May/Jun 2016

#38
£1.30
with Fabrizio ‘Rusto’ Russo
ISSN 2052-8507

REVIEWS OF
Fantastic Miniatures
Nocturna Models
FeR Miniatures
Nuts Planet
Thor Creart
Filbot

www.figurepaintermagazine.co.uk
 Resin Miniatures
for Collectors

www.ferminiatures.com
 Contact Figure Painter Magazine
Web www.figurepaintermagazine.co.uk
Email [email protected]

Cover Artist: Fabrizio ‘Rusto’ Russo

Chief Editor: Shane Rozzell

[email protected]

Layout: Shane Rozzell

Marta Ślusarska

Assistant Editor: Luke Wilson

[email protected]
Welcome to issue 38 of Figure Painter Magazine.
Assistant Editor: Terry Cowell
[email protected] This issue is packed with articles and again, we have tutorials that will suit
everyone and be helpful to all levels of painters. Marta Slusarska has written a
Review Editor: Marta Ślusarska
really useful tutorial about the many ways to mount our miniatures and busts.
[email protected]
French sculptor Greg Girault explains how he sculpted his recently released
Copy Editor: Sean Fulton Saxon bust. Marko Paunovic continues his post-apocalyptic diorama, where,
[email protected] this month, he lays down the electronics for the LEDs and finally, we have the
second part of Fernando Ruiz’s Norman Warrior and Saxon Housecarl, the
Market Place Editor: Martyn Dorey miniatures he painted during our first SeminART.
[email protected]

Content Editor: Marko Paunovic

Speaking of SeminART, Luke Wilson brings us his in-depth report on the
[email protected]
weekend and for those who are thinking of attending one in the future, it’s
well worth a read. Also in this issue we have loads of reviews from companies
Advertising: Sarah Evans like Nuts Planet, FeR Miniatures, Filbot and many more. We also point the
[email protected] company spotlight on Ares Warforge, a new miniature producer in Poland.
Starting all this off is a fantastic Insight interview with one of my favorite
Proof Readers: Martyn Dorey
painters of all time, the immensely talented Fabrizio ‘Rusto’ Russo.
Sean Fulton

Regular Contributors: Shane Rozzell, Chief Editor

Sean Fulton Terry Cowell
Marta Ślusarska Martyn Dorey
Davide Rainone Marko Paunovic
Luke Wilson
Figure Painter Magazine is published by
Robot Pigeon Publishing. South Cheshire. UK Follow us on Social Media
Guest Contributors: Normski Ealand
Greg Girault
Francois Lozach
Fernando Ruiz

The views and opinions relating to all material herein does not necessarily reflect the opinions of Figure Painter Magazine staff, editors or publishers who
are not liable of said opinions. Figure Painter Magazine cannot be held responsible for inaccuracies in any of its publications. Furthermore, responsibility
for any losses, damages or distress resulting from adherence to any information made available through this magazine or its website is not the responsi-
bility of Figure Painter 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
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: : CONTENTS

CONT
Feature Articles
Headlines...Page 6

Insight with...Page 12

Company Spotlight on Ares Warforge...Page 26

Putty&Paint...Page 44

Event Report: SeminART...Page 50

Exposé...Page 84

Exhibition...Page 126

Tutorials

Post-Apocolyptic Diorama Part 2

by Marko Paunovic...Page 34

Sculpting a Saxon Warrior Bust

by Greg Girault...Page 64

Back to Basics: Mounting Miniatures and Busts

by Marta Slusarska...Page 92

Norman Knight & Saxon Housecarl Part 2

by Fernando Ruiz...Page 102

 CONTENTS : :

TENTS
Unboxing
Nocturna Models Farewell

by Terry Cowell...Page 9

FeR Miniatures Norman Warrior, 1066

by Davide Rainone...Page 30

Thor Creart's Van Helsing

by Norm Ealand...Page 40

Filbot's S4L Hospitality bot & N3D Quality bot

by Marta Slusarska...Page 60

Nuts Planet's Odin

by Luke Wilson...Page 80

Nuts Planet’s Secret Agent Aida

byLuke Wilson...Page 88

Fantastic Miniatures Krieg

by Terry Cowell...Page 100

FeR Miniatures Sha’un, Ram Tribe Warrior

by Marta Slusarska...Page 120

 Raffle tickets are on
sale now for the 2016
NOVA Charity Army
Raffle. Four armies,
two other forces, and
eleven individual
items are up for grabs
and international shipping is included for all of the
items. The four armies and two other forces include KR
Multicases. The NOVA Open Charitable Foundation is
an organisation close to our hearts and one that FPM
has supported for the last couple of years. One of our
own, Sean Fulton, is busy painting an Ork character
model for the individual item raffle, so if there are many
spelling mistakes in this issue, you now know why!

If you want to lend your support this worthy cause,

6

tickets are $1 and $2 each and the money raised goes

to Doctors without Borders. Click here to go to the
NOVA page for more information.

proudly presents

a series of seminars bringing the best

European artists to the UK

As many of you will know, we held our first SeminART a

couple of weeks ago and everyone who attended the
A few weeks ago, Figure Painter Magazine was two day event all agreed it was a pretty cool weekend.
approached by Nocturna Models to help them with the Well, we’re not ones to rest on our laurels, so we are
relaunch of a new kickstarter, ‘The Quest’. Since we busy organising more events and have plans to run
first started FPM, many of the staff have backed various at least eight more over the next 12 months at various
crowdfunders and we have had lots of messages, good locations across the UK. We’ll be starting our new
and bad, about campaigns from all aspects of our hobby. SeminART social media page soon which will be the
So, with those in mind we have helped Nocturna shape best place to keep up with news and schedules about
their new campaign to make it as painless and exciting SeminARTs taking place around the country, but until
as possible. There are going to be plenty of pledge then we have a bit of an exclusive for our readers. The
levels that will suit everybody and the miniatures are next artist to grace our shores and teach us some of
really fantastic, so we hope all of you will be eager to her skills will be none other than Pepa Saavedra. The
help support this new range and our friends at Nocturna workshop will be taking place in Cardiff towards the end
and bag yourself some very cool miniatures. Remember, of October. Final details, dates and prices are yet to be
without companies like these, there is no hobby. For more confirmed, but we know this painting weekend will be
details, click here and join ‘The Quest’! popular, so keep an eye out for more information.
7
 Details
Price: €60
Scale: 1/20th (90 mm)
Resin

9
Material:

Available from

Nocturna Models

Nocturna Models’ Farewell

Farewell is the first release from Nocturna’s XIII range
of figures. The original concept was created by Nekro
and the piece was sculpted in Z brush with the art
direction from Jesus Martin.
 As with all the larger scale miniatures I have received careful removal; an easy task in itself, but with such a
from Nocturna, this one arrives in a sturdy metal tin gorgeous piece of art care is advised. I will cut mine
box. It has a sticker over the top depicting the box art above the stem and sand down. There are mouldlines,
superbly painted by Marc Masclans. The sticker also has but they are so well hidden that upon initial inspection
all the information about the range and the concept art they were invisible to me. One runs down the underside
author. of the outstretched leg, while another lies disguised
within her hair. These are placed in such a way that I feel
Inside there is an art card with the cover art picture (I this is an indication of the experience that Nocturna has--
would like to have seen alternative concept art from they really are masters of their craft.
Nekro here given that the picture is already on the tin,
but I am just being greedy). I noticed that at the base of the cello, the rim does not

Underneath the top layer of foam you have 4

components: the main torso, the head, the cello and
the bow.
10

Under the Optivisor and lamp, she is a beauty to behold.

The light grey resin has that distinctive quality feel to it

and I could only find a little flash to be removed within
tiny areas of detail such as between the bird legs. There
are no deformities and only one minute half air bubble
on her right side back almost between the shoulder
blades. There are a few stem points that will require
 I wasn’t sure about the significance of the bird that
curves around the bow and Nekro told me that without
explaining the significance it has to him, he much prefers
to allow us to interpret it for ourselves and find our own
significance. Perhaps the bird represents the song about
to be set free by the musician and this is the farewell.

Regardless of the meaning we personally attach to

this piece, it has enough interest visually to become a
beautiful display piece without adding anything. I am fully
expecting to see this emerge at competitions over the
coming months.

run all the way and at first I considered that maybe it The exciting news is that Nekro will continue to
was a flaw. However, I then looked at the renders and collaborate with Nocturna to bring us more releases in
the original art from Nekro and discovered that in the the XIII series. Click on the link to Nocturna for ‘Farewell’
original art, the rim has a soft edge possibly to blend it or to look through their previous releases. Here is also
into the space. the link for Nekro where you can pick up a book featuring
his inspiring artwork.
I spoke with Jesus Martin and discovered that to portray
the scene, a subtle aesthetic modification was made
where the rim is replaced by two rims. It works and I
think it helps provide a more accurate representation
of the artwork. It doesn’t detract from the piece at all. In

11
fact, I didn’t notice it in the two painted versions on the
Nocturna facebook page and take this as an indication
the alteration is a good one.

The reason I fell in love with this piece and subsequently

the original art from Nekro is that the form of the lady
mirrors the shape of the cello beautifully. Her breast, the
curve in her back and her knee extended down mimic
the other half of the body of the cello. While the vertical
bow mirrors the strings of the instrument. At the top of
the cello, her hair sweeps around it filled with musical
notes. Her form reminds me of a ballet dancer and her
delicate features add to the feel that this is a classic.
 Qu
es
t io
ns
by
Da
v id
e
Ra
ino
ne

with Fabrizio ‘Rusto’ Russo

Place of origin? I was born in San Donato Milanese
which is in Milan, Italy back in 1974.

Major awards? I will say that amongst all of them,

the most important ones are my two Best of Show
awards from the Monte San Savino show. I have
many other BoS and received Best Fantasy at the
last World Model Expo in Stresa. Then there are
a lot of gold, silver and bronze medals collected
in so many contests where I have had fun with
friends. I also consider each competition I have
12

been asked to judge as an award and also the

attention I see from students during a workshop or
a private class.

Years of painting? Despite my age, I am relatively

new as a figure painter. For 15 years I work every
day — all day long, 365 days a year…well, not
entirely every moment, but my mind is always
thinking about new perspectives.

Future plans? My hope is to continue to work with

colour. I believe I have had extraordinary luck and I
hope it will last for long time.

This month, I would like to introduce you one of the most

famous Italian miniatures painters, whose talent and
courteousness are renowned in all corners of our hobby.

