for
GW as a sculptor was something I really wanted to do.

Future Plans? Move to America; buy a parcel of land and

twenty or so shipping containers and build a house out of
them. A hollow square with one way in; fifty calibre cover-
ing the door. Professionally; master digital sculpting and do
justice to the human (mostly female) form in 3D.

Over the last few years Hasslefree Miniatures have blessed the
painting community with some fantastic sculptures. From the
iconic muscled heroes and the classically proportioned scantily
clad woman to the modern day troopers and the Grymm of the
far future. All of these have two things in common; their appeal
to us painters and their sculptor, Kev White.

10 www.figurepaintermagazine.co.uk
 Insight

Q1 : Everybody knows the Hasslefree range of figures and that

you are a prolific sculptor who has also done work for a
lot of other companies including GW, how many sculpts have you
done commercially to date and do you have a favourite?

A1 : I have no idea how many I’ve made over the years.

None stand out as an immediate favourite. If you
showed me pictures of everything I’ve ever made I could
probably say, “oh, yeah, I remember that. That’s O.K and I
like the anatomy on that one at the back” but I can’t picture
many off the top of my head. The ones I made for Studio
McVey are nice, I guess. The art direction was very tight on
those so I couldn’t go far wrong and the minis I made for the
Sedition Wars are ones that I wish I had made for Hasslefree.
My favourite HF minis are the modern troopers, Bergil, Has-
sle, Freak, and Deth. The metal version of Axenarf was awe-
some too, until it got trashed beyond repair in the moulding
process. I’m still not over that.

Q2 : You mentioned in your future plans that you’re mov-

ing to America. I and many of our readers are fans of
Hasslefree Miniatures and we want to know if the move will affect
Hasslefree in any way?

A2 : Not if we can help it. Dameon and Jenn will con-

tinue to run the UK office as they have been for the
last year or so, with new releases from me and new accessory
and product sourcing, PR and pics from Sally.

We are hoping to expand our US customer base by setting up

a distribution network over there. So it will be a case of Has-
slefree is business as usual, but BIGGER! If that makes sense?

www.figurepaintermagazine.co.uk 11
 Insight

Q4 : From your last answer and that you’re still feeling the
loss of the Axenarf, it seems that you put more than
the ability to push putty into a sculpt. Does this mean that you
get emotionally attached to some of your sculpts or just the ones
you’re working on at the time?

A4 : If I don’t have an emotional attachment to a sculpt

it shows in the final piece. The miniatures I dislike
the most are the ones I put very little of myself in to. I made
a load of elves for someone back when I first got in to free-
lance and I have to say I didn’t like the job I made of them.
If I had more time I could have worked up the will power to
work on them. I find I can kind of hypnotize myself in to the
mind-set to work on anything given the time and sufficient
effort, by kidding myself that I really, really like the concept
even when I don’t.

Of course, this means that a lot of the miniatures I make for

other people, I end up wanting for myself. It is very difficult
not to immediately make something very similar for Hassle-
free while the image and emotional ghost is still fresh in my
head.

Q3 : It’s good to know that Hasslefree Miniatures will be

un-affected; I for one am pleased to hear that. One of
the things I like about your sculpts is how easy to paint they are.
The mix of close, tight detail and nice open areas coupled with the
characterisation you manage to portray make them very appeal-
ing to painters. How did this style come about and was it hard to
achieve?

A3 : My “style” came about primarily by copying Jes

Goodwin and Alan and Michael Perry. Jes is very
good at working shapes and negative space, using geomet-
ric shapes and forms to define characters and races, I try to
emulate that. The Perry brothers are very good at giving
their sculpts a sense of reality, through posing and carica-
ture. I think a lot of other sculptors work similarly to my style
as a result, because the three influences I mentioned are so
iconic for people growing up in the hobby.

One influence on me that won’t be so common is Roy East-

land. I learned a lot about using hands and faces and how to
achieve different effects with putty while working with him
at Target, whether he knew it at the time or not.

So, no, achieving my so called style was not hard, it just came
about naturally for me. What is hard is pushing it to evolve,
because being the same year in year out gets boring. I try to
find new ways of doing old things to keep things interesting
for myself. The customer might not notice the difference be-
tween sculpts, but I’ll know that on one I made the hands a
certain way and on another I got the same result completely
differently, for example.

12 www.figurepaintermagazine.co.uk
 Insight

www.figurepaintermagazine.co.uk 13
 Insight

Q5 : Hasslefree is known for showing a lot of Work in Pro-

gress shots of your sculpts. One of the more interesting
things is to see that you sculpt a lot of detail that ultimately gets
covered up, musculature under clothes, whole minis that get cov-
ered with a cape. What’s the reasoning behind this?”

A5 : Two reasons; the first is that it makes it more of an

exercise for me. It’s one of the things that keeps me
interested. I find it more fulfilling to construct something so
painstakingly, getting as much “just right” as I can before
going on to the next layer. The process holds my attention
a lot more than if I were to bulk out an armature and detail
the top layer.

The second is that the process makes the miniatures look

more believable. If I sculpt (semi-) accurate anatomy on a
miniature I can drape thin layers of putty or wax over it and
so long as it is soft enough it will act almost like real clothing
(with help from a clay-shaper). Folds and creases are likely to
form where they would do naturally on a full sized person,
making the miniature look convincing.

Sometimes I will make a miniature from the skeleton up,

especially if it’s a larger sized piece. I try to get as many of
the protuberances of the skeleton (like elbows, collar bones,
patellas and ankles) to be as accurate as possible. They act
as visual reference points when I’m adding muscles and I will
often make the skeleton in a different colour putty so these
points show up more easily
as I work.

In general, the more you

can get to look real and
authentic, the less
people pay atten-
tion to artistic and
practical fudging
you have to do to
make a convinc-
ing miniature.
Like giving
Q6 : You mentioned in your bio that you want to master digi-
tal sculpting. Do you think you’ll be able to convey the
same characteristics you get in your hand sculpted miniatures into
them bigger printed miniatures?
weapons (to
stand up
to shrinkage
in the mould), or slightly
A6 : I hope so. We’ve invested a lot of money in to it al-
ready, so I guess there’s a lot of pressure, financially,
for me to get it right when I am finally able to start working
over sized hands (to hold that way.
the over-sized weapons)
and heads (to let you use a There are sculptors who have already made the transition
bit of caricature so they’re from traditional to digital, Andrew Rae for one, so it is
more recognisable if you’re definitely possible. It’s just another tool; another medium
trying to sculpt for sculptors to use. I see very little difference between me
a certain learning this method and getting the hang of another type
person). of putty or clay.

Q7 : Bit of a geek question but what software package do

you prefer and why?

14 www.figurepaintermagazine.co.uk
 Insight

To be honest, I’m not far off working on what I want to, at

the moment anyway. Hasslefree is doing well enough that
sales of even my least well received miniature pays for itself,
and although Sally and Dameon are always urging me to be
more sales-driven in what I produce I still manage to find the
time to do what I want. With the exception of the Grymn;
they’re my special babies and although they sell well, I feel
bad about spending time on something I’m effectively only
making for myself.

Actually I guess that answers the question; I would make

Grymn and fantasy Dwarves 90% of the time. And plastic
Grymn, because money to pay for the moulds wouldn’t be
an issue. And plastic sci-fi troopers. And some plastic modern
troopers to go with our resin and metal ones, because I re-
ally like those. Oh, and more scantily clad females of all races
in 28mm and 40mm and 54mm.

Q10 : I would certainly like to see more 54mm miniatures.

OK, last question. You get to see a lot of sculpts and
sculptors either on facebook or the various web forums, so apart
from those you have mentioned in previous answers, whose work
do you really look out for and pay attention to?

A7 : At the moment I’m using Zbrush, but that’s just

because it’s a trial version and that’s all I know :)

Q8 : Back to your sculpting; I know Hasslefree has a small

range of 54mm miniatures and the 32mm range covers
a lot of genres but have you ever considered sculpting anything
larger like a historic miniature in 75mm or a fantasy bust?

A8 : Only as an exercise in anatomy and it would most

likely be a naked woman, but not a bust (other than
one on the aforementioned naked woman). They don’t inter-
est me at all.

Q9 : So, if you had complete free reign with no financial

constraints, Just Kev White Sculpting for pleasure; what
would you sculpt?

A9 : Oooh… Good question.

If I had no financial constraints I think I would take

a holiday, then pick up martial arts again and go to the gym
five times a week. Sod sculpting 

www.figurepaintermagazine.co.uk 15
 Insight

I would like to thank Kev for

A10 : Loads. Tré Manor, Andrew Rae, JAG, Remy
Trembley, Mikh, Andy Dormer, Paul Hicks, Yan-
nick Hennebo, Patrick Keith… The list is endless. Pretty much taking the time to answer
every sculptor I see has something; a technique, a special
way of working or a different way of using putty or wax, all
these questions at this very
of which makes them an inspiration that makes me want to busy time and wish Hasslefree
keep learning how to better what I do. Of course,
there are exceptions - some I feel are just going Miniatures all the best with
through the motions and aren’t worth paying
attention to, but I guess even they might have
their up and coming move to
something to offer if I looked more closely. the US.

16 www.figurepaintermagazine.co.uk
 Gamespace

By Jake Cannon

Star Trek Attack Wing is a game created by Wizkids using the Flight
Path system under licence from Fantasy Flight Games. If that
system doesn’t sound familiar then maybe the game system that
Fantasy Flight Games use it with might; X-Wing. So is this a simple
re-theme of X-Wing or is there more depth to Star Trek Attack
Wing?

Overview

Attack Wing is a dog fighting game very similar to X-Wing in many ways
but with a few changes, both mechanically and thematically. If you haven’t
had a chance to read over my review of X-Wing in an earlier issue, I sug-
gest you check that out for the detailed scoop on the biggest selling game
of 2012 and 2013 so far (and between you and me there’s not much out
before Christmas to threaten taking this title). However, below is a short
summary—

For those of you who have been living in an internet deprived cave,
X-Wing is a game set in the Star Wars universe that pits players against
each other in a fast-paced dog-fighting combat where you can build your
wing using different ships with a variety of pilots and then upgrade them
dependent on what options they have available. The game itself is then
played in a series of turns that begin with the players secretly select-
ing what manoeuvre each of their ships will perform during the turn.
This is where the fun begins, starting with the worst pilots and moving
up through the ranks each player reveals the ship’s chosen manoeuvre
and performs it followed by one of the special actions available to that
particular ship chassis or pilot. After all ships have moved (and probably
narrowly dodged each other), it’s time for the combat; this happens in
the reverse order with the best pilot firing first (yes, it is Han in Star
Wars) moving down the ranks until the lowliest of rookie pilots gets his
or her shot at taking down the annoying blonde kid.

www.figurepaintermagazine.co.uk 17
 Gamespace

Game Play

Now this is a good place to switch to talking

specifically about Attack Wing, as there ends the
similarities. Attack Wing uses the same manoeuvre
templates/system as X-Wing, but now the combat
stage has some subtle yet all important differ-
ences. Combat is executed by having the
attacking ship roll attack dice equal to
its attack stat, +1 dice if using primary
weapons at short range and
totalling up the hits. This
amount can be adjusted
depending on the special
actions that were
chosen earlier in
the round. The
defender will roll
defence dice equal to
their agility stat, +1 if be-
ing shot at with primary weap-
ons at long range. Every success
here cancels one hit. Once all standard hits
are cancelled then critical hits can be cancelled.
If there are any hits left that have not been cancelled then the
defender takes damage against their shields; if there are no
shields left, it’s the
hull. Critical hits that make it to the hull are resolved face up
and usually have extra effects.

Fans of X-Wing will be asking so what’s the difference – let

me explain. Firstly, the brand new scan action which basically
is Wedge’s ability on a stick. For those of you who don’t know
what this means, Wedge Antilles is a fantastic pilot in X-Wing
who literally dominated the meta game during the first two
waves of release. His ability is that any one he shoots at gets
-1 agility. That’s what the scan action does. Sounds sick? Well
it is and more than you think as the next piece of the puzzle
will show.

The second major difference for Attack Wing is a very sub-

tle one; it’s the stats of the ships. In X-Wing, tie fighters have
3 hull points, 3 agility and no shields. The humble X-Wing has
3 hull, 2 shields and 2 agility. This means that you can one shot
these small ships and although it is unlikely, it does happen
that you get destroyed by two good attacks. This fits with the
whole one man “snumpf” fighters scale. Now enter the game
changing big ships like the Falcon and Slave 1. 6 hull, 4 shields
and low agility. This means they’re durable but not evasive.
Ever wonder what it would be like to be fielding entire games
of just those big ships? Well, welcome to Attack Wing. The
average sort of stats we are looking at are 4-6 hull points,
plenty of shields and low agility. Meaning that A) the scan ac-
tion quite often removes the ships only agility dice and B) this
is a game of broad siding your opponents and having ships
limping around with a couple of hits left, not who can one
shot each other first.

18 www.figurepaintermagazine.co.uk
 Gamespace

The flow of this game is Picard can command the Enterprise D or the Reliant if
different; it’s still fast paced you wish and most importantly, you can pay an additional
and lethal, but also slightly less resource to have him pilot a ship that is out of faction. That’s
brutal, especially on the new player right, you can have a Neg’va captained by Picard with Uhura
who might not have started way back when wave one was at communications. This leads to a wide variety of list build-
actually available to walk in and buy and as such doesn’t ing options right out of the box. Mix this up with the 4 fac-
have every pilot ever. The theme is still there and as much as tions that are available straight away (Borg still to come) and
you hear quotes and sounds effects coming from the X-Wing you have a game system where you won’t come up against
table, you will hear the same coming from the Attack Wing the same list week in and week out. A happy side effect of
table. This isn’t just for Trekies, but it’s a ripping good laugh the ships being bigger is that they have more upgrade slots
for us. Also, you can finally see who is better once and for available to them from the beginning and named ships have
all, Picard or Kirk? It’s Picard by the way — hands down. different stats than their basic cousins.

So what else is different? Your captains and crew are no Cloaking — This is new. You can deactivate your shields to
longer tattooed onto a single type of ship. go into cloak mode; you still move around the board but are
much harder to hit and cannot shoot without de-cloaking, a
process that leaves you without shields until the end of turn.
The different factions have different bonuses to how they
interact with cloaking and with the Defiant on the way even
the Federation get to play.