For many years he has been winning competitions

all over the world and he is also a fore runner
of the more artistic way of painting where
his painting style has many things in
common with the world of illustration and
his miniatures are more pictorial in nature.

This is Fabrizio ‘Rusto’ Russo.

 A while later, I started to work at
the shop as a miniature painter
and painted armies. In those years,
the first very artistic revolution
started in fantasy world. Rackham
arrived on the market with their
wonderful models and painting
techniques strongly orientated
toward illustration. Everything was
happening in the Blues Brothers
shop where I was working, because
it was the Italian distributor for the
French brand.

One year later, under the same

patronage, we opened the ‘Blues
Brothers Studio’, where we were
painting only armies and models for
collectors for Italian and European
clients and I was the assistant
manager. After another couple
of years, we decided to separate
ourselves from that brand, opening
an independent paint studio, the

13
higHLight Studio. We were three
partners with whom, in a few years,
I trained almost one hundred
painters. Some of them are still
active painters in our little world.

After few years, my ex-partners took

completely different paths. I never
stopped painting miniatures since
then, so this is my main activity.

There is no why; there are only

a succession of questions and
answers, in every single colour
How did you start painting ‘Your drawings are very nice, but I draft and every single brush stroke
and why? am not interested in them. If you put down. These questions and
want to try in painting miniatures, these answers are the reason why I
I always have played with come in my shop in Milan where always find new incentives to paint.
pencils and paints. My educational there is a guy who teaches painting
and cultural path is strongly bonded every morning.’ You are a veteran of
to this passion in every way. I can hundreds of contests. Tell
still remember some drawings I Later, I bought a goblin box made by us about the beginning, the
did while in kindergarten. For me, Games Workshop and painted them experiences in the Golden
these have been essential steps: all in one day. A few days later I went Demon, the forums, etc.
the decision to go in depth with in that shop with my twenty goblins
my studies, entering in the arts at and a few dwarves painted exactly A direct challenge is what keeps
high school and then at the school for that occasion. The director told steady the relationships in our little
of fine arts. After that, my interests me that ‘They are shit…but it’s clear world and keeps it alive with its
widened and in my first experience you have good skills. Ask Luca rituals. For so many years, I took
at a trade show in Bologna, I met to teach you!’ So, every morning part in many events, in Italy and
the director of a series of hobby for a month, I went there to learn abroad. I like to visit new places
shops that were very famous at that something completely new for me. with the added excuse to enter in a
time, ‘Blues Brothers’, who told me, show or contest.
14
 15
My first one was in Lucca Comics & Slowly, I took the decision to world and looking at the models, I
Games in 2002, but I did not enter travel more and more, trying to learnt a lot.
in the contest because I was still feed the need for myself and for
a beginner and I did not consider the community. I entered in every The next year, I was called to be
myself worthy yet. Instead, a couple contest I could, traveling almost judge there, but unfortunately, LPS
of months later, I entered in my first every weekend, meeting people was no more. With years passing,
Italian Golden Demon contest in all over the place. During that some events became unmissable.
Milan, where I won a gold in the 40k period, a certain dialogue between I took part in every Italian Golden
Monster Category with a converted fantasy and historical genres was Demon, and some in Spain,
Ghazghkull, an Ork chief with a starting, two sides to the same coin. Germany and France. I learnt many
series of busy goblins all around I attended ‘Le Petit Soldat’ in Saint different techniques, but most of
him. It was a strange experience; I Vincent back in 2008, one of the all I went to these places to study
enjoyed it despite the show being most important events at the time. the inventive and originality of the
very badly organized. I saw paint works from all over the different European schools.
 Different jury experiences have
allowed me to understand how to
quickly examine and understand
what I have in front of me on the
competition tables. I always have
been very critical, even if I believe
it’s very hard to give an in depth
evaluation about works from artists.

Competitions are now at such a

level that we are in need of, indeed
I am very certain of, strong changes
in many judging methods.

To be a judge or a competitor are

roles that you should to play. They
require the maximum effort and
they are the moments that help to
improve our own understanding of
our own skills and abilities.

What show will you never

miss and why?
16

I would enter again in

almost every contest I have entered
in the past. I usually have fun and
for many reasons I will say I have
also been lucky!
Forums helped to open dialogues,
through articles and the chance, There are two contests that I could
now lost with the demise of forums, always be persuaded to enter. The
to write ourselves and compare and first is the Golden Demon, where
analyse many topics, from technical I was able to engage new guys
issues to more personal ones. That and bring them to the dark side of
was the time when some tutorials painting, but unfortunately Games
about different techniques and Workshop has only kept the English
theories started to be shown and show alive. The direct heir is the
that allowed some of us to re-focus Crystal Brush, but that is still in its
our hobby into more artistic works. early days, so let’s see what will
Now, thanks to facebook, a simple come of it in the future!
‘Like’ seems to be enough and
that’s it! The second show that I will never
miss is the Monte San Savino show,
I’d like to talk about because it is the one where visitors
contests now and the can watch the best things ever and
different facets as both because the beautiful atmosphere
a competitor and a judge. there.
What has changed in these contests
and what are your feelings about To conclude, I will give FPM readers
this? a little spoiler. I invite you to keep
an eye on the next Lucca Comics
The idea of competition has always & Games show in 2016 where I am
stimulated me. Many things have organizing an event/contest with
changed from when I started, but the NKGC club. The idea is to give
the pleasure I get from taking part free space to authors, artists…not
has not. specifically in the miniature industry.
17
18
Lucca hosts about 500 people during the
days of its event. I have longed to hold an
event that can pay homage to our sector on
such an important stage and I am so happy to
have this opportunity. Anyway, I don’t want to
reveal too much yet, so please follow me on
my facebook page and shortly I will reveal all

19
the various details.

What can tell us your role as painter

is today?

Since I closed my collaboration with

the second paint studio, I always worked
alone. However, I am always open to new
collaborations and activities, respecting the
jobs I have already scheduled. In fact, at the
moment, I have several projects ongoing.

For example, I have just completed a new

box art for Pegaso Models and it’s always
a pleasure to work with them. They are a
reoccurring point for me. Recently, I have also
painted a new model for Kabuki Models that
I am very proud of. I hope to able to work
again with both of these companies.

There is a lot boiling in the pot also with

painting courses. I will hold a workshop in
Rome, the next 4th and 25th of September,
which is a thing I was trying to organise for
long time, but I have been forced to push
back for personal reasons. Finally, I am
starting again a new season of courses and
I am honoured to start in Rome, with the
guys of Lab-54 at their store. I receive many
requests for personal courses, but I can
hardly find the time to fulfil them all, so I am
waiting for you in Rome! Then I will start to
work on the next lot of requests.
20
 21
Could you tell us about your philosophic ideas
about painting?

More than speak about it, I always try to share

it through my brush strokes. My studies are oriented
towards obtaining an atmosphere and contrast.
Illustration and cinema are my favourite sources of
inspiration for the study of lights and shadows. The
main aspect, one even harder to realise, is personalising
and making my style recognisable. Even when I am
interpreting a subject coming from an illustration, I try
to make it mine. I feel that when we paint, we are the
leading actor, the lighting specialist, cinematographer
and director all at the same time. To pass these the one with a peculiar expression. I love big and mighty
sensations through the painting is the most important subjects, like orcs or evil beasts! Also, well-shaped,
goal for me. female bodies are technically very nice to paint.

After such a long and successful painting As to theme, I like everything to pop and be easily
career, what are your personal preferences, recognisable. For example super heroes, Star Wars
your personal tastes? What are your favourite characters, comics, epic tales and legends, mythology,
subjects? but also like historical interpretations, too.

An aspect that helped me from the beginning is to be Mmmmm…maybe it would be easier tell you what I do
able to paint the same miniature multiple times in tones not like. I could tell you exaggerated subjects, or heavily
completely different from the last. Thanks to this lucky texturised, because I prefer to interpret them the most
skill, I am never bored; rather while painting, I always extreme way possible. I sometimes become fed up with
try to imagine the next version. When I am so lucky to heroes and character models, so choose to paint instead
choose a model for myself to interpret, I usually choose a simple troop soldier!
 Lately I see many wonderful
sculptures, which almost paint
themselves on their own. I believe that
this takes away a little bit of fun from
painting, but if you like the subject…
well, simply take it and give it a try!

For a while now, the fantasy

genre has been established
and is always reaching new
heights in respect to skill and
imagination. This has caused some
discussion of how this is contrasted by
aspects of the historical genre and this
has caused some bad feeling. What
are your opinions of this?

I have never found any difference

between the two genres. I have read
and written those discussions, but
the one thing I have learned is that
there is lots of passion for painting
miniatures. Those that do the talking
22

do it mostly in jest, but I have seen it

crossing the line too many times and
I don’t understand that! My objective
is to overthrow limits, so how could I
accept one like this? It seems strange
to be accepting as a painter by the
genre you favour. I am the lucky to
paint as my job and the majority of
my colleagues just consider me as a
fantasy painter only…I just consider
myself a professional figure painter.

You are, in fact, a very famous

painter. However, recently
you have tried your hand
at sculpting as well as being
a miniature producer. Can you tell
us about it? Are you taking a new
professional path and what are you
working on at the moment?

I always considered sculpting

fascinating and if I could have had
more solid basis I would have chosen
sculpting at the school of fine arts.
I believe illustration and sculpting
complement each other very much.
Sometimes I have attempted scratch
built sculptures, but I believe I do
better with conversions where I have
more success in having a result close
to what I was looking for.
 Figure Painter Magazine, you interviewed
the illustrator Gabriele Dell’Otto; well, my
orc is inspired from the pose from one of his
illustrations of Batman, maybe, my favourite
one. When I was setting up my character’s
position, I suddenly thought, make it an orc and
only then I thought to set it into the World of
Warcraft. I am very satisfied about the result I
had and I am sure there will be more added to
this.

Then there is the MuMi, the Museum of

Miniatures. It is THE dream…from the beginning,
when I started this job, the idea of a museum

23
for miniatures set my heart beating. I am so
lucky to have as my friend a great collector,
who allowed us to go crazy with this project. It
has been a true challenge for me. It enables
me to pass other works to artists that I
appreciate, just because I appreciate them!
It’s a strange sensation because this is not a
sensation I have ever had before. I have also
learnt to know this sector more in depth, both
its good and evil aspects. We started four years
ago, revolutionising everything and it is still
evolving! I would like to dedicate this interview,
which I consider an honour, to this incredible
project that has already brought us great
results. Please, go on our website and follow
our next experiences.

‘SergeantBlackArt’ has been a very fun idea, but very Another childhood dream is to pick up the brushes again,
demanding. We were forced to give it up for this but changing and coming back to the two-dimensional.
reason. I created the group behind SBA, called ‘Terrible I have little free time, but when I can, I love to dedicate
Kids Stuff’ that is still in operation and independently myself to the pencils and it is always a wonderful
manages its own production, without thinking of the sensation. Now, I am drawing something that I hope it
market and its rules. I hadn’t realised until now that will be useful in the hobby world… let’s see!
every box art you can see on the website, I helped in
its creation. I have also wanted to sculpt one of the first Furthermore, my friends Luca Baldino and Francesco
characters, designed by my friend Paolo Parente. He is Farabi asked me to create the next award for Best of
an artist that I admire a lot and I am lucky to know him for Fantasy for the next Monte San Savino show. I have
a long time, even if we only meet a few times. Regarding many ideas and something is already on the desk. It will
the production of a series, this is my only attempt. be a pleasure to see an award I made in the hands of
the best fantasy painter in MSS! I am so happy about this
Talking about one of a kind models, the most demanding request. I can also tell you that I some very important
work I did recently is an orc inspired by the World collaborations waiting with foreign sculptors and one has
of Warcraft, 150mm tall, with a few skulls. Here in been just closed with a fellow Italian...very original.
24
There is also a very big project in
progress, a personal one, which I
put on stand-by for a long time. Now
is the time to pick it up once more
and yes...I am writing a book. I have
already told you about the project
for Lucca Comics & Games for next
November in collaboration with other
Italian painters…too many ideas…and
more. Let’s keep in touch through my
facebook page, RUSTO art and craft
show.

Many of our readers are

beginners that want to learn
more and improve or are
simply passionate about their
hobby. What bit of advice would you
give them?

To everyone I say ‘don’t hurry!’ There

is no shortcut, you have to learn
and gather everything and it takes
patience. If this is your true passion,

25
you should not to look for fast and
easy solutions. You must face doubts
and solve problems, adapting the tools
you have through the knowledge you
have of them. Direct experience, a lot
of exercise! All of this will help you to
find your own style.

Don’t look only at the figure world,

you can find so many interesting and
useful things elsewhere! Searching,
you will also gather images, memories
to valuate yourself with what you are
painting and telling yourself if it is
good or not.

Have fun and be honest with yourself.

Painting is developing muscles, so you
must train them.

Ours is to tell a story in new ways,

using new ideas and we have to
search them out.

Thank you very much Fabrizio for being

our guest in Figure Painter Magazine.
Getting an insight into your painting
life has been fascinating. I believe
your words will be of great help for our
readers and we will certainly follow the
news on your facebook page. Good
luck with your projects and see you at
Monte San Savino!
 Ares Warforge is a new company based in Poland, but
26

wants to become recognised the world over. Their first

few releases have already set a high bar for the company
and looks to make them a big name in the miniature
industry. Recently, FPM talked to Martin and Arkadiusz
from Ares about their new venture and future plans. First,
we’re talking to Martin.

Hi, Martin. Welcome to FPM. Can you please tell our readers and me a bit
about yourself and obviously Ares Warforge, please?

Martin: The company name is a bit like a shortcut from the owner’s name:
Arkadiusz. He’s also a historian, who is fascinated by antiquity. He chose the
ancient Greek god’s name. J

Who founded the company and when was it created? Can you tell us a bit
more about the history so far?

Martin: Arkadiusz is the founder of Ares. He came up with the idea for the
company in 2014, when he started looking for artists and launched all the
preparations, but we officially started as “Ares” just a month ago.

You are the newest addition to the company. How did that happen? How did
you find your way into Ares Warforge’s gates?

Martin: I’m just a friend of Arkadiusz. We met few years ago playing the same
online game. :) Arkadiusz asked me if I’d like to help him a little and take care
of Ares’ facebook fan page and Instagram profile. We share the same dream,
to give people high quality minis which we’d love to paint personally.
The rest of the questions were answered by Arek. J What compelled the company to choose these kinds of
subjects?
What’s is AW’s main field of interest? What genres? Busts
or full figures? Arek: At this moment we’ve focused on fantasy/horror
models, because the miniature market is full of historical
Arek: Both of them. At this moment we want to focus on models, so another Napoleonic bust or German soldier
fantasy, SF and horror themed busts, but soon we’d like figure would be difficult to sell. We’re looking for the best
to expand our offerings with historical models and also ideas. If we find the perfect model that the miniature
larger scale figures. market is missing or any great historical character, we
will release it.
Where do you draw your inspiration from?
Are you planning to expand your range? And if yes, in
Arek: We’re trying to follow what bigger companies which direction are you looking?
are producing and fill the gaps they’re missing. We find
inspiration in our crew’s fields of interest: the internet, Arek: We’re thinking about releasing full figures;
games, movies and history. J collectible ones, so probably in bigger scale than
“standard war gaming” 28-32mm. We also have a really
interesting idea for a range of figures which we’ve been
working on for over a year, but for now we will keep it a
secret. J

The miniature market seems fairly saturated these days

with the arrival of crowd funding companies plus many
new, independent developers selling their own work.

27
What makes you think that you’ll separate from the pack
enough for people to come to you?

Arek: I think that the miniature market is still evolving;

some companies rise and some fall. It’s only a matter of
finding your niche. If we make a high quality product that
no one else is producing, people will come to us.
28

Ares Warforge is really just a newly born company. so important for us. Everyday hundreds of people search
You haven’t even released any of your miniatures into those media for miniatures. We’re also aware of that
general sale yet. What would you say to your potential we can’t neglect traditional sources of advertisement
customers to reassure them that you will deliver top like paper magazines, modellers’ events, war gaming
quality product? tournaments etc.

Arek: Someone told me once that the customer buys So far as I know, you have only one sculptor, Przemek
products with his very own eyes and if something is Szymczyk. Is it a deliberate action to keep all your
nicely packaged, he will more likely buy it. I think that sculpting consistent and somehow uniform in style or are
it’s really important to make a good first impression, you planning to employ other sculptors in the future?
but if we want to make the customer come to us again
and recommend us to his friends, then quality and Arek: At the beginning of the Ares journey, we were
customer service is very important. That’s why we use speaking with other sculptors from Spain, Russia and
the highest quality resin and take the casting process many more countries, but the waiting times and the
really seriously. feeling that we were not taken seriously, made us focus
on our native market. That’s the moment when we’ve
How important do you find social media in reaching out found P. Szymczyk. He is an unbelievably hard-working
to your customers? and efficient sculptor, who still makes new progress. We
also have excellent communication. What’s more, he
Arek: Social media is very important for us. More than paints all the minis he sculpts for us.
50% of our customers are smartphone users. That’s why
I think that the FB fan page, Instagram, Pinterest etc. are
Probably with company growth we will expand our
crew with new sculptors, but for now Przemek is most
important part of the team. J

What about your box art artists, can you share with the
readers who’s painting minis for you?

Arek: Lukasz Grzyb better known as “C’tan” from

Fantasygames Studio is our main box artist. He’s one
of the best Polish painters, but as I said Przemek also
paints for us.

Any sneak peeks of anything coming out in the near

future (for our readers, of course)?

Arek: At this moment we’ve finished working on two

horror themed busts: an Unholy Priest and Possessed
Megan, which should be released within a week or two.
We’re already working on two female busts in fantasy
style and an alternative version of the priest called the
Dark Priest. And there are lots more concept art to be
sculpted in the near future.

What can we expect from Ares Warforge in the long run?

29
Arek: For sure we’d like to keep up the tempo and
release at least 1 bust per month in each of our themes:
fantasy, SF and horror. As mentioned before, we’re also
planning full figures in larger scale.

Well, thank you guys for your time and the insight into
your company in this hectic time of start-up. It’s been a
real pleasure speaking to the both of you.
 Details
Price: €22
Scale: 1/16th
30

Material: Resin

Available from

FeR Miniatures

FeR Miniatures’ Norman Warrior, Hastings, 1066

This bust, which I am sure many of you have already

seen in our last issue during Fernando Ruiz’s painting
tutorial, launches a new line for FeR Miniatures, Portraits
from the Middle Ages. The character portrayed is a very
simple one – a Norman Warrior in from the battle of
Hastings in 1066.

He wears the same clothing and equipment those

warriors typically did; a gambeson which is a heavy
fabric hood under a conic helmet with a nose guard,
leather belts and a kite shield. The Normans were Viking
descendants living in the actual area of Normandy,
France. Their fierce commander, Duke William known as
“William the Conqueror”, brought them to victory against
the Saxons in the famous battle of Hastings and later he
became the new King of England.
The bust is very easy to assemble
and counts 4 pieces: the main body
and head, the conic helmet, the nose
guard and the shield. It comes in a
classic small size plastic case we
are already used to seeing with FeR
Miniatures, and wrapped in a plastic
zip bag.

The kit’s quality is very good, with

essentially no mould lines or excess
resin to sand away and no air holes,
either. I can also tell you it is almost
perfect with the precision of each
joint. The helmet looks like it can fix
in both directions being symmetrical;
however, there is one side that fits
better and you need no putty to fill
any gap. The shield fits perfectly in
the slots on his back. There are no
slots for the nose guard, so it can
be used as an option if you want,
but care will be needed when fitting
it. In fact, it’s good to get some

31
reference material before affixing it
to the helmet.

Being so simple in its basic shapes,

but well detailed, this sculpture is
very interesting in many aspects.
The hood and the gambeson look
very natural and the material is
well represented. The face has a
neutral expression, but is charming
and all the muscles’ volumes and
wrinkles are there. It is a great blank
page to practice good skin and
proper textures.
 Despite his static pose and scale,
this bust promises to be a very
nice study. In fact, I consider it very
useful for educational purposes.
From beginners to experts, it can
represent a good model where
the painter can practice creating
leathers, metals, wood (the inner
side of the shield is very finely
detailed), freehand (on the shield’s
front side), skin and two different
fabrics and weathering pretty
much everywhere, if you like. Also
the volumes and directional lights
it offers because of the different
surfaces – wide and plain ones like
the helmet, easy and wide folds on
the hood, and complex volumes on
the gambeson all go to make it great
fun to paint.