Missions — Finally, the missions are something which I

think are superb with Attack Wing. Every ship pack comes
with a themed mission related to the ship; take down the
Scimitar for the I.K.S. Valdore, tribbles for the G’Roth and
of course the Genesis device for the Reliant. These missions
really provide focal points for your games, not just who can
kill each other the quickest. This also rewards players who
take well rounded fleets over focused ones as they have a
better chance of completing a variety of missions. The fact
that most missions involve having to drop your shields to
beam away teams up and down can lead to tense, balance of
power moments. For example, your cloaked ship is out hunt-
ing and you need to get the away team back on board ship.
However, you know if you drop your shields you’re vulner-
able... I love it!

Components – The cards and tokens are fair, not quite

as nice as Fantasy Flight Games but still better than aver-
age. Photos of the cast helps draw you into the theme of the
game and the individual upgrades and crew are all based
on events from the shows or films. The dice are pretty and
use different symbols than X-Wing and the core set comes

www.figurepaintermagazine.co.uk 19
 Gamespace

Conclusions

with more of them. A gripe I hear repeatedly from X-Wing Is there room in my collection for both X-Wing and Star
starters is that it doesn’t come with enough dice. Personally, Trek? Yes, because for me they are different enough. The
I completely agree, but most of us have bought two core sets game play is different and the choices you need to make
by now, so that is no longer a problem. Still, it’s nice that are different enough from X-Wing. I am a massive Star Trek
Wizkids listened to this gripe and adjusted their product fan, so of course this has the appeal for me; the classic Khan
accordingly. verses the Enterprise battle is timeless. Now you can put
him in a Bird of Prey and see how that could have ended.
The ships — Now this is a point of conjecture. Firstly, The release of more ships in the opening wave has saved
some of them are small — I mean really small. Wizkids are this for me as without the variety that gives I think it might
trying to keep the ships to scale with each other and the plus have been a different story. I literally cannot wait for the
side to this is that multi-fighter wings are coming which look Borg. We will see a Wolf 359 re-enactment, now if I can just
awesome. The downside is that Kirk’s Enterprise is roughly find seventy Federation ships to slowly assimilate my way
the size of a 5p piece with some matchsticks for nacells. The through...
upside is they give you more crew and tokens in that ship
pack than the others. One final note I feel is worth mentioning; Fantasy Flight
is great, but I have found their league kits a little heavily
Secondly, the paint jobs on these ships is not as good as weighted for the winners. There are not enough for par-
the X-Wing ones. Now this really does help to show you how ticipants to attract good numbers of casual players and
unique X-Wing is as you need to see a competitor to really you need those casual players at weekly leagues, otherwise
appreciate how much better your product is. I would say you just get left with the 3 uber competitive players and
this is a portal everyone should look through. If you aren’t no new blood coming through. The Wizkids kits for Attack
keeping an eye on your competitors, then you should be. The Wing are a whole different story. Each kits comes with 3
good news is that these models are painted to a tabletop top end prizes, with one for winner, one for tournament
standard; why is this good you ask? Well, because it means organiser and one for the last/random place finish; on top
all of you fantastic painters out there can really go to town of this, everyone who takes part gets a participation promo
on these ships. Battle damage, ship id’s, nacell glow, it’s all pack. For the first kit, this is a dinner plate sized Deep Space
there for you to add. If you want a quick fix just to make Nine Cardboard Token. This thing is huge and you get it just
them look a little better, then feel free to add a dark tone for taking part. This is what we need more of in miniature
wash as that does wonders. If you are interested in going the gaming, something for taking part because, as we all know,
whole hog, this is a product for you as the details are there Games Workshop can’t be around forever and relied upon to
on the sculpts but not picked out in the paint job... yet. bring new blood into the hobby.

20 www.figurepaintermagazine.co.uk
Free entry and drinks served throughout
the day. The game played is, of course 8th
edition of Warhammer Fantasy
Battles!

Accommodation for Friday,

Saturday and Sunday night are
also available at the price of
15 €. Lunch for both days is
available at the price of 10 €

SPECIAL OFFER: The accommo-

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If you need any other information please

contact us at ums.agram@gmail.com
or GSM +385 91 7620584!
 Review

By Shane Rozzell

Painting Buddha’s

Target Identified 1.1 Unless you have been living under

Price: 84 € a rock these past few weeks
you would have seen a new
Available from: company called Painting Buddha
Painting Buddha pushing its wares into our hobby
www.paintingbuddha.com consciousness. Painting Buddha
is the brainchild of hobby blogger
“Michael Bartels” aka Zaphod
Beeblebrox.

In this unboxing review I will be taking a good look

at Painting Buddha’s first offering: Target Identified,
Season 1.1

Overview

The first thing I have to say is that there is a heck of a

lot in this box. For a complete listing check out the Painting
Buddha web page but believe me when I say value for money
isn’t an issue here. The second thing that strikes me is the
quality of the presentation. Everything is so well made from
the glossy box protector down to the small round stickers
that seal the metal presentation box that holds the minia-
tures; even the inside of the main box is emblazoned with
the Painting Buddha logo.

22 www.figurepaintermagazine.co.uk
 Review

Upon opening the box there are several things that grab attempting to identify a target they’re about to assassinate.
your attention. The first of which is the large black tee shirt
that again has the Painting Buddha logo on it; this is also The base consists of three pieces, the first of which is
used as a packing device to keep your boxes safe and sound. the flooring area that has a large lip roof edge and some
The tee shirt, like everything else, is very well made and blocks below. Inside, where the miniatures will be placed, is
comes in a variety of sizes that should fit even though the a typical rooftop and a small drainage grate. On first glance,
“Hobby Mass Index” is rather on the large side. I thought this to be a bit rough and badly finished but as I
looked closer, I realised that the finish is entirely correct and
After a good rummage through the other paraphernalia how I would imagine the roof of a pretty rundown building
that’s comes in the box, I finally get my hands on the two to look like. There is one small issue with the flooring area
main products — the Miniatures and the DVD’s. and it’s that it hasn’t been cast on a level surface as mine is
a bit thicker on one side but this isn’t a major issue and cer-
The Miniatures tainly doesn’t detract from the base.

Contained within a very nice metal box are both fifty four The second part of the display base is a sort of chimney
millimetre scaled miniatures, Brad and Yanet; also in the box stack or column. This, again, is rough hewn to match the
is a pretty cool looking display base. flooring area and depicts a brick column covered in plaster
that has cracked and broken away in several places; simple
All of the pieces are cast in grey polyurethane resin and yet very effective.
as true sign of the mass production each piece and sprue is
of a different shade. The last part of the display base is the sign that is to be
attached to the column which again is very simple and effec-
Sculpted by Mati Zander (Badsmile) the scene depicts our tive but the casting on my copy isn’t great; however, due to
two protagonists on a rooftop somewhere in a futuristic city its simplicity can easily be fixed or replaced.

Brad

The first miniature is of Brad, our would-be assassin.

Standing at fifty eight millimetres tall, this long, lithe limbed
character is dressed in his futuristic garb and wears a sort of
horned headpiece. The sculpting and casting are both very
crisp and there are a some subtle details for the painter to
latch onto and bring to life, but on my copy of Brad the very
ends of his headgear must have had air bubbles and are not
present. If this was a 32mm scale miniature, I would call it a
“Painter’s Miniature” as it would offer a lot for the painter
but in 54mm it feels lacking in detail and the figure has very
little facial expression.

www.figurepaintermagazine.co.uk 23
 Review

On another sprue is Brad’s long barrelled rifle and a cane miniatures, I think I like Yanet the best. Again, she is sculpted
which he carries in his left hand. The rifle itself is of a classic in a very simplistic style with not many details but her alien
design and leaves me a bit puzzled as it’s not quite steam- appearance and strange, otherworldly garments carry this.
punk and not altogether sci-fi. The casting on the rifle is ok,
but there is a bit of mouldslip on the sights that will be quite The casting of Yanet is pretty good, but on my copy she
hard to make good. The cane is an odd accessory but it is has a pretty hefty mould line down both her sides and the
perfectly cast. inside of her legs. Kudos to the caster though, as they are in
a place that can easily be reached and rectified.
I like the idea of the miniature a lot, but I’m not wholly
convinced with the characterization of the piece because of After re-reading the above, it sounds like I’m doing a
his almost comedic pointed boots along with the elaborately real hack job on these miniatures but I really like them a lot
pointed knee roll and walking cane. I would think an assas- and want to emphasise that. I feel that if you paint them
sin would not want to draw attention to himself but Brad as stock, straight out of the box then you’ll have a pretty
is quite the opposite and I almost get the feeling, because nice display piece; if you’re brave and want to have a go
of his clothing, he’s supposed to be some kind of master at converting them
criminal rather like the Joker from Batman; his pleasant facial and adding to the
features don’t back up that theory, however. display base, then I
think you’ll end up
with a real stunning
piece. I already have
some plans on how
to change things
and look forward to
getting stuck into
them.

Yanet

The second miniature that completes the scene is of

Brad’s alien female companion “Yanet”. She stands slightly
shorter than Brad at fifty six millimetres high and
again, to keep in the same style as her com-
panion, is very thin and long limbed. Her
main features are the legs which have a
double jointed lower section that gives
them an animal appearance; each foot ends with two long
toes. She also has four digits on each hand and is wearing a
smooth faceplate on her headgear that hides her alien ap-
pearance. On a separate sprue are her left and right hand,
the left is holding a kind of futuristic staff weapon and in
her right is a data pad which, in the scene she is showing
to Brad presumably with the target of their assassination
attempt shown on it; also present is an optional handgun
in a holster that can be glued to her hip. Out of the two Ben Komets version of Brad and Yanet

24 www.figurepaintermagazine.co.uk
 Review

The DVD’s parts of his painting of the scene, which makes it very easy
to find particular subjects if you wish to copy it or emulate
Having only ever watched one painting DVD before I was the technique. The first thing you notice is the clever camera
looking forward to watching these — all six of them! angles that the director has incorporated. One camera is
looking at the painter as he talks about what he’s doing; an-
The concept is pretty simple; two painters, Ben Kom- other is pointed at the miniature and a third shooting down
ets and Rafael Garcia Marin, painting the same miniatures showing us the wet pallet that Ben uses.
while showing us their differing ideas and techniques. For
the most part, the DVD’s carried this off. These are billed as Being a painter myself, I would say my style is pretty
a kind of paint-a-long so you can follow each specific step similar to Ben’s although nowhere near as good, so I enjoyed
if you wish which makes me wonder at the appeal of the watching how he completed the scene very much. I also man-
future sets. Are we going to watch another pair of painters aged to pick up a new trick or two which I’m eager to try
paint the same miniatures again or are we going to see more out.
in depth explanations on specific subjects? I hope it’s the
latter, because as much as I enjoyed watching Ben and Rafael In the third DVD when Ben tackles the base, it shows a
paint, I don’t think I will be able to watch someone else show few conversions that he did and I was sorry not to see these
how to glaze or wet blend before I start to get bored. being done in the video. They were covered, although very
briefly, in one of the small booklets that come with the set.
Presentation of the DVD’s is again excellent; all are stored
in a double trifold package. The design is really nice and it Discs four, five and six are given over to Rafael Garcia
makes you want to cherish and take care of them. Marin, aka Volomir who is one of my favourite miniature
painters. I have recently finished reading about his High Elf
The first set focuses on Ben Komets as he tackles Brad, Dragon Lord from his blog, so was eager to see what he had
Yanet and then the base with a disc given to each subject. in store when painting Brad, Yanet and the display base. Like
Each disc contains before, each subject got its own disc and this time Rafael was
several chap- going to use his airbrush to help complete the miniatures.
ters which His main painting style is somewhat different from Ben’s
detail and I suppose it’s a bit more time consuming as there are
spe- more breaks in filming and when we returned things had
cific moved on a pace. This was okay as most of it was going over
techniques already covered and would have been a waste to
show us again.

There is a lot of humour in the discs which made watch-

ing them very enjoyable. I especially liked the
fact the most of the mistakes are included,
not only show us that these painters
are human but also how they solve
the problems they face while
taking on a scene like this.
There are areas where a bit
more explanation of thing
would have been nice, like
when Rafael’s compressor
dies and we are just left
with a short on screen
message or the fact that
for 15 minutes we watch
Rafael paint one side
of the display base sign
only for it to magically
appear on the other side
in the finished piece.
However, these are only
small gripes and do not
detract from an excellent
product.

www.figurepaintermagazine.co.uk 25
 Review

Conclusion

Overall, I really like the Painting Buddha Target Identi- I really like the miniatures and as a base with some extra
fied Season 1.1 boxed set. There are areas for growth and modelling, offer me personally an exciting challenge and I’m
improvement on the miniatures and the DVD’s and I get the looking forward to having a go it. The distribution of the
feeling with so much Painting Buddha branding that the box set was also excellent and everything arrived on time
guys behind the project are almost trying to start a paint- and undamaged.
ing movement which I’m not sure I buy into yet, but I do like
their ethos. Cons: On the DVD’s, I would have liked to see a more
contrast in the styles of the two painters and at least one
Pros: The contents of the box set are brilliant offering painter using true metals rather than both of them painting
fantastic value for money. The DVD’s are well produced and the NMM style. There are video tutorials out there that do
directed and with the extra vantage points, offer a much go into subjects in more depth but don’t offer the paint-
wider perspective on the video tutorial. I have picked up a along-option. All of the extra bits, such as the tee shirt, pin
couple of new techniques I’m eager to try and I found them badges and stickers that come in the box are very nice, but
giving my urge to paint a boost. would I normally buy them is another question.

I managed to grab
a quick word with
Michael Bartels about
the boxed set and
here are his answers.

Q1: When did you first have the idea

of Painting Buddha and what drove it?

A1: I guess for those who don’t

know me, I would have to preface all of
the answers below by fully disclosing
that I am a big fan of Douglas Adam’s
“Hitchhiker’s Guide to the Galaxy” -
just in case you don’t know why 42 is
such a cool number and why many of
my friends call me “Zaphod”, “Zappi”
or just very informally “Galactic
President”:D

14 years ago, when I was 28 (or

2/3rd 42, as I prefer to call it), I decided
that by the age of 42 I would stop
working in the corporate world and
start my own miniature related com-
pany. That was pretty much as detailed
as my plans were back then. Time flew
by and faster than I can drop a minia-
ture, there I was at 42: Leaving the cor-
porate world and starting a miniature
related company.

As far as what drove my idea, I

would have to answer giving you the
three main of many reasons.

26 www.figurepaintermagazine.co.uk
 Review

First of all, since I got infected with the mini-virus at the 54mm scale allows
GW on Oxford Street at the tender age of 21, I have always you to show and
enjoyed visiting painting events, travelling to workshops and learn techniques and
meet up for nerd-camps. I met a whole bunch of really effects much better
hoopy and talented people from all over the world - than on a smaller
many of which I feel privileged to call my friends now. scale. By the way, the
I guess this kind of cozy community feeling is probably artists we teamed up
the main reason why I wanted to do something in with with also paint larger
miniatures. scales than the typical
32mm ones — even
Secondly, painting miniatures and learning about larger than 54mm —
light, colour, shape and all the good stuff made me but outside of the
see the world quite literally with new eyes. I learned to Games Workshop
appreciate nature, art and textures to an extent that event universe that
I would have never thought possible when I was still a may not be as visible.
young nerdling. I sincerely believe that painting minia-
tures has the potential to make everyone a better person You can expect
and I want to share and enjoy this with more people. all kinds of different
miniatures and DVD
Thirdly, let me ask you a question: If you were a sets in the future,
somewhat successful business person, what is the one ranging from play-
area you would probably never invest a cent in to able 32mm minis to
start your own company? That’s right, the ‘die- 200mm busts. Of
ing’ hobby: miniature painting. Well, I like doing course, not everyone
impossible things — it’s fun. Challenge accepted! will like every style
:D mini, but that’s beside the point. We
want to not only show you techniques on
Q2:As you have stated on your blog, a DVD, we also want you to be able to
masterminis.net and like many of our read- follow along step-by-step. Just think of
ers, you have come from a wargaming back- our sets as a great DVD with some free
ground. The painters you teamed up with minis. Learn to be a better painter.
for 1.1 are very well known for painting
smaller scale stuff so why choose
54mm miniatures for your first
box set release?

Q3:
Painting Buddha, with Target Identi-
fied 1.1, has entered a market that has
a lot of competition and to ensure
its place in the market you made
A2: Actually, I would consider myself the choice to pack a heck of a lot of
to be a collector of rare and precious trinkets stuff into the box making it excellent
first, then a painter and then a gamer (even value. Will this continue with the next
though my Ultramarines are yet to be de- releases or are the contents of the boxes
feated, proudly going to lessen?
holding a 56-
2-0 record!)

The min-
iatures that
we designed
for Season 1.1:
Target Identified Rafael Garcia Marin version of Brad and Yanet
are destined to live
in a showcase. The

www.figurepaintermagazine.co.uk 27
 Review

A3: Heheh, good question. I stated above that I like to ap- By designing a DVD set that is closer to the Lord of the
proach things differently... Rings Collectors Box than to any painting DVD you have seen
so far, adding two 54mm miniatures with a display base, a
Quality or low price? How about quality AND low price? printed metal jewellery box, secured by two designed 21mm
A quality product is our #1 priority. Some of the long-time Painting Buddha tape-stickers instead of Scotch tape, a cer-
followers and first supporters know that we actually scrapped tificate and two brochures on top of the DVD and then sell it
our first ‘try’ after over 1000 hours of work and a rather for 42€ in the end may not give you much profit, BUT it will
hefty investment, because we were not quite happy with the give you several million points out of 10 for style.
results. And even though this delayed our initial release by
almost three months, the fact that we heard nothing but en- This approach obviously only works if you are willing to
couragement after we made this decision transparent shows say bye-bye to your initial investment, as I did. The invest-
how hoopy our followers really are. For us, quality and a high ment turned into a product, which right now transforms
nerd-factor are everything. We want to ‘want to buy’ our back into money only to then fuel our next projects. Also, as
product ourselves. president of our enormous enterprise, my salary is 0€, which
kinda helps.
Does a company have to make profit? Again, how about:
No! Well, that’s not entirely true. First of all, Mati and Ben are The more supporters we have, the more we can do for
full time employees now and I need to pay the bills. But we do the community and we have a LOT of hoopy plans for the
not NEED profits, as long as we can pay the bills and have fun future!
in the process. But, of course, we’d like tons of profit, but not
because we want to get filthy rich - we want to re-invest it in We have some ideas on how to make the product even
the community. better, put even cooler stuff in our supporter boxes AND
then try to lower the price. As you can imagine, this will take
True to our motto: SHARE & ENJOY 42% of profits will be some time and obviously some support from the community.
re-invested in our company. 42% of profits will be reinvested I vowed to fund this project in full for at least two years,
in the painting community and 16% of profits go to char- even if we don’t sell a single item. Our initial success... As you
ity. We just think of our supporters as our shareholders. The noticed by now, short answers are not my cup of tea, so, tldr.
dividend we will pay them are cool products, cool events and No, the content of the boxes will not lessen. It will become
... well, now that I think about it, ... pretty much everything’s better. Nerdier. So say we all!
gonna be totally cool.
Q4: In the future, do you plan on selling the items col-
Having said that, our profit margin is admittedly rather lated in TI 1.1 separately so someone could just purchase the
slim. I find it quite amazing what one can produce out of a miniatures or DVD’s?
converted living room and how much value we can pack into
a quality product priced like no other if one does not think A4: No, no, no, .....no! So, .....yes. (See? I am not good at
of maximizing profits first. Of course, we could have made short answers).
some standard DVD’s and sold them for 50€ a pop with no
problems. First, let’s look at a problem for our supporters: Say you
live somewhere, far, far away, outside the European Union -
so, for example, in Tasmania, Hawaii, South Africa, Brazil or
even in the remote country of Switzerland. You order a 42€
budget box. Insured shipping will cost 17-36€ (we ship at 17€
for obvious reasons). Bummer.

Also, some customers really want to buy just the DVD or a

second or third set of the miniatures.

One of our business objectives is to strengthen and sup-

port local, independent retailers - and we have a lot of great
ideas for that! We also would like everyone else out there
to consider supporting their local hobby stores rather than
buying discounted stuff online! Let’s just keep that in mind
for the moment.

Thirdly, we have been approached by a surprising amount

of retailers who expressed their desire to carry our products.
The problem for us is that we can’t offer 30 or 40% retail

28 www.figurepaintermagazine.co.uk
 Review

When the airbrush failed,

it was actually the compres-
sor who decided to end its life
quite unexpectedly. There was
really not much to show other
than a life-less big black box
that ceased to exhale.

And yes, we had so much

fun!

If I may, I would like to add

something that is very impor-
tant to me.

I am not an artist. To say it

in the words of Gag Halfrunt,
“Zaphod’s just this guy, you
know?”. What really made
our company ‘Manabu’ and
discount on our current configurations, as we would quite our brand ‘Painting Buddha’ possible in the end, are my
literally make a loss on selling our own product... two friends and now full time ‘employees’, Mati “Badsmile”
Zander (Art Director Body) and Ben “White Rabbit” Komets
As a result, we are currently designing solutions that ad- (Art Director Soul). I will be eternally grateful for the trust
dress all of the above: Make our products available to local they placed in me and for allowing me to take a shot at liv-
retailers everywhere, split the products up into DVDs and ing my dream.
minis, if necessary, avoid high international shipping charges
for our supporters and don’t lose the farm in the process. Of I would also like to thank all of our Bruddhas* out there
course, we will reserve some extra-hoopy goodies and swag for their continued support and for SHARING & ENJOYING
for our direct supporters! Can we do it? Yes (I think) we can! our passion.
Expect some news on this, soon.
(*”Bruddha” is our genderless title and term of endear-
Q5: You guys obviously had a lot of fun filming the DVDs ment for all of our hoopy supporters out there!)
and chose to leave some of the
painting mistakes in the videos
which I thought made it very
entertaining. I also felt it was edu-
cational to see how the painters
fixed these problems and clever
of you to show them, but at one
point Rafael’s airbrush failed; why
was that cut out but other errors
left in?

A5: Here is my one chance to be

witty and terse at the same time!
Ready? Ok: The error was probably
cut out by mistake. Woops :)

No, seriously, we decided to

leave some of the mistakes in,
because we feel that it is impor-
tant to see that even pros don’t
set every brushstroke on the right
spot the first time. Being able to
fix mistakes saves your minis from
rotting on the shelf of shame. Ben Komets (Art Director Soul), Mati Zander (Art Director Body), Michael Bartels (Galactic President)

www.figurepaintermagazine.co.uk 29
 Show Report

By Shane Rozzell

Saturday the 28th of

September took me to the
Revenge of the UKGK show
at the Blue Cap Hotel. This
is a relatively new show
organised by Dave Nichols
of Creature Feature.

30 www.figurepaintermagazine.co.uk
 Show Report

The show is now in its fourth year

and although not on the scale of
shows like some of the IPMS shows
or Figureworld, it does draw in
people from all over the country who
are interested in garage kits.

The Venue

The Blue Cap Hotel is not a major

trip for me which is one of the reasons
I wanted to attend it, quite literally,
down the road. The hotel, situated on
the A556 in Sandiway, Northwich is
close to the M6 and M56 so getting to
the event would be very easy for those
coming from further afield. Parking was
plentiful and all the staff at the hotel

were very helpful and the food was excellent. The only drawback
was that the show outstripped the size of the venue and had to
be split into two rooms but even this caused some over spill into
a hallway.

The Show

The rooms had a very simple layout with tables around the
walls of each room and nearly everyone who attended was both
buying and selling; this made it a bit confusing turning up to a
table only to find the owner off on his own shopping spree but, I
eventually got to speak to almost everyone who came. I suppose
this is the nature of garage kit enthusiasts and makers, though.
They are in the foremost, collectors who have gone to the next
level and started producing their own kits. I was surprised at the
quality of some of the kit for sale. They ranged from simple one
piece busts up to huge multi-part kits and in lots of scales as well.
The biggest surprise is the price of these kits; with no recognised
sculptor to pay or huge casting overheads the prices of these kits
are fantastic. Granted some of them don’t have the finish of mass
produced kits, but they look just as good when assembled and
painted.

The painting competition was one of the aspects of the show

that needs some work if the show is to progress and get bigger.
At the moment, it’s very informal with no specific categories or
any judging criteria. I do think this could be a very important
aspect of the show and wish I’d taken some miniatures to enter;
they would have looked tiny in comparison with most of what
was on show but I enjoy the feeling of taking part in the con-
tests and really appreciate the feedback I get from the judges.

www.figurepaintermagazine.co.uk 31
 Show Report

32 www.figurepaintermagazine.co.uk
 Show Report

As it was, I didn’t and I was glad of

this because I was asked to help judge
which proved very tough as the quality
of the models entered was exceptional
which led us (the judges) into a stream
of visits to the display table and hud-
dled conversations outside. In the end,
we settled on three pieces to take the
awards for best figure, best bust and
best in show.

Best figure, Power Girl

by Mark Edmundson

www.figurepaintermagazine.co.uk 33
 Show Report

Best bust, Insane by Benn

Clarkson.

34 www.figurepaintermagazine.co.uk
 Show Report

Best in show, Alien versus Predator

diorama by Andy Bayley

Overall Conclusions

I attended UKGK with an open mind; I was expecting admire their “make or make-do” attitude which is something
UKGK to be more of a gathering of like minded enthusiasts I think our hobby has lost.
than an actual model show, but I was pleasantly surprised.
It was small, with less than 100 people attended, but I think They could certainly learn from us as well. For example,
that gave the show a more informal feel and everyone got good skintones aren’t just a few squirts with an airbrush and
the chance to walk around and have a good chat with oth- that they don’t have to break someone’s IP to make a good
ers. I met some friends I had seen at other shows which was a model. Just imagine those sculptors with that skill doing
pleasant surprise and I was glad to see that it wasn’t just me something fantasy or Sci-fi!
that attended from the usual model shows.
The quality of the products for sale was very good and
The garage kit enthusiasts are a lot smaller group than the quality of the models on show was superb and I was
the miniature hobby guys, but I feel we can both learn a lot honoured to be asked to judge the painting contest. I un-
from each other. Because, in our hobby, there are so many derstand that running a show of any size is hard work and
manufacturers making all kinds of thing in all scales it’s I think that what Dave accomplished was something pretty
pretty easy for us to find anything we need. The garage kit special and something I will continue to support and help
guys generally have to make everything themselves and I grow.

www.figurepaintermagazine.co.uk 35
 Market Place

What’s on the

a regular look at some of the hobby tools available

By Martyn Dorey

Blimey, month five for this set of articles

already, where has the time gone?
Not one to hide in a corner when I am wrong
I think it is only right that I start this month's
article with an apology
When I wrote the first article and way through. This is not the case and
talked about the plastic sanding they are only grit coated. It won’t stop

Paints &
needles (due to the ones I had me from continuing to use these and
in my possession from a while ago), I I hope that will be the case for you as
automatically took it for granted that well and I hope that you will forgive

Special
the ones available now were the same me.
in that the grit was impregnated all
the way through; after a discussion at Right on with this month’s article
a show over the weekend I went home Paints and Special Effects.

Effects and purposely snapped one in half. Af-

ter a considerable amount of bending,
I succeeded in snapping the point and
I am not going to go into the argu-
ment of who’s paint is best and why we
therefore, I am now making an apol- should use it, but I want to cover some
ogy to everybody I may have mislead of the special paints and such like that
over the grit being impregnated all the are on the market for achieving vari-
ous special effects and like many I
am sure you will know we are
swamped for choice. Over the
I am not going to go into the argument of who’s years, for figure modellers it
paint is best and why we should use it, but I want to has been a hard slog to try
and prize information from
cover some of the special paints and such that are aircraft and armour model-
on the market for achieving various special effects lers but with the help of the
internet the last 10 years or
so have really changed this
and new products are hitting
the market all the time.

36 www.figurepaintermagazine.co.uk
 Market Place

Andrea started the ball rolling in the figure market with

their paint sets for specific colours; before this Life Colour
had their own range of sets (and still do) but these were
not that well known amongst figure painters. Now other
companies have started their own sets such as Scale 75 with
their NMM and other colour sets. All this can be said to make
today’s painter lazy with the need to no longer mix colours
but I think at the end of the day these sets don’t necessarily
suit everybody’s style or choice of paint medium so there will
always be a sense of the traditionalist amongst us with our
own mix and paint type preferences.

Metallic paint
that can be polished/
buffed/burnished has
been around for a
little while, but was
mainly the Alclad type
whereby it was air-
brushed on and then
varnished over to keep
the shine; since it is
laquor based, it is not
so easy to work with in
some respects and a lot
of people have a dislike slightly). Just make sure you give them a really good stir/mix
for the Alclad range. before using them and if there is a need to thin them, only a
very small drop of Mr Colour Thinner should be used as too
much will spoil the overall effect and could even mean it is
harder to get a shine or possibly not get them to polish up
at all. If you want to see how effective this can be, there is a
good step by step at fichtenfoo.net.