Concluding my analysis, I have very

much appreciated this little bust
and its low price. Plenty of respect
32

should be given to all its qualities as

it holds great appeal for every level
of painter.
Firestorm Games is an Independant Wargames Retailer
in Cardiff, South Wales. As well as this 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
 step by step
part 2, by Marko Paunovic
34

Last month I started my new would make the bulk of the base. I the mould from 2mm thick balsa
project, the post-apoc diorama. decided to make them 50 x 50 mm wood. When I had all the elements,
I made the basic frame for the large as in real life they would be I glued them onto the plastic foil
diorama and added the base with a about 2.5 x 2.5 m and that seemed closely following the sketch. NOTE:
basin for a river front. In this article, appropriate. Next, I needed two make sure you don't use a lot of
I will be adding some electricity buttresses for the river bank to be glue on the balsa frames; just two
to the base as well as some basic placed in between my three brick drops of super glue per plank, as
moulding and casting of various wall segments. Using graph paper, that will make the mould as bendy
concrete bits I'll be needing for I drew top down views of all the as possible to enable easier cast
terrain work. Time permitting, I'll pieces needed. I made room for 10 removal while still retaining the
even add some details to my river concrete squares so I would need structural integrity needed for
front. at least two castings, maybe even casting.
three. When I had all the drawings
If you remember last time, I cast made, I copied it onto a clear plastic
some brick wall segments that foil used for overhead projectors
would make the river bank. This using a waterproof marker. The
time, the first thing I needed were foil would serve as a base for my
a lot of concrete squares that mould. I then made the frames for
 As I mentioned before, I'll be adding some
LEDs to this diorama. In all, I decided to use 8
LEDs. Four of them will be wide angle green

Adding Electricity
5mm LEDs that will add ambiance light in the
river. The other four will be placed throughout
the top of the diorama. An amber LED will be
placed inside the gas station, a green 3mm
LED will light the dashboard of the vehicle.
One cold white LED will be on the vehicle as
a part of the headlamp, while the remaining
white LED will be inside a mechanic's lamp
lying on the floor beside the car. To power
the 8 LEDs, I'd need about 24V if connected
in a series. However, if I connected 2 parallel
connections of 4 LEDs in a series, that would
require only 12V.

This setup would enable me to have two

power sources available — ­ a 220V AC to 12
V DC converter and a series of four Cr 2302
3V batteries. The power source could be
switched from one to the other as the picture
shows. Furthermore, by adding switches on

35
both parallel lines, I could then switch them
independently. Apart from the 4 battery
holders, 8 LEDs and 3 switches I would also
require two resistors that would require a
quick calculation. The high powered LEDs
were purchased in the component shop
where I found the table with the basic
characteristics of each of the LEDs.

Colour Amber Green Wide Angle Green White Units Conditions

Material GaAlAs/GaAs InGaAlP/GaAs InGaN/GaN InGaN/GaN

Min 3000 2000 3000 2000 mcd IF=20mA

Brightness Viewing Angle
Typ 5000 3000 6000 5000

Peak Wavelength 25 25 30 25 8000 IF=20mA

Dominant Wavelength 660 590 525 - nm IF=20mA

Spectral Line Halfwidth 640 585 505 - nm IF=20mA

Capacitance 45 35 25 25 nm IF=20mA

Forward Voltage 45 20 65 65 pF Vf=0V f=1MHz

Min 1.8 2 2.8 2.4

Forward Voltage Typ 2.1 2.4 3.3 2.8 V IF=20mA

Max 2.4 2.8 4.0 3.3

10 10 10 10 4.0 µA

Power Dissipation 110 100 170 170 mW

Max DC Forward Current 25 25 25 25 mA

 With this info, I could make a quick
calculation to find out the size of my
resistors. I used typical forward voltage and
used 20mA forward current to make the
calculation following this formula:

For the two parallel lines from the sketch, I

calculated that I need a 20 Ohm and a 30
Ohm resistor.

Obtaining all the materials I would need, I

started to place them onto the base of the
diorama. First, I made two holes in the back
side to house the converter connector and
the main switch. On the inside of the base,
I glued the four battery holders that I space
using some balsa wood to enable easier
battery placement and removal. I connected
them using thin wire and a soldering iron. I
then placed the four wide angle green LEDs
in the river bed and soldered them with their
resistor in a series that I then connected to
both power sources. At this point I stopped.
I would add the other series at a later stage
36

when I have the other features (notably, the

vehicle and the gas station) built.
Once I had the moulds made, I made a mixture of plaster
and water. Normally I like my mixture to be a bit on the
gel-like side, but this time I opted for a watered down
version for easier spreading in the mould. This meant
that I would have to be very careful when removing the
casts because they would break easily.

After two casts, I had all my pieces. Before gluing them

in place, I used sanding paper to remove excess flash
and to round the buttresses a bit. First, I glued the river
bank using PVA glue. I then proceeded to glue every
concrete square using PVA glue, making sure the slabs
had at least some space between them. Also, in order to
make things a bit more interesting, I glued them using a
pattern I thought would add more dynamic to the whole
diorama once I finished with the painting. While the glue
was still wet, I sprinkled some sand making sure it went
into the crevices. Once the glue was set, I pressed some
squares in order for them to break at the corners the
way the normal concrete breaks. To make sure the bits
remain in place, I glued them with some super glue.

37
 While the glue was curing, I added some volume to the
bottom of the river using DAS air drying clay and in the
end, when all was dry, I used an old toothbrush (hard) to
create a used pattern on the concrete squares.

I then decided to add a pipe in the river bank. I used an

8 mm drill to bore a hole through the wall and I placed
an 8 mm plastic tube inside it. In places where the
plaster broke off revealing a larger hole, I glued some
finest grade sand using super glue to speed things up.
38
When the pipe was in place, it was time to add texture
to the riverbed. I spread a slightly watered-down PVA
glue and started sprinkling gravel and sand, making
sure I started with the biggest grain and ending with the
smallest grain to better cover the entire area.

This marked the end of the bigger build on the river

bank. I now started to add small details to help liven the
scene up. I added a metal trash bin (Wyrd Miniatures)
to the riverbed and I added a ledge also cast in plaster.
Then I used some GW bits to make the hooks for river
boat ropes. I made those from the handles from a Leman
Russ kit. After cutting them from the sprue, I cut them
in half and glued them in the opposite direction to the
ledge of the river bank.

In the end, I made some chain rings on the buttresses

where the boats can be tied. I made the base from thin
card, carefully drilling six holes with my Proxxon electric
drill. In the holes in the middle, I glued a half of a brass
ring and in the other four I glued some small nails as
bolts. On the rings I attached a chain that would fall into
the river. Next time, I'll be adding ropes to the other ring.
Until then, as always, if you have any questions, feel free

39
to ask us at: [email protected].
 Details
Price: €40+ €12 shipping
40

Scale: 1:7th
Material: Resin

Available from

Thor Creart

Thor Creart’ Van Helsing

Usually models are reviewed from established
companies like FeR or NutsPlanet but this time we get
a unique piece from the sculptor Carmine Giugliano, the
bust of Van Helsing. The bust its self was sculpted from
the designs of Salvo Coniglione the Comic artist.

Quite often we see many great busts and miniatures

released but this sometimes results in many painters
painting the same thing. Once in a while we see
something unique often in limited runs, the Van Helsing
bust was one of these must have purchases.
A quick message to Carmine (Thor Creart) and I was put In hand the bust looks very nice, crisp and well detailed.
on the list. Soon as the bust was ready a quick contact The artwork shown on Salvo’s facebook page shows the
and the bust was posted out from Italy and made its sculpt is very close to the artwork showing attention to
way slowly ( Euro postal services lol) on arrival I was detail and some good skills from carmine.
pleasantly surprised with the packaging.

A nice slide sleeve box with the printed label on the top,

41
with the names of the creative team on the label too,
Carmine Giugliano, Salvo Coniglione and the box art was
painted by the talented Diego Natalino. The Van Helsing
bust comes in a limited run of 50 models and the bust I
received was number 3,( just a personal little bit of ego
stroking but I always like to see a limited number release
in my collection).

On opening the box, inside was some very sturdy bubble

wrap wrapped around some more fine bubble wrap
this was good considering the distance the bust had
travelled. Inside the bubble wrap bag was the bust, so it
was very well protected. The bust comes with a limited
number Art postcard which is a print of Salvo’s lovely
drawings.
 On closer inspection the quality
of the sculpt continues to show
through, on the cast there is very
few mould lines, but the flat sides
do need some attention to smooth
them out. There is a mould line on
the right side which runs up the
shoulder over the collar and into
the hair but it is so fine it will take
minutes to remove. On the left side
the only mould line visible is on the
collar which will take less than a
minute to remove.

The detail on the clothing echoes

each side, the detail as mentioned is
nice and crisp, the rope twist chain
detail across the chest is nice and
fine and to add to the theme of the
bust there is a V at each end of the
chain these are lovely little details
that could have been lost in the
mould but have turned out quite well.
42
A closer look at the bust shows there
has been some clean up done post
cast as the back of the cast has what
looks like sanding grooves in it and
unfortunately these run onto the
shoulders but this can easily be buffed
out in minutes. I did however find one
blemish on the cast and this is between
the collar of the shirt and the coat, this
will need carefully cutting away and
buffing, but that is no problem for an
experiences hobbyist.

A continued look at the detail shows the

waistcoat is nicely sculpted flat but with
creases around the buttons. This will
allow for many textured paint jobs and
Diego has done a corduroy effect on the
box art which looks great. The different
hair textures are very nicely done too
the swept back combed look resting on
top of a shaven back and sides will also
allow for different tonal shifts and lighting
effects. I really like how the hair comes

43
to a point at the back of the head a bit
like the Teddy Boy DA haircut back in the
1950’s, and then there are the mutton
chop side burns again done in a different
texture. These textures will make for
many different paint jobs as painters start
playing with light and colour.

The size of the bust is 1/7 scale and the

bust fills the palm of my hand so I will
say for the price of €40 it is a sizable
chunk of resin. With standard postage
from Italy at €12 the total cost of €52
I found to be quite reasonable for the
size of the bust, I have paid more for
smaller lumps of resin so all in al I was
quite happy with the cost especially for
a limited run.

Over all I am very happy with quality of

the bust and I look forward to trying to
paint it. Once again I think Carmine has
interpreted Salvo’s designs really well
and Diego has done a great job of the
box Art.