Filters and washes have been around for a long time in

the armour and aircraft world and shouldn’t be ruled out
of the figure modellers tool box. A lot of people started off
using the MIG Productions range and I know a lot have since
dumped these for the new AK Interactive range which is very
similar but the popularity of these just goes to show how a
good marketing campaign can work, as I seem to see adverts
for AK everywhere as well as an excellent quarterly maga-
zine (or am I just looking for the scantily clad girl with the
AK 47...)

Another option though is the Mr Metal Color which is a Both MIG and AK are solvent based products with the
range of nine colours that can be put on either by brush or exception of AK’s Worn and Chipping Effects, so from a
airbrush. These can be put on over different primer colours personal preference and that of somebody who dumped the
or as some people have tried over no primer at all. Once dry, entire collection of enamel paints at the age of 16 when I
they can then be polished with a soft cloth or cotton wool
bud to achieve the desired finish or alternatively they can
be burnished using a needle or the back of a curved sculpt-
ing tool which can be very effective. When they have been
polished to the desired effect, inks or washes can be used
to give weathered effects and then the whole area can be
sealed to protect it. These paints can be used straight from
the bottle with an airbrush and don’t normally require
thinning ( although you may need to increase the pressure

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 Market Place

discovered acrylics, they are not my first preference although

I have tried some of both ranges. At the end of the day a lot
of these filters can be made using a good quality pigment
and some spirit (no not rum or whiskey).

These have now been replicated for acrylics by Vallejo

with their range of Model Wash and consist of a slightly
smaller range than the AK Interactive range. There are 18
colours to choose from plus a chipping effects to experiment
and have fun with. Here is what the official Vallejo literature
has to say

"Washes are liquid, transparent colours for the creation of

weathering effects on armour, vehicles, planes, ships, figures, The chipping medium is designed to take the place of
war game figures and dioramas. the “Salt Technique” which either worked or didn’t work
depending on who was applying it
All surfaces exposed to sun, wind, dust, rain and snow, or how it was being applied; I have
experience a change in colour, a loss of intensity, a dulling and tried the chipping medium from
general fading. For the model painter, these changes in colour AK Interactive and found I had to
are very difficult to reproduce, and to achieve these effects on apply it with an airbrush other-
a model, washes are the perfect solution. wise I couldn’t get the effects
to work correctly. The Vallejo
The washes can mixed together to achieve further vari-
version I haven’t yet used, but
ations of shade; they can be used with airbrush or brush,
they say it can be applied with
according to the model and the effect desired. Washes are
either a brush or airbrush.
perfect for blending the edges of camouflage colours with the
base colours of a model, and they can be mixed with pigments It is applied over the primer
to obtain a wide range of effects such as oil and flaked rust, or base colour and when
mud, earth, dust, moss, etc. When the washes are mixed with dry, topcoats can be applied.
acrylic colours, they further help achieve the appearance of When these coats of paint are
heavy wear and weathering. Model Wash has been formulated dry, you simply wet the area
with a modified acrylic resin so that the superficial tension is with water and then using a
similar to that of the traditional solvent-based washes, but with stiff brush or a cocktail stick
the advantage of working with a water-based medium. you scratch the surface where
the chipping medium has been
Average drying time is around 20 minutes. If several layers
applied to reveal the primer
of wash are to be applied, it is best to wait around 40 minutes
or basecoat and the effect
between applications. Painting tools are cleaned with water."
you want to achieve. This is
usually a 4 stage effect with the

38 www.figurepaintermagazine.co.uk
 Market Place

first consisting of a well as they are the old citadel style flip lid bottles. The Mud
primer or basecoat Brown colour they do I have used extensively for colouring
followed by the stone work on bases as it gives a really quick and effective
chipping medium, weathering solution.
which is then fol-
lowed by a topcoat The real gem of this range, though, is the Rust Effects
of an appropriate in the opaque range; this stuff really is amazing and is pixie
colour and then a dust at its finest. It is not designed to do a whole vehicle;
wash before ap- for that the Rusty Red from the translucent range is recom-
plying the water mended to be used first. The Rust Effects is then used on
and removing the smaller areas. The more you apply, the darker the effect, so
areas to give the using just a little of the Rust Effects will give you a light rust.
desired effect Apply more and you can really go to town with this stuff —
if you let it build up, it will start to bubble and blister as it
Last year at Salute I discovered a company called Model- dries. If you have an area where it can pool, then as it dries
Mates, who mainly catered to the model railway side of the in the pooled area ,it will crack to give you the effect of
hobby but wanted to introduce their products into the war- old black rust. It is excellent for weathering old barb wire
games market and so attended Salute. I am glad that they amongst many other things that you might want to add to
did, because those that know me will know I really like this the base of your project.
stuff; besides their range of primers (which I have already
talked about in a previous article), they do a range of weath- The ModelMates, dyes whether used from a spray can or
ering dyes and this stuff is like bottled pixie dust as far as I bottle, will remain workable until they are sealed with a var-
am concerned. At the time of writing, their range consists nish, which means that even damp fingers can remove them
of 3 opaque colours and about ten translucent colours; the if care is not taken. Also remember that if you are applying a
translucent colours also come in a spray can and work on the varnish to seal these there is a chance that some of them will
same principle of apply, let dry and wipe off what you don’t become darker so you will need to bear this in mind when
want with a damp/wet cotton bud or damp cloth. applying them.

Although these are dyes, they are water soluble and

therefore clean up after use is quite simply a case of wash-
ing the brush in water. The translucent colours can be put
through an airbrush straight from the bottle and each bottle
has a bead inside to help with mixing. If you apply this with
an airbrush be careful not to pour the bead into the cup as

Next are the transfers, decals and

masks. Yes that’s right I said transfers.
Although these won’t actually come
into their own until you start thinking
of the scene you are going to be put-
ting your figure into, I feel it is worth
giving them a mention at this point as I
know many of you like to build elabo-
rate scenes for your figures. Kickstart-
ers have come into their own with this
to a large extent and many cottage
industries have started around this
either selling the transfers or masks for
spraying armour patterns that can also
be used on figures. Let’s face it, how
much time have we spent doing a dia-
mond pattern on a medieval knight by
hand,or painting a dragon scale effect
on something?

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 Market Place

A German company by the name of Uschi Van Der Rosten some of the MIG pigments only to find that when I sealed
recently came to my attention with range a of wood grain them with a bit of Dullcote they turned white on me!!
transfers including planking with a coarse and fine grain and
walnut effects as well as a set of decals for weathering vehi- My pigment of choice these days are the Pro Pigment
cles and a set for boot prints with both positive and negative range (but then I would say that wouldn’t I!!) as these are
prints. Additionally and adding nice touch to the range is a pure pigments from an artist’s range and by pure I mean if
set of graffiti decals you added a bit of linseed oil to them you could make your
own oil paints. They are used by furniture restorers because
Lastly, I want to cover pigments; again, there are a lot they are easily mixed with varnish and French Polish (just in
of different ranges out there, with MIG, AK Interactive, case you need to restore the wife’s best dining table) and
Vallejo, Pinnacle, ForgeWorld and Pro Pigments to name but they can be mixed together to give a very wide range of
a few. Most have fancy names for the hobby market such as colours so you don’t need to buy a range of fifty or more
light rust, dark rust, concrete etc. In real terms a lot of these colours with fancy names. I have even mixed these into resin
colours don’t exist and are mixes of other colours and some- and RTV silicone to give different colours to the resin or to
times even have a carrier mixed in to make the more expen- help identify molds. They are also very fine with some of
sive colours go further. I remember a few years back I used them almost like a dust; they are therefore less grainy than

40 www.figurepaintermagazine.co.uk
 Market Place

pastels, which I find can Pigments can also be used dry when painting a figure to
be quite coarse. enhance shadows instead of using a wash, but remember
they will change colour slightly when they are wet and if you
Applying the pig- apply varnish to them they will stay a dark colour as they will
ment to a model can be not be able to dry out once varnished so bear this in mind
done in various ways; when doing mud and dirt effects as in some cases it will be
it can be applied with better to leave them at a shade lighter than required.
a brush as if applying
pastels or it can be And that folks is about it for this month, as always I hope
mixed with a carrier you have found something useful with this article and if you
such as white spirit or see me at a show I am more than happy to discuss these sub-
pigment fixer. A little jects so long as I am not too busy.
bit of pigment
and some white
spirit and you can
effectively make
your own filter for your model. They can be applied
dry to the model and then white spirit or pigment fixer
can be applied above the pigment so that it runs down
through the pigment. Be aware though, that if you use
pigment fixer then you will not be able to manipulate
the pigment when it is dry. The pigment can also be
mixed with white spirit and applied as a paste to give
the effect of heavy built up muck and for mud you
can mix it with plaster and PVA glue or acrylic resin to
really bulk it up and adding a little static grass to the
mix can help give very effective ground work as well as
mud on a figure.

www.figurepaintermagazine.co.uk 41
 Review

By Marko Paunovic

Scale75’s
Sherlock Holmes & Dr. Watson
Last month I reviewed the Scalecolor paint sets, and in this issue it
is time to continue the review of Scale75 products. The first Scale75
miniature I purchased was the Sherlock Holmes diorama. A couple
of weeks after I bought Sherlock, Scale75 released Dr. Watson so I
plunged even deeper…
All the minis finally arrived and what follows is the low-
Material: White Metal down on them.

Scale: 75mm SHERLOCK HOLMES

Price: 93.40 € & 47.00 € The first thing that amazed me was the box. The artwork
Available from: on the box is so good that you can leave the box on your
book shelf as it's designed to look a bit like the books of old.
Scale75
www.scale75.com Upon opening the box, I found it has two plain white
cardboard boxes inside. These are padded with two pieces of
foam each, that prevent the goodness inside from dancing
freely during transport.

Only a quick glance will immediately show how much

thought, care and love has gone into the design of this
exquisite white metal miniature. The level of detail is as-
tounding, especially on the little “extra“ pieces laying on the
mantelpiece (like the set of pipes, the small bust and all the
equipment for a mantel).

42 www.figurepaintermagazine.co.uk
 Review

easily be filled with liquid green stuff. The front legs of the
armchair are metal and the joint between the metal and
resin parts will need some filling.

Unlike Holmes, the good doctor does have some minor

mould lines present (for example, on his bowler hat) and
there is some leftover flash here and there. Nothing a quick
job with a scalpel blade and/or a file won't fix, however, the
metal pieces fit together perfectly and the miniature is cut
into pieces along the lines of the clothing showing extra care
put in the design process which enables easy assembly of the
model.

Again, as with Holmes, there are a lot of cool details

present, like the fiddle and even Watson's pose is carefully
thought through with him loading his pistol as well as his
walking cane and cloak as if just getting ready for some
action.

Watson costs half as much as Holmes but if you are really

interested in both pieces, Scale 75 offer them both for 123,96
Euros + tax.

All I can say about these two models is... “The game is
afoot!“ and I can't wait to paint them!

The fact that you get a wallpaper and a real mirror (albeit
a decal) shows how high the level of detail is in this set.

The amount of flash on the various bits is minimal and

all the pieces (although big) fit together snugly and firmly.
Even the fire pokers’ loopholes are just big enough to al-
low easy placement on the holder. Mouldlines are next to
nonexistent.

All of this comes at a price, though. About 90 Euros (with-

out shipping) is a bit on the steep side. However, the level of
detail and the lack of the extra flash and mouldlines clearly
show that the process of manufacture has been thoroughly
calculated. On one hand there are enough vents for the air
to flow freely through the mould as it's being filled with
white metal without making air pockets on the other hand,
and the precision of the mould making machines is really
high so there are no mouldlines or flash.

DR. WATSON

Watson comes in a box with cool artwork that's half the

size of the Sherlock box. Inside, there is one plain white
cardboard box stuffed with foam padding and white metal
delight. The body of the armchair is resin, though. It has
awesome details and the precision of the cast is, once again,
really high. There are some minor bubbles where the back-
rest meets the cushion, but it's barely noticeable and can

www.figurepaintermagazine.co.uk 43
 Tutorial

By Barry Ford
A long time
ago in a
country far,
far away a
gentleman
named Edgar
Rice Burroughs
wrote a story
called A Princess
of Mars.

The story,
written in
1911, is the
fountain
from which
would spring
science fantasy
adventures
from Buck Rog-
ers and Flash
Gordon through
to Star Wars. The
hero of the book, John Carter, is, almost
magically, transported to the planet
Mars, or Barsoom as its inhabitants call it.

44 www.figurepaintermagazine.co.uk
 Tutorial

After arriving on Mars John Carter is introduced to the in a scale of 1:7. I decided to pose her on top of a Martian cliff
many races that inhabit the planet including the six (lucky Cliff!), but decided the base would look a little bare
limbed and green skinned Tharks and the more human so I created a back story for the scene that Dejah is searching
looking red skinned Barsoomians. One of the first inhabitants for a lost baby Thark and I would include the young creature
John meets is the incredibly beautiful Dejah Thoris, the titular hiding beneath the cliff on which Dejah is standing. Rather
Princess of Mars. Over the course of ten books, John Carter than sculpting the Thark from scratch, I bought a young go-
marries Dejah Thoris and becomes Warlord, and they and their rilla from the Schleich range of pre-painted animals that are
close associates and family have many fantastic adventures stocked in many toy shops (if you can find one these days).
that can best be described as ripping yarns. Whilst the sto-
ries are of their time and some of the attitudes could hardly The kit comes with a small rocky terrain base which I de-
be described as being politically correct, they are well worth cided to include in my landscaping work.
reading should you get the opportunity.
I started the base by cutting a square section of very dense
Inspired by the tales of fantastic adventure I decided to polystyrene foam and then started to build up the cliff face
create a diorama based on the stories, whilst not actually using 25mm thick sections of insulation foam stuck together
appearing in any of them. I decided that the diorama would with PVA glue. When I was satisfied with the overall shape of
focus on Dejah Thoris and looked at which female figure kit the foam I pushed two 6” nails through the foam to reinforce
would be appropriate for the subject. In the stories clothing is it and keep it all in place. I then glued the resin kit base on to
more or less an optional extra, but for the sake of modesty I the top of the foam cliff.
decided to go for a figure that had the essentials covered. For
the sake of argument, let’s assume that the scene I am going In order to get some continuity of form and also to
to build is set on a cool day and while the young lady has de- strengthen the structure, I proceeded to cover the foam
cided to cover up to keep warm, it’s not cold enough for her with plaster soaked cloth that is readily available from model
to put a cardigan on. railway stockists. Whilst this was drying I decided that the cliff
would need some texture and went about casting some rock
The figure I chose to use is an original sculpt from Mike faces using Woodland Scenics Rock Moulds and Hydrocal Plas-
Cusanelli of Solarwind Productions called Altaira and comes ter, which is lighter in weight than traditional Plaster of Paris.

www.figurepaintermagazine.co.uk 45
 Tutorial

With both the plaster covered base and rocks dry, I went
about attaching the rocks to the base with a hot glue gun in
as logical an arrangement as possible. I had underestimated
the amount of plaster rocks I would require and had to cast
two further batches. As I attached more rocks to the base, it
became like trying to complete a jigsaw puzzle for which you
don’t have a picture of the completed puzzle and none of
the pieces fit together properly.