If you have a chance to get one of these

models I would highly recommend you do.
 Papa Jambo
by matthieu “mattgwb” favresse

I started painting Papa Jambo with

the same intentions as usual--
having fun and producing a better
mini than the previous one. I
immediately had a crush on this
mini. It had a great expression and
great ambiance; the question was
what is the colour of a Caribbean
Pirate Orc? As often, the answer
44

was in the question; Caribbean

Sea blue, of course! For the rest, it
was just about associating bright
colours we can find in the jungle,
like red, green, yellow and orange
(thanks Benoît Menard for the
orange idea) and working very
hard on textures like leather and
skin, for example. I decided to
treat the light as a simple zenithal
day light, without specific effect.
I wanted something really simple
and I preferred to focus on small
details everywhere rather than
creating a general dramatic scene.
So, accuracy and simplicity were
my guidelines. Also, one of the
most important things to me was
to capture a tremendous look
in his eyes. I wanted to catch
madness and make people feel
uncomfortable looking at him. A
tattoo at the top of his back, and
it was perfect to me. I hope you’ll
enjoy him the way I did…
45
 Nubian Guard
Sculpted by Carl Reid

Painted by Sang Eon Lee.

46
47
 Zrorh Orcslayer
by Daniel Lopez- Bustos (FeRRaMiS)

I present to you Zrorh Orcslayer.

Ever since I saw him as a future
release of Mproyec, I knew I
had to paint this limited edition
miniature; in fact, this is the first
copy. After thinking what to do,
I decided to recreate a small
Orc camp where Zrorh suddenly
bursts onto the scene. The idea
48

is that everything was very arid,

so I could play with desaturated
colours for the ground and a
much more saturated figure to
attract attention on Zrorh.

I added human skulls placed in

a somewhat artificial way to give
the feeling that was a regular
stopping place for the orcs; the
fire and axe went to convey the
same feeling. I hope you like it.
49
 : : EVENT REPORT

By Luke Wilson
50

SeminART is a collaboration between FeR

Miniatures and FPM, where we aim to bring
the best European painters to teach at
various locations around the UK. Our first
SeminArt was held on the 11th & 12th of
June in Cardiff and was taught by Fernando
Ruiz, owner of FeR Miniatures and attended
by several FPM staff.
 EVENT REPORT : :

Firestorm greets you The sales area is also a licenced bar, smart move!

51
it up and she could see her family
in Wales at the same time. J So
with that plan firmly in place, we
travelled up the day before. Being
only an hour away from the venue,
Firestorm Games, I would arrive a
lot fresher than if I had just driven 4
to 5 hours to get there.

The event actually started on the

Friday of sorts. As I wasn’t arriving
until Saturday, I’ll hand over to
Shane for a brief chat about Friday’s
happenings.

SeminART really began for me

when I arrived at Firestorm Games
The shop is very well stocked and caters for both games and painters on the Friday. We had a terrible
drive down. What would have been
As I write this, I sit at my computer I’ll just say here that I won’t go into a 3.5 hour drive turned into a 4.5
sipping on a 12 year old single too much detail of how Fernando hour drive due to roadworks on the
malt Bunnahabhain, recovering actually did the certain steps; if you various motorways we used, but
from the weekend and looking want to find that out, you’ll have turning into the road and seeing the
at my efforts and for once I feel to come along to one of his future store straight ahead of us wiped
compelled to carry on with what SeminART classes. We will be doing all those woes away. Sarah and I
I have brought back. Well this workshops in other locations. J were the first to arrive and the place
was our first SeminART held in was pretty quiet, so we grabbed a
conjunction with Fernando Ruiz So let’s roll back to the start. drink and began our wait. About 10
Miniatures (FeR Miniatures), and After months of discussions and minutes later, while outside I saw a
what a great weekend it was. ideas between FPM and FeR, the guy walking down the road pulling
weekend had finally arrived. I got a suitcase along. We looked at each
my weekend pass from the wife as other as he passed and I kind of
I had suggested we could double recognised him.
 : : EVENT REPORT

Following him inside, it turned out to be David Zabrocki

so we greeted each other and then waited for the others.
Stuart Sim turned up, then Marty Dorey arrived with
Fernando in tow, then John Keys and David List. A few
other guys showed up and introduced themselves. As
we were playing the evening by ear, they filtered away
to their various hotels. At about 7pm myself and those
mentioned above decided we needed some food and
we headed off to a Toby Carvery that Martyn directed
us to. We piled into two cars and the journey only took
10 minutes and we were all soon seated in a quiet room
with our drinks, having a laugh and getting reacquainted
or to know each other for the first time. David Zabrocki
told us some very funny stories about his child hood as
we ate. After about an hour or so we headed back to
Firestorm where we met up with Terry and Norm and we
all sat chatting until late about miniatures and the days to
The smiling Christian runs the kitchen come. Back to Luke.

I picked up Terry Cowell and Normski Ealand en route

and headed to Firestorm Games. This was my first time
there, and to be honest I was impressed with the layout.
They have a licensed bar and a
nicely stocked kitchen serving
52

breakfast and lunch, as well as

an array of snacks, smoothies,
milkshakes etc. The shop is
well stocked with stuff not just
for gamers, but for painters too.
There are a massive amount of
gaming tables and some nice
figure cabinets displaying the most
models I have seen to date in a
shop. There is also a decent size
painting area which is where our
home was to be for the next 2 days.

When I got there Shane was

already there. Now this may seem
strange, but I have worked at FPM
now for just under a year and this
is the first time I have ever met
Shane! Fernando was busy setting
up so I got a chance to catch up
with him again. It’s always good
to catch up with Fernando--he’s
a funny guy. Oh and handsome

There is also a decent I have to add. :) Soon after, the

SeminART attendees began to

size painting area which is arrive and the area soon filled up.
We were even blessed with some

where our home was to be painting royalty in the form of Mark

Taylor, John Keys and my first time

for the next 2 days.

meeting the very unassuming David
Zabrocki.
 EVENT REPORT : :

53
You stole our painting skills Fernando. I swear gentlemen, I brought them with me!

The event kicked off with Fernando

explaining a bit about what he was going
to cover in the next two days and some
of the tools for his ‘tricks’ that he likes to
use. He introduced FPM to everyone and
then got stuck in. We gathered around
his table and he showed us the busts
that would be the canvasses for the
course. These were two from his own
range, Portraits from the Middle Ages. He
then went through each part of the figure
and explained how each section was
going to be covered and how each part,
although separate, works as a whole and
showed us a few tools of his trade.

So, on with the first part. Faces! Fernando

spoke a bit about the paint colours he
was going to use and recommended
we use similar, if not the same, and
made everyone aware that his paints
were for pupil use too, backed up by
Fernando’s teaching delivery is fantastic and he really commands the room! the massive tool case full of paints that
 : : EVENT REPORT

Shane brought, so it was all covered.

Fernando picked out just 3 colours to
start. I used personally used SCALE 75
Basic Flesh as my base, Vallejo Black
Red as my first shade, pure black as
my second and the now holy grail
Scale 75 Artic Blue as my first highlight
and a bit of Scale 75 Sands White as
my second and final. I have given these
colours for pure reference; obviously
I used different mixes through the
painting. Back to Fernando--he took
out a little pallet, in this case a used
tablet strip and filled up the various
wells with paint and added the retarder
to the paints. He then explained that
this would keep for easily 24 hours
plus. He proceeded to put on the
base flesh, using his trusty hair dryer
to speed things up. Once this was dry
and coated appropriately, he then did
a few very rough highlights. He was
adamant that we were not to try and
54

blend. If he caught any of us blending,

we would be responsible for the death
of a kitten. I will say kittens were killed
this weekend and in some of the most
imaginative ways! I will have to say I
found this very difficult to do, as it was
so alien to the way I paint, but suffice to
say, no kitten blood was on my hands.
J

After what seemed five minutes turned

out to be over an hour, Fernando got us
all round the table again and explained
the next bit, the magic, the wonderment My piece after day one...I went for a higher contrast and I think the
that allowed you to use acrylics as experiment is working?
oils! He spotted on some colours and
then using one of his handy tools, he With lunch over, we got straight But this is where Fernando excels,
showed us the magic happening…and back to it. Fernando reminded in my opinion. He sat down with
it worked. This is the section where everyone what they should be the student and within a few
the blending happened, and within five practicing next and then went brush strokes the student was on
minutes he had produced a face that round making sure people weren’t the right track to their painting
was fully highlighted and shaded and killing kittens. I have to say on a nirvana. He seemed to have a way
very smoothly blended. He gave a bit personal note, I found this very of making you just understand
more of an explanation and took some hard to get my head around, and after watching him a few
questions, then we went back to try this being so different from the way I times with different students, you
ourselves. Well, we were about to when paint. I have to say I thought it did could see it made a big difference,
it dawned on everyone it was lunch work very well, and his system not only to their work, but their
time. I think it was more the crescendo does allow you to play around confidence in the system that
of belly rumbles. Luckily, Firestorm with the acrylic paint for quite a Fernando was teaching. He then
does a good variety of hot and cold while on the area. Unfortunately moved things along, wanting the
menu items and most had ordered in some others weren’t having the face highlighted and thus finished.
the morning. same success and a few kittens So again he demonstrated this,
were given their death stories! passed the bust around the group
 EVENT REPORT : :

so everyone could get a close look

and carried on explaining what he
wanted to achieve and why, whilst
we were being reminded various
things from earlier stages and also
being told why we did these certain
things. It all began to make sense
by this time, seeing the results.
Again we returned to our places
to get these final things done. This
didn’t take long really, as all the
foundation for light and dark was
all there from the blending exercise
already laid down.

With this part done we moved

onto the eyes. Fernando actually
(instead of just painting the eyes)
went right into the theory of how we
paint eyes and why we do them in
a certain way on different figures.
I found this quite interesting, as
usually eyes are a subject missed
and people I think just assume you

55
know how to paint them?

In the case of our demonstration

model, he was to look weary and
also his head is tilted slightly down
and the position and look of the
eyes are to reflect this. I decided
to mix mine up a bit and add some
scarring across one eye and paint
him like he had been blinded in that
eye. I was reminded that I had to
paint the eyes normally first then
go back and ‘blind’ him, otherwise
it would still look wrong. This part
of the model took a lot longer than
I thought for some reason, but liked Fernando notes downs
the results. All of a sudden it was
7pm. How did that happen? What a the names of the kittens
lost after day one.
great first day.