While most faces were covered there were still some

gaps between pieces of rock and I filled these with crumpled
aluminium foil. I then created a paste from PVA glue, sand
and plaster and applied this over the bare areas of terrain. To
complete the base, I applied some foam putty to the remain-
ing gaps and to blend some of the rock areas together.

To prime the base, I added some Yellow Ochre Liquid

Pigment to some Gesso and brush applied it to the entire
base. When dry I had a sandy coloured base to work from,
to which I applied in random areas washes of Yellow Ochre,
Red Oxide and Burnt Umber. When these washes were dry, I
applied an all over wash comprising a mix of the Red Oxide
and Yellow Ochre to tie all the colours together. A spot wash
of Raw Umber was applied to areas of shade.

The washes were followed by dry brushing with vari-

ous mixtures of Bronze Yellow, Red Oxide and Unbleached
Titanium White. The base was then covered with a thin coat
of PVA glue and various grades of Hornby’s Beige Mix Gravel
was sprinkled in various locations. This was spray coated with
a further coat of thinned PVA and set aside to dry.

46 www.figurepaintermagazine.co.uk
 Tutorial

Reviewing the base I decided that it was not sufficiently

dusty enough for what is supposed to be a dry area of the
planet and the colouring was not sufficiently red enough
in tone for my liking. To rectify the situation, I applied Mig
Pigments Powders: Light Rust, Old Rust, Dry Mud and Dark
Mud. The powders were mixed with enamel thinners and
then brushed over the model. The application of the thin-
ners makes the powder a lot darker than expected and you
instantly regret what you have done when you first apply
them to the model. However, as the thinner dries and evapo-
rates, the pigments return to their original colours. When
the pigments are dry I give them a good rub with an old stiff
brush to loosen the pigments slightly in some areas to give
a dusty appearance, and rubbed more thoroughly in other
areas to expose the groundwork underneath. When I was
satisfied with the appearance, I gave the model a spray of
matt varnish to fix the pigments in place – BIG mistake! The
varnish darkened the pigments again, but they stayed dark
this time. Oh bother.

Whilst the colours were on the dark side they were still of
the correct tones so I used this as a base and reapplied the
same pigments dry with a soft brush and accepted the fact
that the base would only accept minimal handling.

The Schleich range of figures is very well sculpted and

ideal for use in modelling dioramas and the gorilla made a
great starting point for the young Thark: except it did not
have enough limbs. Siligum is a two part mould making kit
that is very useful for creating copies of objects that would
be awkward to pour latex over. The white and blue Siligum
putties are thoroughly mixed together, like epoxy putty, and
the resultant product is pushed over the part to be moulded.
After a short time the Siligum is cured, but rather than set-
ting hard like an epoxy putty it has a rubber like consistency
that can be pulled away from the original.

After taking moulds of the two front arms of the gorilla

I mixed up a batch of casting resin and poured it into the
moulds that I had supported on some Blu-Tack. Before the
resin set, I inserted lengths of brass rod into the moulds to
give me a means of fixing the new arms to the body.

When released from the moulds some air pockets must

have formed near the hands and these were filled with
epoxy putty. I then drilled holes in the sides of the gorilla
to accept the new arms and two holes in the head to accept
brass rod as the base of the Thark’s antennae, which they use
as ears.

I wanted the Thark to have slightly bulging eyes so I glued

some dolls’ eyes in place that I bought from the craft shop:
I didn’t want them for their appearance – just their shape. I
glued the sharp end of a couple of cocktail sticks to the jaw
area for protruding fangs. I test fitted the new arms and
had to sand the resin in places to get them to fit as desired.
When happy with their position, I superglued the arms in

www.figurepaintermagazine.co.uk 47
 Tutorial

place and filled the gap between arms and body with epoxy
putty. I then proceeded to apply a thin layer of putty over
the whole body to hide the fur texture and put the figure to
one side to cure.

Before proceeding any further, I gave the figure a coat of

grey primer so that I had a clean base to work from and to
hide the goggle eyes I had glued on so that I could look at
the figure without laughing. I then started to build up the
muscles of the creature using epoxy putty roughly based on
human anatomy, but with a healthy dose of artistic license.
To sculpt the putty, I used dental tools and rubber tipped
shapers, along with the world’s first and best sculpting tool:
the human hand (mine, of course: I didn’t want you thinking
I went round cutting people’s hands off and then using them
to sculpt putty; although, now I come to think about it, there
might be some merit in it...) The putty was smoothed with
water and Vicks Vapour Rub; not only will you have a smooth
model, but you’ll have clear sinuses as well. The sculpting
work is carried out in phases and allowed to dry before pro-
ceeding so that the completed putty work is not disturbed
by man-handling the figure.

When I was satisfied by the sculpting work, I gave the

model a coat of primer, though not before giving it a thor-
ough clean to remove the Vicks, and reviewed the work to
date. Some minor putty work was required between some
muscle groups; I completed the antennae and created small
patches of scales using balls of putty squashed on to the fig-
ure. The figure was then given another coat of primer before
I started painting.

The Thark was given a base coat of Liquitex Olive and

shadows were airbrushed into the recesses with a mixture of
the Olive and Burgundy. Highlights were created using a mix-
ture of Olive, Yellow Ochre and a small touch of Baltic Green.

I painted the fangs with Unbleached Titanium White and

the eyes Yellow. I finished the eyes with an application of
Tamiya Clear Orange and Clear Red, working away from the
centre of the eye.

Once the paint was dry, I mixed up a dark olive colour

using light olive green and black pastels and applied this to
the recessed areas of the body and around the scales. The
scales were given a light brushing with yellow pastel dust
and the whole thing was given a coat of matt varnish to fix
the pastels.

The Altaira figure is beautifully cast in resin with white

metal accessories. The resin required very little clean up
and the parts fit together incredibly well with only a minor
amount of putty required at the joints. Following the usual
clean up routine for resin kits I gave the figure a coat of
white primer and the accessories were primed in black, as it
is a better base for metallic colours.

48 www.figurepaintermagazine.co.uk
 Tutorial

I now needed to mix up some paint to replicate the cop-

pery red colour of the Barsoomians described in the books.
I created a base colour from a mixture of Liquitex Van Dyke
Red and Red Oxide. A shade colour was created by adding
more Van Dyke Red to the base colour, and highlight shades
were created by adding Raw Sienna and Unbleached Tita-
nium white in increasing quantities.

After applying the base colour to the flesh areas of the

kit, I decided that this was more than dark enough for the
shade colour and decided not to use the shade mix at this
time. The highlight colours were then added to the raised ar-
eas working from dark to light. I thinned the lightest colour
and gave all the flesh areas a mist coat to tie all the colours
together. I decided that the red tone of the skin needed
beefing up so I returned with my base colour to the recessed
areas and then finished with a mist coat of the base red.

I applied washes to the figure using the shade colour,

outlining folds in skin and at junctions with clothes. The lips
were painted with a mixture of the base colour and Dark
Portrait Pink, and Burnt Umber for the line of the mouth.
I then applied pastel dust in a range of red-brown colours
around the eyes; under the cheeks; to the curves of the but-
tocks and breast, and to recesses areas where flesh abutted
hair or clothes. This was then sprayed with varnish to fix the
pastels and to give the skin a consistent finish. I would nor-
mally do this as I am completing the model, but as I wanted
to use some different effects for the clothes this would be
my last opportunity to apply the varnish.

I masked off all the skin areas before starting to paint

the clothing, which mainly was comprised of armour, thigh
high boots and some cloth to cover her modesty. I used
Blu-Tack to mask off the complex curves of the female form.
When modelling an imaginative project such as this you are
not restrained to the existing colour scheme of your chosen
subject; however, you may need a little trial and error to
find a combination of colour you are happy with. Because
Dejah has such a dark red skin I wanted to keep a cool colour
scheme for the clothing that was still rich, as she is supposed
to be royalty.

For the soft cloth areas, I decided that the material

should be silk like and off white in colour. To create this I
mixed together some Titanium White, Dioxazine Purple and
Interference Violet. The Dioxazine Purple is a very powerful
colour and so only a little is required to shade the White. The
Interference Violet provides a shimmer to the colour, which
would have been neutralised by an application of matt
varnish. A lighter shade of paint was made by adding more
White and Interference Violet to the base colour.

I first thought of painting the boots green, as a type of

Martian leather, but decided against it as I did not want to
be receiving complaints from the Barsoomian Society for
the Prevention of Cruelty to Tharks, and it did seem a bit

www.figurepaintermagazine.co.uk 49
 Tutorial

tasteless with one of the young creatures appearing in the ing to review the work to date. The first problem was that
diorama. So I kept to the off white colour scheme, but in this in some areas the Blu-Tack had removed the paint it was
instance added Pale Blue Violet to the Titanium White for a protecting: on closer inspection this was not the fault of the
base colour. Blu-Tack as the primer had been removed as well as the final
paint – an indication that my cleaning process had not been
Again I wanted to keep the armour and jewellery cool in thorough enough to remove all the grease from the model
colour and went for Games Workshop Boltgun Metal and during the preparation stage. There was the inevitable clean
mixed a contrasting colour by adding Dioxazine Purple to Sil- up between colours, but this was only minor and I was quite
ver. I would rely on washes and dry brushes for the shading pleased at the overall performance of the Blu-Tack. Blu-Tack
rather than airbrushing different colours. is very useful as a masking agent as it can deal with com-
plex shapes and unlike any other form of masking, it can be
I airbrushed the model in the order I mixed the paints re-used.
above, working from dark to light for each colour. Each area
was masked off with more Blu-Tack between colours and On reviewing the colour scheme, I decided that the boots
masking tape for the boots. After the application of each were too blue in shade and decided to hand brush over them
colour I used a hair dryer to speed up the drying time, but with Heavy Body Transparent White to tone down the colour
care does need to be used when heating in the vicinity of and give the boots a bit of texture to imply the leather ma-
the Blu-Tack as it becomes very sticky when hot. terial. When complete I was still not satisfied so I returned
to the airbrush with a lighter shade of Pale Blue Violet and
With the airbrush work complete, I removed the mask- highlighted it with pure white.

50 www.figurepaintermagazine.co.uk
 Tutorial

Rather than re-mask the

flesh areas to make the
damaged paintwork good
I brush applied the flesh
tones, but quickly worked in
small areas so that I could
blend the colours together.
Fortunately most of these
areas were on the back and
not immediately obvious
when viewing the figure.

www.figurepaintermagazine.co.uk 51
 Tutorial

To shade the armour, I dry-brushed a

lighter metallic shade to the edges and
applied a black wash to all the joints and
obvious recessed areas. To beef up the shad-
ing in certain areas, I brush applied Tamiya
Clear Smoke sparingly. To create the jewels,
I applied a coat of Tamiya Gloss Transparent
Blue.

With all the other paintwork tidied

up, I returned to the face and painted the
eyes off-white made from a “normal” flesh
colour with a little Payne’s Grey added and
lightened with white. The irises and eye-
lashes were painted black, and a little pink
flesh was applied in the corner of the eyes
and to the top edge of the lower lid. The
irises where then painted with Burnt Umber
lightened with Raw Sienna and a black
pupil: a dot of white was added off centre
as a highlight.

The hair was painted black and then

softened with a dry brush of Burnt Umber;
actually, it was more like a slightly damp
brush as the traditional dry brush technique
can leave a slightly powdery finish. I added
some Red Oxide to the Umber to create a
lighter shade to give the hair highlights.
This was all followed by a black wash,
which, unfortunately, muted the browns
too much, so I returned with the brown col-
ours to give the highlights more emphasis.

Looking at the face, I decided that the

lips were a little lost with the red skin col-
our, so I applied a Red Oxide wash to differ-
entiate the lips a little more. The face was
then completed by adding gloss varnish to
the eyes and some satin varnish to the lips. I
also applied some Interference White to her
nails. This colour is semi translucent when
applied on its own so added a sheen with-
out completely hiding the colour below.

Dejah’s staff/spear was painted a mix-

ture of Dark Silver and Dioxazine Purple for
the ornamental sections and a mixture of
Dark Silver and Ivory Black for the straight
sections. I added some Bright Silver to the
metallic purple and applied this to the
panels on the base and tip of the staff. This
was followed by a pin line wash of black to
accentuate the details. The staff had been
left in two halves to allow it to be added to
the model on completion.

52 www.figurepaintermagazine.co.uk
 Tutorial

I made sure the recesses in the kit supplied base

were clear of dust and debris and glued Dejah in
place with a two part epoxy glue. The top of the
staff was slid into her left hand and the bottom
was offered up to meet it. With Dejah glued to the
base I applied a little Light Rust pigment to the
base of the boots and staff to indicate dust from
the ground. The young Thark was also glued in
place and the model was complete.

www.figurepaintermagazine.co.uk 53
 Tutorial

Nocturna Models
Il Ratto Delle
Sabine
By Martyn Dorey

Warning: This review contains a

short history lesson....

I am known to buy the odd I wanted another figure and also wanted to see if they
had the new piece that had been glimpsed on their
historical piece now and again facebook page during the week leading up to Euro
especially when the subject Militaire. I spotted this piece on the stand and immediately
liked it, but as the vendors were both busy getting ready
catches my eye so having a quick for the doors to open; I left them in peace at that point, but
went back on the Sunday morning and as it was still there on
wander around the main hall at the table I gave in to temptation and came away with three

Euro Militaire on that Saturday boxes of resin.

morning I couldn’t help but stop This piece is from their HistoricArt range and is 70mm
scale, other than that I could find out very little as there is
by the Nocturna stand. no mention of who the sculptor is and I am presuming that
Jesus Martin did the box art himself. So I did a little bit of
searching with the help of Google and came up with the
Material: Resin following:

Scale: 1:28 scale (70mm) Translated Il Ratto Delle Sabine means “The Rape of the
Price: 50 € Sabine”.