Although this was our first

SeminART, it is a workshop tradition
to go for a painter’s dinner so we
carried that into our weekend, too.
It was agreed on an ‘all you can eat’ Shane various names, as I found Day 2
Chinese buffet. Of course, the main out he had the England game on
topic was painting and the day’s his ipad right down the other end of Very much like the first day, we
activities. We had various ideas, but the table), it was time to head back all gathered in the painting area.
we did agree that the results were to our various sleeping quarters for Most got there early, so we all got
encouraging and the techniques the evening. I was staying at Terry’s chatting about the day and night
definitely needed more exploration. and Normski Ealand was there too, before, having had time to digest
So after a few plates of Wales’ finest but I didn’t let that spoil my evening what we had learnt.
Chinese cuisine (oh and calling too much, lol. J
 : : EVENT REPORT
56

Fernando kicks off the day

I had a quick glance at my model Fernando got going, as he said we

and was still satisfied with the had a lot of work to do. He grabbed
results from the day before. his trusty pill holder and put in his
In fact, it seemed better than I chosen colours adding the magic
remembered. Perhaps the painting liquid, indecently; this is something
fairies had been in overnight and I forgot to mention. Fernando had
made some changes. :) I had a said that if you use this it not only
chance to have a look around the keeps the paint usable for around
tables and I have to say I was very 24hrs, but you could stick your
impressed, especially as I had heard pallet in the freezer and take it out
some of the attendees say they a couple of days later, let it defrost
couldn’t paint. Well for people that and the paint would be as good
couldn’t paint, there were some as new!
outstanding efforts.
The next part to be tackled was
Once the group had gathered, the wool around his head and
Martyn came round and asked if shoulders. Now we wanted texture.
we wanted to order lunch. Spanish One of the best ways Fernando
omelette was on the menu, homage explained to get this texture was to
to Fernando. So that was my stipple it on. Instead of painting it
lunch sorted. normally then adding some stipples,
he said you may as well stipple it
One of the outstanding results so far from the start. This seemed like
 EVENT REPORT : :

good sense to me. So he went about

demonstrating this technique and again
passing the figure around so people
could get a look at the base. He then
went further into the theory of the
reasons and how to carry on, adding in
some highlights and shadows. Again
like the face, Fernando achieved a really
good result in a very short period of
time. He mentioned that when he has a
figure produced, he has around a week
at the most to get the box art done, so
he has developed these techniques to
give speed and quality and believe me it
works. So it was over to us.

As we sat, Fernando threw in some

more explanations and again started
walking around the class looking at what
had previously been done and taking
questions as he went. Each student was
catered to from what I could see and
Fernando was happy to spend as much Fernando explains the techniques for the next area of the miniature
time as needed with each person.

57
I set about carrying on with my idea
of heavy lighting from one side. I gave
myself an idea where to place the
extreme lights and shadows by holding
my figure up to a light and took a pic,
then proceeded to paint it like the
picture. This again being a technique
I wasn’t really used to doing, it took a
while to get to grips with. Again I did a
little walk around and looked at others’
figures. It looked like everyone was
going great guns on their models.

I had a little break from the SeminART at

this time and went and spoke to Martyn,
as his company Model Display Products
(MDP) is based at the back of Firestorm.
I have to say this was a little treasure
trove of stuff, a real modeller’s paradise,
but I wasn’t allowed to take anything
away , I did get to see loads of cool
stuff, though, and he took me through
the basics of making moulds and his
process, which was very interesting to
listen to. Sorry no pictures of any of this,
photography was forbidden. J
Another attendee, busy
When I returned it was lunch. Again how
did this happen so quickly, or at least
seem to happen so quickly? Bring on
with his painting
the Spanish omelette!
 : : EVENT REPORT

Lunch was a lot more relaxed than

the first day, with people taking
their time and Fernando brought
out some Spanish delights. A few
different tasty meats and some
lovely cheese that went rather well
together, then some little crispy
bread sticks. These were a very
welcome addition to the Spanish
themed lunch.

People chatted and I met properly a

painter I had been a fan of for a long
time but never met, David Zabrocki.
Like so many others I have met, he
wasn’t a big ego. Quite the opposite,
in fact, and he was very easy to talk
to and happy to offer hints and tips.
He also commented he was enjoying
the course; it was great to be using
acrylics as he was mainly an oil
paint user.
David Zabrocki, showing how it’s done
58

After lunch we got back to our

figures. People continued working on
their figures’ cowls, building up the
textures. We carried on for a while;
as you know nothing is quick in this
hobby. Fernando then said he wanted
to move on as he still had stuff to
show us. We all took up our positions
around his table and he broke out the
Saxon figure that we hadn’t touched
up to now, as he wanted to show us
true metals.

He went through some theory again

and proceeded to lay down his base
coats. For this he used some Vallejo
Metal colour paints. He said in his
opinion these were the best around.
This demonstration followed the same
format as previous parts. First doing
some painting and passing round the
bust whilst explaining what he had
done and what will come next. He
went right through and once finished
he showed us a different method
using the same figure’s helmet. This
I found really interesting, as I had not
seen this technique before. He laid
down a normal colour and gave it a
glaze. Once dry, he proceeded to
work with a pencil and ‘draw’ on the
effect. I have to say it looked really
A master teaching masters effective, and again was so quick.
 EVENT REPORT : :

59
The attendees left to right: Martin, Shane, Chris, Martin, Luke, Graham, Iain, Neil, Stuart, John, Fernando,
David, Norm, Ryan, Spock, David, Mark, Martyn, & Rhys

We went back to our places and what they had learnt and generally
personally I carried on with my cowl, carrying on the good humour of
as I really wanted to work on that the weekend. All that was left
some more. It was at this time that was for the group photos; one of
we were told that the class had to all attendees and we got one of
end by 6pm. It’s OK, we have ages the FPM/Initiative Magazine staff
we thought. Looking at the clock, it and, of course, the man of the
was nearly 5pm! moment, Fernando.

Fernando asked if there was I have to say (and not only because
anything else we would like him I was involved in the planning
to show us. Leather seemed to be of this), it has to be the best
the most popular choice, so again workshop I have attended for setup,
people gathered round. This is organisation and atmosphere.
where the flexibility and relaxed
atmosphere of the class really Fernando as a teacher is very good.
showed. Some were happy to just He plans out the class in detail and
carry on with their figures on the you can see this in his delivery of
various parts, where others wanted the whole thing. Nothing is too
to watch the leather demonstration. much trouble and he is generally
enthusiastic with group and one on
After this, Fernando went round the one teaching such that you really
class again giving his help where want to go back and try your best
and when needed. Before we knew with what he has shown you.
it, it was that time to pack up! This
was a slow affair as people were It makes for very enjoyable
looking at each other’s efforts of experience and one well worth Really pleased with where I finished
the weekend and talking about going to if you get the chance. after the weekend
 Details
Price: £13 each
60

Scale: 1/12th
Material: Resin

Available from

Filbot

Filbots’ S4L Hospitality bot & N3D Quality bot

Something slightly different from me today. I’m

usually more into organic things when it comes to my
choice of miniatures. I don’t mind it to be extra weird
or creepy (in the eyes of the majority, not mine), but
so far it was mostly creatures and humans I bought
and painted. Today I have for you two lovely little
robots from a company called Filbot. I hope you’ll be
interested to read what I have to say about them.

Company

Filbot is actually just a one man company run by Fil

Dunn. He specialises in designing and sculpting mechas
and bots. You can see full range of his models either on
company’s website or on Filbot’s official facebook page.
Bots

According to what I could find

on the company’s website, there
are quite a lot of bots on Deck
77 and all of them have different
functions. Here I have only two
of them, but if you are interested
in finding out more about the
bots and mecha world, feel
free check out Filbot’s page.

N3D is in charge of repairs on

Deck 77. His job requires him to
make sure everything is up to

61
spec. He is very devoted to his
work and rushes to every alarm
without any regard for his own
safety. Sadly, focused completely
on the repairs and keeping things
going, he lacks social skills and
is perceived by other bots as
a bit of a nervous weirdo.

The S4L Hospitality Bot is the

opposite of N3D; her pristine
condition and care for appearances
are the remnants of her original role,
which was to welcome and present
the work of the deck to potential
investors and visitors. Right now,
due to her construction making
her useless for any manual work,
she plays the role of coach and
motivator on Deck 77, taking care
of other bots’ mental well-being.

Box

I received my bots not in retailer

packaging (yet secure enough), as
they were not normally purchased.
Fil was kind enough to provide
me with photos of the boxes he
ships his miniatures in. As you
can see, the packaging is sturdy
and all the relevant information
is on the top of the lid.
 Quality of the Cast

Both bots are really nicely casted.

Mould lines, although present,
are small and easy to remove. All
details are clear, with just a very
few air bubbles (in places very
easy to access). The resin used
for this miniature is really hard, but
not brittle. There is not much in
terms of texturing, as both of them
have smooth and clean shapes.
However, you can find the right
amount of detail on each of them
that will make painting them more
interesting and challenging.

Assembly

Well, when it comes to assembly,

we have 2 completely different
models here. The quality bot N3D
is very much straightforward. You
have just a body, two arms and the
62

antenna. Due to the nature of the

sculpt of this bot, everything fits
very well in the slots and you don’t
really have any flexibility when it
comes to positioning him. Well he
can be leaning forward or backward
or possibly to the side and his
arms can be lower or higher, but
the body itself is one piece of resin
and tilting him won’t change the
expression of the piece too much.
 S4L, on the other hand, will be
trickier to assembly. Tricky, but
allowing you to be more creative
at the same time. The bot is built
out of 3 balls (kinda like a snowman
;p) that are connected together
with smaller balls, via some kind
of bearing swivel. This gives you
an almost endless number of
possible positions. Combined
with positioning its arms, you can
say a lot about this bot’s mood
(attitude) just by positioning her in
certain way. She could be rushing
somewhere leaning forward, she
could be curious with her head
tilted to the side. She might be
even a bit scared, with her body
leaning back and arms raised.

Customer Experience

I didn’t buy my Filbots the

typical way (I’m painting them

63
for alternative paintjobs), but I
did check the web store and it
runs smoothly, so there should
be no problems when buying.
From the chat I had with Fil and
from his response time, I can
say with confidence that any of
your orders will be despatched
swiftly and with proper care.

Overall Opinion

I have always wanted to paint a

robot. I even bought a few, but was
always somehow afraid to start
them. All the painting techniques I
wanted to try on them were way too
far out of my comfort zone, not to
mention the assembly required...