Available from: Still none the wiser for the translation, I typed it into
Google search and came up with a little history lesson from
Nocturna Models Wikipedia and also discovered that this subject has been

nocturnamodels.com covered by various artists throughout history and therefore

proving to myself I am not to old to learn something new!

54 www.figurepaintermagazine.co.uk
 Tutorial

spoke to them each in person, “and pointed out

to them that it was all owing to the pride of their
parents in denying the right of intermarriage to
their neighbours. They would live in honourable
wedlock, and share all their property and civil
rights, and—dearest of all to human nature—
would be the mothers of free men.”

War with the Sabines and other tribes

Outraged at the occurrence, the king of the

Caeninenses entered Roman territory with his
army. Romulus and the Romans met the Cae-
ninenses in battle, killed their king, and routed
their army. Romulus later attacked Caenina and
took it upon the first assault. Returning to Rome,
Romulus dedicated a temple to Jupiter Feretrius
(according to Livy, the first temple dedicated in
Rome) and offered the spoils of the enemy king
as spolia opima. According to the Fasti Trium-
phales, Romulus celebrated a triumph over the
The Rape of the Sabine Women is an episode in the Caeninenses on 1 March 752 BC.
legendary history of Rome, traditionally dated to 750 BC,
in which the first generation of Roman men acquired wives At the same time, the army of the Antemnates invaded
for themselves from the neighbouring Sabine families. The Roman territory. The Romans retaliated, and the Antemnates
English word “rape” is a conventional translation of the Latin were defeated in battle and their town conquered. Accord-
word “raptio”, which in this context means “abduction” ing to the Fasti Triumphales, Romulus celebrated a second
rather than its prevalent modern meaning in the English triumph in 752 BC over the Antemnates.
language of sexual violation. Recounted by Livy and Plutarch
(Parallel Lives II, 15 and 19), it provided a subject for Renais- The Crustumini also started a war, but their town too,
sance and post-Renaissance works of art that combined a was captured by the Romans. Roman colonists subsequently
suitably inspiring example of the hardihood and courage of were sent to Antemnae and Crustumerium by Romulus, and
ancient Romans with the opportunity to depict multiple fig- many citizens of those towns also migrated to Rome (particu-
ures, including heroically semi-nude figures, in intensely pas- larly the families of the captured women).
sionate struggle. Comparable themes from Classical Antiquity
are the Battle of the Lapiths and Centaurs and the theme of The Sabines also went to war with the Romans, led by
Amazonomachy, the battle of Theseus with the Amazons. their king, Titus Tatius. When Tatius attacked Rome, he al-
most succeeded in capturing the city because of the treason
The Rape is supposed to have occurred in the early his- of Tarpeia, daughter of Spurius Tarpeius, governor of the
tory of Rome, shortly after its founding by Romulus and his citadel on the Capitoline Hill. She opened the city gates
mostly male followers. Seeking wives in order to found fami-
lies, the Romans negotiated unsuccessfully with the Sabines
who populated the area. Fearing the emergence of a rival
society, the Sabines refused to allow their women to marry
the Romans. Consequently, the Romans planned to abduct
Sabine women, during a festival of Neptune Equester and
proclaimed the festival among Rome’s neighbours. Accord-
ing to Livy, many people from Rome’s neighbours including
folk from the Caeninenses, Crustumini, and Antemnates, and
many of the Sabines attended. At the festival Romulus gave
a signal, after which the Romans grabbed the Sabine women
and fought off the Sabine men. The indignant abductees
were soon implored by Romulus to accept Roman husbands.

Livy is clear that no sexual assault took place. On the con-

trary, Romulus offered them free choice and promised civic
and property rights to women. According to Livy, Romulus

www.figurepaintermagazine.co.uk 55
 Tutorial

for the Sabines in return for “what they bore

on their arms;” she believed that she would
receive their golden bracelets. Instead, the
Sabines crushed her to death with their shields,
and she was thrown from the rock, which since
has borne her name, the Tarpeian Rock.

The Roman forces attacked the Sabines,

who were now in possession of the citadel. The
Roman advance was led by Hostus Hostilius,
and the Sabine front by Mettus Curtius. When
Hostus fell, the Roman line gave way, and they
retreated to the gate of the Palatium. There
Romulus rallied his men by promising to build
a temple to Jupiter Stator on that site. He then
led the Romans back into battle. As the battle
continued, Mettus Curtius was unhorsed and
fled the battle, and the Romans gained the
upper hand.

At this point, the women intervened in the

battle to reconcile the warring parties. They
went boldly into the midst of the flying missiles
with dishevelled hair and rent garments. Run-
ning across the space between the two armies
they tried to stop any further fighting and
calm the excited passions by appealing to their
fathers in the one army and their husbands
in the other not to bring upon themselves a
curse by staining their hands with the blood of
a father-in-law or a son-in-law, nor upon their
posterity the taint of parricide. “If,” they cried,
“you are weary of these ties of kindred, these
marriage-bonds, then turn your anger upon
us; it is we who are the cause of the war, it is
we who have wounded and slain our husbands
and fathers. Better for us to perish rather than
live without one or the other of you, as widows
or as orphans.”

Following the reconciliation, the Sabines

agreed to form one nation with the Romans
and the Sabine king, Titus Tatius, jointly ruled
Rome with Romulus until Tatius’s death five
years later. The new Sabine residents of Rome
lived on the Capitoline Hill.

Right that’s the history lesson over with, so

what else do we have?

This figure kit is more a story on its own

than a lot of others you might buy as it is two
figures consisting of the Roman and the ab-
ducted female being carried by him, both are
scantily clad as has been depicted in some of
the art portraying this event. It is presented in
a silver coloured metal box so it is well pro-

56 www.figurepaintermagazine.co.uk
 Tutorial

The worst of these mould lines are on the female figure

though and will require a little more work and possibly a lit-
tle putty/Mr. Surfacer to smooth things out.

There are also some pour/vent points to be removed dur-

ing clean up and a little care will be required with some of
these so that detail is not lost or broken off completely.

The other area of concern I have with this kit is the actual
thickness of the sword. I am never a fan of thick clumsy
weapons, but with this my concern is how thin and flexible it
actually is! Additionally, there is a pour point/vent right on
the tip of the blade.

tected and inside is a colour image card on the reverse of

which is a hand written number which suggests this could be
a limited run but again there is nothing to suggest this other
than the numbered card.

Under the foam protection inside the box is two zip seal
bags, one contains the two figures and the base whilst the
other has the sword arm, top of helmet decoration, part of
the lady’s forearm and the trailing section of her robe; there Overall I still like this kit. Yes, there is a lot of cleaning up
is also a section of her robe cast as part of the base section. to be done as all parts have mould lines or pour/vent points
to be removed but in some ways this is no different than
Overall the detail is excellent and the faces are well de- some of the metal kits I have bought in the past. The joins
fined as you would expect with a resin kit. There are, how- have been thought out and sockets put in where needed so
ever, a few areas of concern that come to light with closer the general fit before clean up is good and therefore, after
inspection. We have the usual mould lines down the side of clean up they should require very little putty if any in the
the figures where the mould has been cut, but on the whole majority of joins.
these are nothing major though will require some care when
it comes to cleaning up prior to assembly and priming. Due to the care needed for cleaning this kit up I would
say it is more for the intermediate modeller rather than a
On the male figure, the mould line travels up the rear beginner. They say that a painter/modeller won’t die until his
thigh over the buttocks and onto his back into the muscle last model is done so hopefully I will get around to painting
area. this at some point in my life time.

www.figurepaintermagazine.co.uk 57
 Exposé

Berserker
Company: Pegaso Models
Scale: 1/9 scale
Contact: www.pegasomodels.com

Mongolian Horseman, XIII Century

Company: Pegaso Models
Scale: 1/24 scale
Contact: www.pegasomodels.com

Tercios Old Soldier, 1643

Company: Romeo Models
Scale: 75mm
Contact: www.romeomodels.com

58 www.figurepaintermagazine.co.uk
 Exposé

Man at Arms, 14th century

Company: Tartar Miniatures
Scale: 75mm
Contact: tartarminiaturs.blogspot.it

Medieval Knight, 12th AC

Company: Latorre Models
Scale: 54mm
Contact: latorremodels.com

The Officer 1600

Company: Best Soldiers
Scale: 75mm
Contact: shop.bestsoldiershop.com

www.figurepaintermagazine.co.uk 59
 Exposé

Medieval Blacksmith
Company: TBJ Miniatures
Scale: 1/10th
Contact: tgbminiatures@gmail.com

Viking Warrior, 800 – 400 Bc.

Company: Romeo Models
Scale: 200mm
Contact: www.romeomodels.com

Pickett’s Shame 1863

Company: Scale75
Scale: 75mm
Contact: www.scale75.com

60 www.figurepaintermagazine.co.uk
 Exposé

Shaetann, the Immortal

Company: MProyec
Scale: 75mm
Contact: www.mproyec.com

www.figurepaintermagazine.co.uk 61
 Exposé

Monk With Thousand Hands

Company: DarkHammer

Hieronimus the Cleric Scale: 35mm

Company: Sergeant Blackart/Terrible Kids stuff Contact: shop.darkhammerminiature.com

Scale: 54mm
Contact: www.terriblekidsstuff.com

Gor’tahg. The Bloodthirsty

Company: Andrea Miniatures
Scale: 75mm
Contact: www.andreaeurope.com

62 www.figurepaintermagazine.co.uk
 Exposé

The Pilgrim and the Augurer

Company: El Greco Miniatures
Scale: 60mm
Contact: www.elgrecominiatures.co.uk/

Haan
Company: Figone
Scale: 70mm
Contact: www.figone.fr

Trollus Lunae Bellicus

Company: Figone
Scale: 54mm
Contact: www.figone.fr

www.figurepaintermagazine.co.uk 63
 If you have any questions regarding this project, email us at terrain@figurepaintermagazine.
Tutorial co.uk. Marko will do his best to answer these questions in the next issues of the FPM.

By Marko Paunovic

Last month,
as you may
remember,
Andrija
pulled his fair
share of work
and made
all the door
systems for
the modules
that have doors. In all, he made 20 door
systems consisting of the back plate
with ball bearings and a pair of slid-
ing doors for each system. This month
he continues the work on the sliding
doors, “personalizing“ them and mak-
ing them fit the respective themes of
the modules where they will be fitted.

As the actual build of the terrain

inside the modules is nearing, Ana is
upping her efforts to make and sculpt
the masters of the walls and mosaic
flooring and getting them ready for
moulding.

I, on the other hand, have finally re-

ceived the 24V DC transformer so I can
finally finish the wiring of the modules.
This delay has enabled Andrija to catch
up with my work and get me the sliding
door systems so I can fit them inside the
modules before I run the wires through
them. This in turn, allowed me to run
the wires on top of the sliding door sys-
tems; but I'm getting ahead of myself.

64 www.figurepaintermagazine.co.uk
 Tutorial

The first thing I needed to do was to cut out the holes Andrija’s Bitz and Bob
for the door system in the HD styrofoam bottom plate of
the modules. It required a bit of crafty work with a scalpel Ever had to make a whole lot of bricks or
blade and was by no means easy. I guess this process could stones for your ruins? Well, a while back
have been better planned from the start. Unfortunately, that Marko and I were building a knocked
wasn't possible because the system wasn't fully “developed“ down monastery for Mordheim and we
by the time I started making the modules. needed a lot of those. We came up with a cool little tool
that’s easy to make and speeds up the process immensely.
A couple of wooden slats was all that was needed to
make the tool. It’s basically a two part mould system that
produces two bricks/stones at a time. Just put two blobs of
clay (we use DAS air drying clay as it doesn’t crack while it
cures) into each compartment and press together. Remove
excess material and remove the two bricks from the mould
and leave to dry.

With this taken into account, if I were to do this again,

I would have cut the slots for the door systems into the HD
styrofoam boards before gluing them into the MDF frames.

After carefully placing the door systems and making sure

they align with the hole in the MDF modules, I tested the
doors to see if they worked. Once I was satisfied with the
result, I painted the door system area black. It was vital I do
that before I put in the doors and shut them with the top
half of the sliding system, because once fully closed those
areas would be hard to reach with a brush or a spray gun.

Once this was done, I could then plan where to draw the
wiring through the modules. The original idea I had was
to do the following: the (four) modules without the door
systems needed to only have the “trenches“ cut for the wires
in the styrofoam the other (five) modules would have to be
a bit more complicated as I wanted to connect the wiring
on top of the door systems and to do that I wanted to use
straws to guide the wires throughout the modules.

www.figurepaintermagazine.co.uk 65
 Tutorial

Later, this was changed to an even more

simple plan: just to use some duct tape to secure
the wires down on the styrofoam as I had about
5mm of space between the styrofoam and the
floor level of each board. That space would be
filled later on with either plaster, air drying clay
or something similar.

I cut the 12-connection terminal block for wir-

ing into 6 pieces each. As I had 6 terminal blocks
in all, that left me with 36 2-connection terminal
blocks which enabled me to put a terminal block
into every corner of every module (4 corners x 9
modules). This made connecting the wirings easy
as it removed a lot of soldering from the process.
It also meant that if I connected a couple of the
wires wrong, I could easily fix the mistake by just
replacing the slots in the terminal blocks.

I now had running electricity throughout all of

the modules. That done, I still have (at least) one
electric circle to install in each of the modules.
The most important ones containing the actual
LEDs; the other features which will be only hinted
at, at this point, in true soap-opera style.

66 www.figurepaintermagazine.co.uk
 Tutorial

Marko’s Lamentations

Making moulds out of latex milk when it cures, the liquid becomes a rubberlike substance.