But those two are simple

enough, almost like ‘entry level’
bots, so they should be a nice
way into the ‘bot world’.

If you fancy yourself a bot

based board game in a near
future, there is yet another
reason to buy some Filbots.
 Translated by
Francois Lozach
64

Sculpting a When starting a new project, to avoid monotony and redundancy, I

always try to find something original to sculpt. This time I did not have
Saxon Warrior to search for long; indeed, Stuart Hale, head of Stormtrooper Miniatures,
asked me to create a Saxon bust. A Vendel Saxon Warrior—nothing
Bust by Greg fancy--well in fact yes, with a fully sculpted panelled helmet and a face
mask!
Girault I will not engage myself, or you, the reader, in a full history lesson about
Painted by Ernesto Reyes Saxon Warriors, but I feel you would not like to encounter them in a dark
forest!

For this bust, Stuart let me freely choose how to equip this guy. After a
quick browse over the web, I decided not to go for a classic outfit (way
too easy) but I opt for a real challenge (more than just the helmet), by
creating some chainmail. We have also chosen to bring some animal fur
on his shoulders, giving this bust a more impressive shape. I gathered
some reference pictures and started.
Tools and Materials

For the majority of my sculpts I use Super Sculpey firm, I use also A+B putty (Magic Sculp), for angular parts like
because you can add and remove it again and again weapons, and green stuff, with its higher elasticity, for
without destroying areas around it or loss of mass below. detailing, hair and fur.
I can work for hours without it drying and when baked.
When it’s hard it still accepts new putty and also has My tools are various sizes of needles, dentist

65
the benefit of being able to be sanded so we can get instruments, rakes and shapers.
really smooth surface. More importantly, you can bake it
several times and it just gets harder.

The Process

First of all, I fix a 2cm aluminium foil ball on a brass wire,

plugged into a wooden base. It saves some sculpting
material, bakes batter and also gives stability during
sculpting. I start building a head with Sculpey. The more
realistic I can get the results, the better it is for the later
stages.
66

Then I form the face, paying close attention to and

keeping in mind at all times standard anatomy
measurements.
For this face I have decided to give
some movement, as I wanted to
depict an experienced warrior. He
will be screaming and his skin will
be marked by the weather and his
long years as a Viking raider.

Please notice that I did not fix all

facial features yet (ears, forehead,
jaws) and I focus only on the face.
In fact, I am a being a bit lazy and
working on only what is really
visible, although we need to be able
to visualise the volumes around to
adapt the following work--the beard,
helmet and its protective parts. At
this stage I decide to bake the head
at 130°C for 15 minutes so I can then
start on the helmet.

67

I mix some Magic Sculp (part A & B) and roughly place it on the head for the
helmet, cook it at 50-60°C for 30 minutes, to make it rock hard. I then use a
scalpel and files to obtain a very nice and smooth geometry.
 I start to draw the various helmet
sections with a felt tip pen.

It’s now time to start to sculpt the

torso of the character, modelling his
form and musculature. I don’t want
to overdo it, but I just place the right
68

volume in the correct place, so I

can see if the bust is balanced and
sufficiently realistic.
Once I’m happy with the result I
remove the head, which is already
baked, and I place the bust in the
oven. Meanwhile, with some plastic
rod I create some parts of the
helmet.

69
I simulate the animal fur cloak our
Saxon will be wearing, by placing
rough shape volumes of Sculpy
here and there.
70

I again remove the head to start building the protective

part. I cut some plastic card to the required size, shaping
them in hot water and freezing the form in cold water. I
will then sculpt it with scalpel and files.
The animal skin is worked on some
more by adding some folding and
blending the volumes together. I
also adjust the position of the head
and the protective face guard. You
can see here the sword beginning
to take shape, made with plasticard
and brass rod.

Using a brush soaked in petrol, I

start to smooth the sculpt.

71
The bust is baked once more. When
sculpting such a piece, be careful to
remove plastic stuff before you put
it into the oven or the results will
not be pleasant!
 The First Challenge Starts — Chainmail

Initially I wanted to build a ‘C’ shaped stamp and apply it I roll a 0.5 mm wire around a 2mm diameter rod, like a
repeatedly everywhere…This was not so realistic for this spring. Then using pliers, I split it into individual rings,
scale; therefore, I have decided to make the chainmail one by one. All those rings are then cut in two — I need
link by link. a lot of them!
72

Before launching into this labour intensive task, I made

a small test and after seeing the results, it was totally
conclusive that this was the way to go.

I smoothed on some Sculpey where I want to fix the

rings, not forgetting the forms and volumes of the
chainmail shape. Then I put the rings, one by one, to
obtain something realistic. Another baking session will
be needed.
Meanwhile, I shaped the
broadsword with scalpel and files
also adding some greenstuff and
brass wire.

Once the chainmail is baked

and cooled, I tried all the various
pieces together to test the overall
composition. You will notice I
created the nasal protection with
plastic card and the face protection
has been widened.

73
 Now it’s time to realise the sculpting of the fur texture of
the animal skin. For this I use greenstuff, because I prefer
its elasticity when doing this kind of texture.
74
The Second Challenge —The Helmet

During my research, I noticed the helmet had identical template with greenstuff. Once cured, I created a silicon
reliefs on both sides, so how then do I make this press mould. Then I have only to apply some putty in the
symmetrical? I didn’t know if I was going to be able to correct place and push the stamp into it. I do the same

75
do this, but then I found a trick! I cut a piece of plastic on the other side, with a different model, and again using
card to the exact size of the helmet parts. I then sculpt a similar stuff on helmet spine.

I then sculpt all the other protective parts and build

everything to check if the construction is clean and
symmetrical.
76

These are then removed so I can shape the hair. I protect

all the parts already sculpted with plastic film. This is not
mandatory if this is a unique master piece, but this bust
will have some little resin sons courtesy of Stormtrooper
Miniatures.

I put the head back, then using A+B I create volumes to

represent the beard and hair. Next, I replace the various
protective parts to again make sure everything fits
together correctly.
 77

During drying, I make all the little nails with a punch tool.
They will be glued one by one on the helmet.

Finally, our bust is done and ready for silicone moulding

This boxart for this bust has been painted by Ernesto

Reyes,
78
79
 Details
Price: £48/€62/$70
80

Scale: 1/10th
Material: Resin

Available from

Nuts Planet

Nuts Planet’s Odin, The Ruler of Asgard

Odin, the ruler of Asgard. Who doesn’t know this
mythological figure? There are many different ideas
from across the world, from ancient Germanic texts to
the Anglo Saxons, where he was held as a euhemeristic
figure.

There are many pictorial depictions of Odin. You

have seen him as a wandering old man, looking more
like Gandalf as illustrated by Georg Von Rosen to
Hollywood’s dramatic figure, as portrayed by Anthony
Hopkins. In all guises, he is an old man with either a
missing eye or an eye patch.

Nuts Planet, instead of an outright copy, have gone with

a mixture of the different ideals and come up with a very
impressive majestic sculpture.
As I have said many times, the figure is delivered in their
simple, very clean, modern, what you see is what you
get style box. Once you get the model out, it comes in 7
pieces excluding the plinth stem.

Having a general look over the model, you get what

81
you would expect with these guys--a very clean, crisply
detailed model. The only surprise for me this time was
quite a large gate at the bottom of the fur cape. I was
a little worried this would damage detail when trying to
remove it.

You can see from his face they have gone for the
wizened old king look for him, with his well wrinkled
face and eye patch to fit right in with the mythology. His
beard is fuller than the versions above but very ‘Viking’
in its appearance. The super detail carries on down the
figure, with jewellery and different garments to give
you lots of interesting parts to create different textures
when painting. Instead of his trusty spear Gungnir, this
version is armed with a staff, which was one of the
manifestations of this powerful weapon. There is a lovely
amount of detail on this staff. At first glance it looks like
nothing more than some twisted vines, but on closer
inspection there is a bird’s beak and even a tiny mouse
at the top.
 The last part of the piece is the
bird; this comes in 2 parts, body
and head. Looking at it closely,
the feathers are excellent and this
quality carries on to the head. This
is a great sculpt of one of Odin’s
ravens, either Huginn or Muninn. I’m
not sure which, but excellent none
the less.

This model in the pictures was

only stuck together with blue tac
and held together nicely. This is a
testament to Yury Serebryakov’s
sculpting. The sculpt has been
finished off by the master painter
Myeong Ha Hwang, who lends his
skill to a lot of Nuts Planet’s figures
and doesn’t disappoint here. This
is another masterpiece from Nuts
Planet and this range is becoming
unstoppable in strength.
82

At nearly £50 you might not

think this bust is cheap, but once
together I couldn’t get over the
size of him. He is a size and stature
that totally befits such an empyreal
figure. Highly recommended.

OK, onto assembly and that big gate

I mentioned earlier. At this point if
you don’t have an electric rotary
tool, stop and go and get one. It is
just too manly for a knife and you’ll
either end up taking a chunk out of
his cloak or yourself. With my rotary
tool in hand it was a nice job, not
very quick though, as I wanted to
be careful. I did end up finishing it
with a craft knife and some needle
files, as I wanted to get some nice
sharp edges. This was the only part
that presented an issue of any sort.
You might think that the gate on the
top of the arm would be trouble, but
then you don’t have to be too neat
as this part nestles neatly up in the
shoulder and you never see that
edge, so don’t worry if you can’t get
it exact.
Sharing passion for our hobby, tutorials and reviews.
Join us at chestnutink.blogspot.fr
 Mursi. Present Days

Company: Altores Studio

Scale: 1:10th Scale

Contact: altores.com
84

General Lasalle

Company: Pegaso Models Srl

Scale: 1:32nd (54mm)

Contact: www.pegasomodels.com

Soldier of Fortune

Company: Pegaso Models Srl

Scale: 1:24nd (75mm)

Contact: www.pegasomodels.com
 Little John, Sherwood Forest

Company: Lattore Models

Scale: 1:12th

Contact: www.mproyec.com

85
Viking Berserker

Company: Mercury Models

Scale: 1:24th (75mm)

Contact: www.mercury-models.com

La Résistance

Company: Pedro Fernández Works

Scale: 1/14th

Contact: pedrofernandezworks
 Dwarf King

Company: Dolman Miniatures

Scale: 1:20th (90mm)

Contact: www.dolmanminiatures.com

The Witch Hunter

Company: Scale75

Scale: 1:24th (75mm)

Contact: www.scale75.com
86

The Sentry

Company: Galahad Miniatures

Scale: 1:12th

Contact: www.galahadminiatures.com
 Solomon Kane

Company: FeR Miniatures

Scale: 1:24th (75mm)

Contact: ferminiatures.com

87
 Details
88

Price: £38.30/€48.77/$55
Scale: 1/24th (75mm)
Material: Resin

Available from

Nuts Planet

Nuts Planet’s Secret Agent Aida

In our monthly look at the latest
from Nuts Planet, we have
Aida. She is part of their Trigger
Miniature range. But, what’s in
the box?
On opening the nice blue box adorned with their usual
stunning paintjob of the figure painted by Ki Yeol Yoon, you
see the figure in 6 separate pieces, plus a rather nice base.