As the title suggests, we'll deal with mak- 3. Around the edge of the latex milk mould (if it is large
ing moulds out of latex milk. The brand I as in the example) glue the supports to gain greater
use is Hobbyline as it is the easiest to ob- stiffness. I used ordinary wooden slats (5mm x 5mm
tain in Croatia. It comes in 250ml and 750ml packages. One cross-section).
small note: once you open it, use all of the contents within
about a month, because otherwise it will form lumps in the 4. Make a box out of balsa wood that will sit on the mould
container as it dries. It’ll be used by Ana to make moulds and fasten the joints by using clips – so that it is not
from the walls and flooring masters. deformed during casting. Also, if you’re doing a large
area, it is good to fill the box with sand so that the latex
1. Take the part which you want to make a mould of. This mould will sit on the sand and won’t bend inside because
example uses a section of the wall for the railroad (in of the weight of the plaster.
the form of a brick wall). All around the section about
2mm below the surface of the section I wished to mould, 5. Pour the plaster into the mould and remove the excess
I glued strips of 4mm balsa wood. Afterwards, I glued by using a flat plastic item (old triangle).
the sides of the mould also made out of balsa wood.
6. When the plaster sets, remove it from the mould and
2. Pour in the latex milk to the edge and let it dry. Depend- you're ready for a new batch.
ing on the thickness of the mould, it is good to leave it
at least 24 hours (and if it is thicker, leave a few days).
Removing the latex milk mould is relatively easy, once

www.figurepaintermagazine.co.uk 67
 Tutorial

Once the door systems and wirings were in place, I Ana’s Research
checked the proportions with a mini. As we mentioned be-
fore, it is vital to check every stage of the build with actual Sculpting brick and stone wall prototypes for
minis, because it is really easy to miss something. moulding and casting

With my part of getting the systems inside the modules This month, I started working on our board’s walls. We
done, it's time for Andrija to do his stuff with the doors; but want them all to be either brick or stone, whichever fits
first, Ana shows us how to cast the wall sections. each module best.

Rather than making each wall as a single piece, for the

sake of flexibility and interchangeability we decided to
make 50 x 70 mm sections and build the walls by gluing
them side by side. We also wanted some narrow pilasters
that can be glued on later, which will in the end both make
the walls less dull and mask the lines where the sections
meet.

Since we need lots and lots of wall sections we will be

casting them in plaster. Sirst, I had to make the masters out
of DAS clay.

For the plain flat wall sections I filled a 200 x 70 x 5mm

frame with DAS clay, smoothed it out and let it cure. The
frame was put together out of sticks of 5mm thick balsa
pasted to a flat, smooth piece of MDF.

After it had cured, I removed the clay from the frame

and cut it up into four 50 x 70 x 5mm pieces. The clay didn’t
stick to the frame and was fairly easy to take out. However,
even if it had stuck I could easily have torn apart the balsa
and released my shiny new clay “rectangle“ that way.

68 www.figurepaintermagazine.co.uk
 Tutorial

Andrija’s Bitz and Bob

Next is creating details for the doors – personalizing them to

fit the theme of the modules. It is obviously the time to start
doing slightly more detailed work. Since I’m the doorman
around here I’ll tell you how the doors are going to look and
all the details we intend to put on them. If you remember
The next step was adding brick/stone texture. That’s the from previous issues the doors are going to be installed on the
most tiresome part... First I marked out the patterns with a five themed modules. This naturally means they are going to
pencil: 5 x 2mm bricks and 10 x 5mm stones. I then carved have to follow the specific themes of their individual modules.
them with one of my sculpting tools. That’s it, now every-
thing is ready for mould-making. Nicodem’s crypt is a dark necromantic tomb. Nicodem
the Undertaker doesn’t want anybody snooping around his
The same technique was used to make several kinds cryptand he doesn’t want his zombies to run around unat-
of pilasters. Besides the plain wall sections, we wanted a tended so the doors are going to be heavy and made out of
couple of special ones (all in both brick and stone). One was solid steel. OK, not exactly; we are just going to make it look
sort of an arch and the other one a small niche. The proce- that way, but since the undertaking business is a front they
dure for these was the same as with plain walls, only with are going to be decorated with gothic styled ornaments.
a bit of additional effort. Again, it began with a balsa and
MDF frame, but this time I added something to it. For the Ramos’ Lab is a steampunk style alchemists’ laboratory.
arch I needed a part of the section embossed and for the This module is going to represent steampunk aspect of the
niche I needed a hole all the way through. These can both game. Ramos plays with steam powered constructs. in order
be achieved by cutting out the desired shapes (out of balsa to represent that, the doors here are going to be the most
for instance) and pasting them to the bottom of the frame complicated to make. They are going to be steel doors with
to form a negative. The clay goes in (make sure you pack it lots of bolts, cogs and levers.
in tightly, especially in the corners) and the rest is the same
as with plain walls: it cures, you take it out, mark out the The dungeon of Honeypot Casino is filled with private
bricks or stones and finally carve them. rooms for the patrons of a Moulin Rouge type cabaret and
casino. It’s also the home of some of the most nightmarish
monsters around led by the mysterious Hungering Darkness.
Since this is a secret lair and hideout, the doors are going to
be made out of wooden planks to seem inconspicuous. One
pair of doors will, however, be a heavy metal door to better
hide the monstrosities that happen to live behind them. They
will hide the dwellings of the Hungering Darkness.

Hamelin’s sewers are the dirty, rat infested centre of the

sewer system of our town. The doors here are going to by
made out of planks. They are going to be rotted and crooked.

McMourning’s Morgue and Guild Prison are going to be

warded by some heavy wooden doors with metal fittings to
stop anyone from going in and out uninvited.

In the building process, we are going to use a few basic

techniques (wooden planks, other woodwork, metal sheets
These parts will now be used to make moulds from etc). Some detailing is going to be moderately simple (bolts
Latex Milk using the method described by Marko. The walls and metal fittings). On the other hand, some of the doors are
to be used on the modules will be cast in plaster. When going to have green stuff sculpted details, or scratch built
released from their moulds, we plan to age them and add steampunk/clockwork like machines.
some battle and moisture damage to each cast so that we
get plenty of diversity between each piece. In this issue, we are going to focus on the basics.

www.figurepaintermagazine.co.uk 69
 Tutorial

Steel doors with metal fittings and bolts Another way of making bolts is with the use of
pinheads;doing it this way all the bolts are going to be the
The easiest and cheapest way to imitate steel is with card- same size and shape, but are probably going to be bigger
board and later use of metallic paints. The cardboard itself and you will have to put more space between two of them.
reacts badly with moisture and water from the colours so it Also, the material you’re placing them in should be slightly
has to be glued on a piece of wood with PVA glue. thicker such as the thin balsa wood we’re using on our
project.
For detailing, we cut out 4mm wide strips out of card-
board that we used as metal fittings. For the little triangles TOP TIP.
I drew a 4 x 4mm gridand cut the little squares diagonally.
Everything was glued with PVA glue. PVA glue is very good for detailing. It doesn’t harden
very quickly so you can move your bits around for a while to
align them perfectly.

For further detailing I am going to make a lot of bolts. On

these doors I am going to use drops of PVA glue which we
applied with a tip of a toothpick. When the glue hardens it
will leave small blobs that will look like bolts.

For the handle, we used a simple paper clip I cut using

wire cutters and bent to the desired shape with pliers. I then
drilled the holes in the desired place and glued them with
super glue.

Shabby looking wooden plank door

Balsa wood is a perfect material for this task. The easiest

way would be to just carve/scratch the planks with a ballpoint
pen. This would be OK, but it would look clean and sturdy.

70 www.figurepaintermagazine.co.uk
 Tutorial

The detailing on this door has to be simple, which is why

I used narrow planks that we cut crookedly. The fittings for
these doors are also going to be simple, constructed from
thin cut cardboard strips.

That is why it is better to cut each individual plank and

glue them in the prepared door wing frames from last issue.

Balsa is very soft, which is useful because you can press The door handle design is a simple handle made out of
the sharp edges with your fingers. To further mimic the look a paperclip. To remove the chance of injuries, the handle is
of the old planks I carved the edges of each of the vertical pressed so that the sharp edge finishes on the inside. Normal
slats on the door wing. pliers are good enough for this task.

With this, we conclude the boring part of the work.

Next up is the real terrain building; making the terrain in
each of the modules using the bits Andrija and Ana have
been laboriously making thus far and making it all fit inside
each module while making sure that there is still enough
room inside for gaming purposes. As always, if you have any
questions about this build, feel free to contact us at Figure
Painter Magazine (terrain@figurepaintermagazine.co.uk) and
we'll try to answer your questions.

www.figurepaintermagazine.co.uk 71
 Show Report

A Brief Look Around the UK

Shows September 2013
Well that was a
busy month, it
was always on the
cards to be a busy
time because of
the number of high
profile shows and
it certainly didn't
fall short of the
mark!

By Martyn Dorey

72 www.figurepaintermagazine.co.uk
 Show Report

The beginning of the month saw me heading north to restricted to having a walk around before the public was let
the Midlands and the Sutton Coldfield Show. As I have in; however, a lot of the well known wargames traders were
probably mentioned, I usually enjoy the small local there, including Warlord, Mantic, KR, Dropzone and Plas-
shows because of the atmosphere; as usual this show didn’t tic Soldier to name but a few as well as a couple of newer/
disappoint. However, the morning didn’t get off to a fan- smaller companies on the market. One such company to note
tastic start thanks to a change enforced by the local council was one I had heard of only a week before attending the
who owned the building, which meant clubs and traders show called “Anvil Industries” which is run by two young
couldn’t get in for over half an hour later than scheduled. lads producing a very detailed range of add-on/after market
With only one access point and a requirement to move vehi- weapons and parts for 28/32mm sci-fi figures and I could eas-
cles once unloaded before starting to set up you can imagine ily see why they were a popular stopping point for people.
the impact of this.
The third weekend of September is Euro Militaire or
However, that aside it was a good show with plenty to sometimes known as heaven for figure modellers as it boasts
see and a good variety of traders and clubs, with figures of one of the largest figure competitions known; this year
all scales were didn’t disappoint
well represented either with over
on club displays 900 entries from
as well as the modellers all over
usual armour and the world. Not
aircraft, showing just European, but
a good display of Americans and
both club level Canadians made
and higher level it over as well as a
modelling. couple of peo-
ple from Korea
Next up was so it truly was
Colours, which is an international
one of the larger event and walking
wargameing con- around the com-
ventions and years petition room on
ago used to be Sunday morning
held at the Hexa- with the camera
gon in Reading before the doors
itself but moved opened to the
out to the New- public I could see
bury Race Course what all the talk
where access was was about the day
a lot better (I before.
remember going
to the show when The standard
it was at the old was very high
venue and having and I couldn’t
to park at least help but wonder
15 minutes walk what the judges
away). It is a two saw that made
day show spread them not award
over three floors of the grandstand and has plenty to see some entries a place as some of the entries that didn’t place
and do whether you visit for one day or both; a lot of the where very good in my estimation; perhaps that’s why I am
traders will put on demonstrations to show off their latest not a Euro Judge!! As always at Euro, the Sunday is people’s
games and clubs also put on demonstration/participation grumbling day because they didn’t get what they felt they
games. Also in attendance were a couple of the local model- deserved to have got but I can’t help but wonder how many
ling clubs including Newbury, Early Risers and South West of these people were brave enough to stop and ask a judge
Figure Modellers. The show also has a painting/modelling why instead of just grumbling to friends or going home to be-
competition for those that wish to be competitive. come an armchair warrior on a forum slating the judges. One
of the requirements of accepting the offer to judge at Euro
I have to admit I was kept quite busy throughout both is that they walk around all day on the Saturday and Sunday
days so getting around and seeing what was there was wearing their Judge’s Badges and spending time in the com-

www.figurepaintermagazine.co.uk 73
 Show Report

petition hall making themselves available to answer questions

and give feedback to a person who is not happy with their
result or want to be able to talk to the judges to find out what
was wrong in order to up their game for next year and move
forward. I am not going to dwell on the judging subject any-
more as it is something that crops up every year and at nearly
every show but I have a plan for something in the future .

The bust class was very well represented and the Sci-fi/Fan-
tasy class was split again this year and continues to be popular.
One of the outstanding pieces at the show for me has to be
“Hush” which I am sure we are all familiar with this piece by
Chris Clayton. He started it as a step by step on his blog and it
went viral to the extent that he had over 350,000 hits in less
than 3 hours and it crashed his site!! I would go as far as to say
it was the talk of the net after Euro as well and rumour had it
that it came very close to getting Chris a second Best in Show
in 3 years (his first was the Dragon Slayer in 2010) and due to
the popularity of “Hush” he is now busy casting it up as a kit
for general sale and I am sure there will be many people with
this on their want list.

74 www.figurepaintermagazine.co.uk
 Show Report

www.figurepaintermagazine.co.uk 75
 Show Report

76 www.figurepaintermagazine.co.uk
 Show Report

time I went to Euro was back in the early 1990’s and

it took me over thirty minutes to get down the stairs
because of the queue at the Pegaso stand and then
walking around the trade hall was enough to make
you go home with a sore throat due to having to say
“Excuse me, please” every couple of minutes to be
able to move from one trader to another or simply
to get past a queue. These days, however traders
seem to spend the first half an hour of opening
looking at the stairs wondering where the public
are...

Enough of Euro; let us move on. The following

weekend (27th & 28th) was a packed weekend with
three shows to choose from. For the wargamers
there was Derby Worlds held at Donnington Park
(home of the F1 race track); this was a two day show
which saw a few big names from the wargames in-
dustry and a lot of people attending but not spend-
ing leaving a lot of traders twiddling their thumbs
on both days.

Also over this weekend was the UK Garage

Kit Show which is covered separately in this issue
and Gamesday UK which is supposed to be Games
Workshop’s premier event; I won’t go into this as I
am sure many have read the various event reports
via the internet and the growing disappointment
of many that attended. I made a decision after at-
tending the 2010 Gamesday that I would never go
Traders at Euro have always been the other subject of the again and I still stand by that to this day; after all, why would
show, after all many of the larger names use the competi- I want to spend £35 for a ticket to spend hours in a queue
tion to showcase their latest pieces or even to show future to buy over priced GW and ForgeWorld products having
releases and many of the top painters will use the box art entered a competition that I feel is not worth the prestigious
pieces to showcase their work as a gold at Euro can raise stature it is given by some?
their profile. This year was no exception, Pegaso made the
trip over from Italy, no Andrea this year though (unless I Well that’s it for this month, I had better climb down
missed them) but there were a lot of other European com- from this fence and walk away before I get even more splin-
panies both old and new to Euro this year including Scale 75, ters in my backside...
Nocturna, Black Dog, YS Masterpieces, H & V (Heroes & Vil-
lains), Akpitic Miniatures and Michael Kontraros to name but
a few as well as all the well known UK producers.

Did I spend a lot? Well, hmmmm, yes I did but not as

much as I have done in previous years and the contents of
what I bought will be done as an open box/review in this is-
sue and the next.

Final thoughts on this year’s Euro...it has always been

an expensive show for traders and it continues to be that,
the table cost alone is the highest of all the UK shows and
given the access to the venue for traders is via a single wind-
ing ramp which has to be reversed down this is not a good
venue for a large show. I know several traders stayed away
this year out of protest because of costs and I can’t help but
wonder if it is time to seriously change the venue and look
for somewhere further away than the south coast. The first

www.figurepaintermagazine.co.uk 77
 Also available
The Old Gnome &
The Gem Smith
plus many more
www.modeldisplayproducts.com
 Tutorial

ABOUT ME

My name is Michał “ARBAL”

Walczak. I am a miniature painter
and author of the blog “Coloured
Dust”. When I do not paint or write,
I lead a regular life working in the
IT industry and raising my 3 year
old daughter. My adventure with
painting began in 1995 with min-
iatures and the game of Warham-
mer Fantasy Battle. In time, I put
The inspiration for this work comes from
aside the gaming part and focused another blog – “The Brush Brothers” - but I
on painting only. The size of my
favourite figures also changed and decided to develop their idea a bit more and
now I very much enjoy challeng-
ing myself with larger scale models create a piece of old, damaged reinforced
too. For almost 2 years now, I have
shared my passion and experience
concrete. This Method described can be used
with others through a blog entitled for figures in various scales.
“Coloured Dust”. All this has been
continuously my hobby and hobby
only.

www.figurepaintermagazine.co.uk 79
 Tutorial

1. What you will need:

»» Plaster (preferably a quick drying and hard when dry)

»» Rectangle form (I use old plastic figurine package)
»» Copper wire
»» Brush with metal bristles
»» Pliers
»» Pigments (optional)
»» Super Glue
»» PVA glue or "Gravel & Sand Fixer" (optional)

2. Cut the wire. It will further serve as material for the

reinforcement of concrete.

3. Prepare the plaster mixture. It’s better if the mix is not

to watery or thin.

80 www.figurepaintermagazine.co.uk
 Tutorial

4. Pour the liquid plaster out into a rectangle form. I used

old plastic figurine package and it worked well.

5. Wait until the mixture starts to dry but is still sticky.

6. Make reinforcement of your future concrete out of the

wires cut earlier. I used reference photos from Internet to see
how this should look like.

First layer of concrete must be thick enough for the wires

not to fall to the bottom.

www.figurepaintermagazine.co.uk 81
 Tutorial

7. Pour the rest of the plaster out into the form.

8. If necessary you can level the surface and then leave

the form till it dries. In my case that took 2 days (I used a
finishing plaster used for walls renovation).

9. Take the dried plaster out from the form.

82 www.figurepaintermagazine.co.uk
 Tutorial

10. With the use of a metal brush give proper facture to

the plaster surface. Round moves work perfectly here.

11. Now, to make the reinforcement visible, break the

almost ready concrete imitation. In my case it already started
to rust naturally!

12. To strengthen the construction I soaked it with

"Gravel & Sand Fixer". You can also used PVA glue for this
purpose.

www.figurepaintermagazine.co.uk 83
 Tutorial

13. I placed the plaster on the base

with the use of Super Glue. I used Super
Glue as well to further strengthen my
“concrete”.

14. All you need to do now is to

paint the base. For weathering I used
AK-Interactive effects, imitating rust as
well as various pigments shades.

OPTIONAL VERSION

After finishing this base I came to

the conclusion that this idea can be
further improved and done in an easier
way. Liquid plaster can be mixed with
the dry pigments. This way, you im-
mediately give your concrete the right
colour. Most importantly, you get natu-
ral rusty bars and marks on the plaster,
which do not require further painting.
Some washes and drybrushing on the
concrete and that should be it. I en-
courage you to do more experimenting!

84 www.figurepaintermagazine.co.uk
 A range of solid hardwood display plinths and bases.
All are handmade from sustainable English timbers.

We are looking for people to contribute to Figure Painter Magazine. Tutorials,

Step-by-Step articles, interviews, Show Reports and reviews.
If you feel you could contribute then please don’t hesitate to drop us a line.

www.figurepaintermagazine.co.uk
info@figurepaintermagazine.co.uk
 Review

By Martyn Dorey

Ax Faction’s
Feral Lass
The latest release from Ax Faction in their 32mm range is the
"Feral Lass Prehistoric Hunter with Stag Mount". Photographs have
been seen on their Facebook page/Blog for a little while now and
this one follows on the popularity of the Forest Guardian but with a
difference.
The Feral Lass is the first in a release of five interchange-
Material: Resin able hunters and mounts that have been planned; the
second of which is said to be complete and presently
Scale: 32mm with the casters. There is no release date just yet, although
Price: £23.50 the artwork has been shown.

Available from: As usual with the Ax Faction models, this one comes with
an art card but unlike the previous releases that came with
Ax Faction an A5 sized card in colour, this is a 74mm x 105mm card in

www.axfaction.com sepia with the Feral Lass artwork on one side and the second
release in the series “The Warg Hunter with Bear Mount”
artwork on the other side.

The figure and mount come in a 2 inch square brown

cardboard box which has the Ax Faction logo on the lid,
much like the other figures in the Ax Faction Range. Inside
the box is a zip seal bag containing the parts. In all there are
a total of eight parts; there is some variation to the number

86 www.figurepaintermagazine.co.uk
 Review

of parts though and in some instances you may get

nine parts instead of eight.

The reason for the different parts count was

obvious once I had taken a step back and recounted
the two I have in front of me, as the stags have
been cast differently. In one box, the stag consisted
of the body, horns, tail and front left leg but in the
other box the body was in two parts,

Examining the parts of the stag, casting quality

is good; the resin has been coloured a light grey so
that all detail is visible and the join areas have been
thought out so there will be very little, if any, filler
required during assembly as gaps are minimal and will
easily be filled with a little extra glue. There is a little
flash between the horns and some mould lines down
the legs but again this can be easily removed with the
scrape of a modelling knife or a fine file and care will The rider is a three part model consisting of the body, left arm and
be needed when cleaning and removing the vent/ head. The head incorporates the right arm and weapon as well as the
pour points. feather/scull headdress. Once again there are a few vent/pour points
to be removed along with some very light mouldlines but these will
One thing I have noticed between the two in be easily removed with a knife or fine file. The arm joint is a ball and
front of me is that the tail joint of the one is going to socket style joint that is in line with the band on the riders arm so the
require drilling as the location hole is blocked. The join is hidden once the arm is fitted.
detail on the stag is very good; from the texture
of the of the mane to the harness which even has The cut and join of the head to the body is very well done and just
stitching detail. dry fitting them together before any cleaning up is done they are a

www.figurepaintermagazine.co.uk 87
 Review

very good fit indeed. The actual sculpt is also good with atten-
tion to detail being obvious from the feathers of the headdress
and the form of the figure to the lay of the loin cloth where the
figure sits on the mount.

Once again, there is a difference between the two I have in

front of me, in that the rider for the stag that is in a single piece

88 www.figurepaintermagazine.co.uk
 Review

has a tag for her to fit into the socket on the

mount and this area has been shaped for her
to fit; this means that the fit of the rider is a lot
better on the stag who’s body is in one piece as
she looks as if she fits there whereas with the
two piece stag body she looks like she is floating
on their instead.

Conclusion

Overall, I think this is a very nice model; clean

up will be very easy with only a little amount of
care required. There are only a couple of down-
sides to this model, but these are nothing major.
One is that you will need to sort out your own
base for this model as it doesn’t come with one
and she will be barred from competitions here in
the UK... Why? I hear you ask; Well as she is bare
from the waist up and most competitions here in
the UK specify no nudity. The only other criti-
cism I have with this is the differences between
the two models I have. The stag with the two
part body is the weaker of the two as far as I
am concerned purely from the point of how the
rider is to sit on the mount, this is because on the
two part body the locating peg on the rider has
been removed and on the stag the correspond-
ing socket has been filled and the area smoothed
over. Having spoken to Paul of Ax Faction, the
reason for the two part body is because of the
casting problems they were having when trying
to cast the stag’s body in one piece.

www.figurepaintermagazine.co.uk 89
Paints & Special Effects
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the need. We have the
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• Modelmates

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 Review

By Marta Slusarska

Wonderlands Project’s

Sergeant Corwinn
Guys meet Sergeant Corwinn. He's a seasoned soldier from
the future. Old and wrinkled, but still formidable in his massive
armour.
This beautiful bust that is full of character comes from
Material: Resin the company called Wonderlands Project, and was
sculpted by Romain Van Der Bogaert.
Scale: 55mm
Price: 29.90 € I’m pretty sure you’ve seen many great incarnations of
this bust on CMON or Putty &
Available from: Paint (not to mention Jarhead’s
excellent version), so there is re-
Wonderlands Project ally no need to introduce it any

www.wonderlands-project.com further.

The Box

To summarise the packaging

in one word — disappointing. it’s
just a simple plastic box, without
any sponge to secure ant of the
parts, not to mention any box art
or extra information about the
piece. Only the small sticker with
the name of the bust. It is a real pity, that no extra thought
and care was put into the subject. In this case, it would actu-
ally save the whole piece and you’ll soon see why.

www.figurepaintermagazine.co.uk 91
 Review

Quality of the cast

Well... the details of the face are really exquisite. All the
screws, rivets and pipes look pretty good too. Unfortunately,
that’s pretty much all the good words I can say about this
cast. At best, it is very uneven. The really excellent parts are
right next to rough, unfinished looking surfaces and the
cast in deeper corners of the armour looks like it’s breaking.
Some of the pipes at the back look like they’re not finished
inside, not to mention the inside of the shoulder pads (left).
This really looks like a serious WIP; the surface still has heavy
texture of the sculpting tool and the bolts joining the pads
to the torso look like they’ve been placed in a hurry. I know
it’s not the main part of the miniature, but it’s still visible
from the right angle and for me, simply put, sends a ‘mes-
sage’ from the producer and the sculptor. While the cracks in
the cast may be an issue only with my copy, the rest is most
likely common to all casts.

Also, there is the issue of the resin. The material the

bust was cast in is really brittle. It wouldn’t be so much of a
problem, if the parts were properly secured in the box. We,
the modellers and painters, tend to take care of the pieces
we collect, but there is no way of telling how the parcel with
this bust was treated during transit. Judging by the chipped
corners on the helmet and main armour, I’d say it wasn’t a
smooth ride and by simply adding 2 layers of sponge (or even
a single thin one) would most likely have prevented this.

92 www.figurepaintermagazine.co.uk
 Review

Oh! There’s another thing that I just noticed, while check-

ing the piece once again. I’m pretty sure that the ‘pipe like
looking thingy’ you can find on the middle of the photo
(above) was ‘created’ by using a fuse. There is absolutely
nothing wrong with using various bits and pieces while
sculpting of course. I’d most likely do the same if that would
fit the idea and the sculpt. It really saves a lot of time in
sculpting if you can use some ready made elements, espe-
cially when you need to create something ideally round
and symmetrical, but I guess I’d cover the letters on the end
tubes... you know, just for the sake of it.

Assembly

Putting the bust together shouldn’t be a problem at all,

as the parts fits nicely together. The only places that will
require more work are the joints of the shoulders pads and
torso; Not because it’s a tricky place, but simply because I
feel like I need to fix the whole inner surface of the pads,
and do something about the bolts that go into the holes in
the torso. I guess I could leave it like that (messy, uneven
and looking unfinished) as it’s going to be hidden under the a bit disappointed with the quality. I’m not saying it can’t be
bust, but I feel the existing ‘finish’ doesn’t fit the SF theme. saved, but will require a lot more work than I’m used to do-
If someone looks underneath, I’d be really ashamed  ing with busts. The contrast between really amazing details
of the face, cool concept of the armour and less than ‘do-
Overall Opinion able’ other parts, makes me think that the sculptor just got
tired of the piece and didn’t feel like spending the few extra
To be honest with you, I’m torn here. I really do like the minutes to finish it properly. I know, they’re mostly small and
subject and the concept; the whole, old, battered soldier kind of hidden, but it’s still bugging me. I guess I’m still quite
thing is really cool and gives me some ideas how to paint it. happy I have it in my ‘gray army’, but I’m not so eager to
However, after all I’ve shown, you can’t blame me for being start working on the piece anymore.

www.figurepaintermagazine.co.uk 93
 A Free Plinth
Every Month
Simply upload an image of
your painted miniature to
our facebook page and the
miniature with the most
likes in one month wins a
free display plinth from
Model Display Products.

courtesy of

www.modeldisplayproducts.com
 Exhibition

Chaos Cultists of Sect Anarkus from Dark

Vengeance by Sergey Chasnyk

www.figurepaintermagazine.co.uk 95
 Exhibition

Comandante Cartaginese by Davide Rainone

96 www.figurepaintermagazine.co.uk
 Exhibition

Snow Goblin by
Daniel Rezende

Juggernaut,
Thing & Hulk,
Reaper Min-
iatures Bones
Stone Golems
painted with
Marvel Character
schemes.

by Thom Prati

www.figurepaintermagazine.co.uk 97
 Exhibition

Dreadmaw by Myles David

Shasvastii Seed soldier by Miniature paintings by Juan

Oddball bust from Kelly’s Heros

by Łukasz Ziółkowski

98 www.figurepaintermagazine.co.uk
 Exhibition

XV9 with shield by Vincent Zhang

Zombie Girl by Kuan Hua Quah

Artemis by Matt Walford

www.figurepaintermagazine.co.uk 99
 Exhibition

Dark Elf Kharibdys by Myles David

100 www.figurepaintermagazine.co.uk
 Exhibition

Brother Omnio by Sublime Brushwork Balin by Shane White

Yodleur des Cascades by Nordgrot’s

Painting Service

by Ben Strange

www.figurepaintermagazine.co.uk 101
Firestorm Games is an Independant Wargames Retailer
in Cardiff, South Wales. As well as the webstore, we have
our own bricks and mortar store, a short walk from
Cardiff City Centre.

Attached to the store is our gaming area known as 'the

Battlefields' which consists of over 35 6"x4" gaming
tables, full of scenery for your pleasure! We are open late
nights on Tuesday and Thursday and attract a large mix
of people ready to play whatever takes your fancy! The
Battlefields now also has a fully licensed 'Khador
themed' bar, great when playing a casual game against
your mates or in one of our regular tournaments or
events.

Firestorm Games Ltd

8A Trade Street, Penarth Road
Cardiff, United Kingdom
CF10 5DT.
Tel: 02920 227117
www.firestormgames.co.uk