Aida, as said above, comes in 6 pieces — a head, torso, legs

and separate arm. Her gun that looks heavily based on the
Uzi, comes in another 2 pieces. This gives you the 6 parts
of this figure. The base reminds me of an old Italian cobbled
road, which is a little strange because Aida is juxtaposed
with modern clean lines, very reminiscent of Japanese
Anime films.

Aida herself is a bit of a mix; she’s East meets West. What

I mean is she has the clean angular features which are
synonymous with the anime girl who is very Japanese, but
she also looks somewhat western and she has glorious long
legs another feature taken straight form this genre.

89
 When you start to construct the model, Joo Heum Yoon’s
brilliance comes into play. As I said, you get separate torso
and leg pieces, but when you put them together they are
almost seamless. What I really, really do like are the little
things, such as her left hand which lines up so perfectly with
her pocket. It makes it a joy to build. As with all Trigger kits,
everything just ‘fits’!

The detail is great, too. Her coat has nice long trails of folds
and looks very natural in its position. She has even been
given a digital watch. As mentioned above, her long legs are
slender and the trousers continue this theme being nicely
fitted. There again is nice detail, ending in a rather elegant
way for a gun toting agent; a pair of zip up stiletto ankle
boots. A word of warning, though; care is to be taken when
cutting the tab away from the feet. Those heels are very
delicate.
90
The gun she is carrying (although not
one) smacks of an Uzi, and why not?
Even armed with a silencer, it’s a good
choice for a secret agent being able
to spread 600 rounds per minute.
Although the range will be reduced from
its standard 200 meters because of the
suppressor, she might need to get up
a little close and personal. However,
looking the way she does this shouldn’t
be a problem. I imagine her to be a
deadly beauty. Her total pose makes her
look like she is just calmly walking down
the street after a hit, maybe in a busy
market place, or even just getting out of
some fancy expensive sports car ready to
go somewhere (I think I’ve been watching
too much Transporter of late J)

Fitting her together is a dream, as I stated

above — everything just fits. This is my
usual dry fit using the trusty Blu Tack for
my FPM reviews and as you can see, it’s
all good.

91
She looks excellent put together and
really appeals to me. I can’t find anything
to say as a con for this figure, other than
what I have already mentioned about the
heels. I used a small fret saw, as I was
worried about them snapping.

This miniature is right up my street. It

appeals to my love of Anime and the
subject is great, being a fan of the
console games such as Resident Evil
with strong female agent characters
like Jill Valentine and Ada Wong, along
with characters such as Sniper Wolf
from Metal Gear Solid back in my PS2
days and films such as La Femme Nikita,
although this is more befitting of the
Maggie Q version from the later TV
series and, of course, Black Widow from
the new Marvel films. I think Aida sits in
good company here in the fantastical
world of these formidable female agents/
assassins.

This is another knock out release from

this series and I can’t wait to see what
they bring out next to top this one. This is
definitely my favourite of the series so far.
 In this series of articles, award-winning painter
Marta Slusarska is going to explain how she prepares
her miniatures for painting and displaying. Over the
92

few last years, FPM has had lots of inquiries about

the basic methods used in miniature painting, so we
thought we’d cover them in more detail, hopefully
more frequently from now on. Over to Marta.

OK, I must admit it’s been a while (more than a year What exactly is mounting?
to be precise) since the first episode of Back to Basics,
where I was talking about preparing a miniature for paint- Well, in a word it’s securing the miniature or bust to the
ing. The plan was to publish another part of the series, if base. It is kind of like pinning; not parts of the miniature
not every month, then at least every two months, three together, but the whole piece to the terrain or plinth.
tops. As usual, though, life got in the way of my plans and
kept me from doing many things I intended, not only writ- I know it’s not rocket science and most of you know
ing articles. Hopefully, this time it will go smoother and I’ll perfectly well how to mount a miniature to the base, but
be able to deliver another part of this series at least every these articles are aimed for the beginners who might
second or third issue as planned. However, as always, actually struggle with things that are so obvious to most
time will tell. hobbyists that don’t even think about it anymore.

If you are interested in refreshing the first part of Back to Why proper mounting is so important
Basics, check out issue number 23 from March 2015.
More often than not figures we paint are standing, walk-
Finally, here it is — part two of ‘Back to Basics’...but it’s not ing or even running, so the surface that touches the base
about priming like I promised at the end of the first part. is rather small. When we take into the consideration the
height of the miniature and its weight, the pressure ap-
My recent experiences with travelling with my minis and plied to this small surface area might be enormous. When
some horrifying photos I’ve seen on facebook made it the miniature is being held, handled or transported, the
clear that there is one step before priming that needs a tension might be too strong and the surface will break,
few words of explanation... mounting miniatures and busts resulting in damaged paint job or miniature.
to plinths and bases.
 I guess a good photo is worth 1000 words, so there are If the miniature is supplied with one (and base work allows
no words needed here. Below you can see some of the this kind of mounting), you can use the plastic bar con-
things that happened to me when I didn’t take enough necting miniature’s legs, or some sort of plastic rod under
care when mounting. one or both feet (what you can see on the photos below
are metal and resin examples, as I couldn’t find any plastic
minis in my stash, but you get what I mean). Both the bar
and the rod are short, but the weight of the miniature is
so small that this kind of connection will be more than
enough. If the miniature has no bar or rod or you need to
remove it in order to use your desired base, you’ll need to
drill a small hole in one or both feet of your miniature and
glue a small piece of metal wire in. Then just drill another
hole in the right place on your base and glue your minia-
ture in. The wire doesn’t need to be long, but if you use
a gaming base like I did in the photos below, it’s better to
get it a bit longer, bend it under the base and secure with
more glue.

93
I admit this happened while transporting the miniatures,
but we all like to show off our work during shows, don’t
we? So it’s reasonable to assume that sooner or later,
you’d like to take your painted treasures out of the display
cabinet and transport them someplace where more peo-
ple can see and admire them.

How to mount a miniature securely

While you are drilling your mini’s leg, always aim for the
It all boils down to connecting the miniature to the base heel of the boot so you can drill a deeper hole. If it’s
with some sort of metal rod or bar. The length and diam- not possible, i.e. the mini is standing on its toes, just be
eter of the rod depends on the material the miniature is careful not to drill too deeply into your miniature’s feet, so
cast of, the size of it and the material used for the base you won’t make the hole all way through. Always try to pin
and terrain. As well as the support that the rod gives to both feet for extra protection.
the miniature, it also increases the surface area in contact
with the glue, so this increases the strength of the bond. If the miniature is hollow inside (i.e. legs of the mount are
made in two parts and the inside is hollow), it’s good to
Plastic secure the top part of the rod with some extra glue to
make sure everything stays in place and nothing breaks
Miniatures made out of plastic tend to be really light and in transport or during the game. You can also plan ahead
usually smaller scale. More often than not, they are gam- and use some putty inside the leg before assembly, which
ing pieces and therefore mounted to a gaming base. can be drilled into for the pin to be inserted.
 Resin Mounting to scenic bases

Mounting resin miniatures is very similar to mounting There is one more thing to consider; the material used
plastic ones, but they come more often without any bars for building the terrain on the base. The reason for this is
or pins under their feet and can be much bigger and if your mini is heavy and the material used to make the
therefore heavier. In this case, a longer, thicker pin/wire scene is soft, it can break and your mini will get damaged.
is required. They’re also more often placed on elaborate It may not happen, of course, but it’s always better to be
scenic bases, so more care is needed here. safe than sorry. In my opinion when we spend so much
time perfecting our painted miniatures, why take the risk?
So if you are dealing with such a situation, just make sure
you drill a hole in the base deep enough so you reach the
plinth itself. If you are just using a gaming base without
a plinth, it’s a good idea to make the pin longer, bend it
underneath in the hollow of the base and secure with the
glue. Below you can see photos depicting how I dealt
with securing my metal Viking to the scenic base and
what happened to poor Urmuth when I didn’t mount him
properly. As you can see with the Viking, I made sure that
both ‘wedges’ under his feet are securely embedded in
the terrain and one of his feet is properly connected to
the plinth with a thick pin. It took me a while to mask the
wedge in the wood, but I still think it was worth it.
94

Metal

Properly mounting metal figures is truly crucial. They are

really heavy and like I mentioned, the contact surface
is small compared to the height and weight. So when
dealing with them, you need to be extra cautious and use
long, thick pins.

For me personally, mounting metal figures is the hardest.

Firstly, they are the hardest to drill into and heaviest, so
you really need a thick wire to secure them to the base,
especially when you are dealing with larger scales. In the
photo below, you can see what kind of ‘pin’ is provided
by Pegaso for their models. From experience I can tell
you it’s not enough…see the photos of my Templar at the
beginning of the article. J

Urmuth on the other hand needs proper re-mounting,

because the pins I used are way too short and too thin to
keep his weight. Not to mention the fact that bark is not
the strongest material. Because I wasn’t diligent enough
Of course, for small scale metal minis, the bar between when mounting him for the first time when he was still
their feet is more than enough to secure them to the base. unpainted, now I will have to deal with drilling bigger and
Sometimes it can get in a way of your basing idea, so it longer holes, both in the base and in his feet, while he’s
might be beneficial to remove it completely and pin with a fully painted. I will then have to repair all the damage to
metal wire. the base work and paint job, making sure there is no sign
 of the repairs being done and matching the colours used Directly to the plinth
exactly. Trust me; it’s not worth it to be lazy. It would have
been much easier and faster doing it properly the first If the bust is elongated toward the bottom with a flat sur-
time. face underneath or when it comes with some sort of ‘leg’,
we can glue it directly to the plinth. It is always a good
practice to pin it as well, no matter how big the surface
area are we gluing. Below you can see various types of
busts that can be attached directly to the plinth.

95
Mounting a bust

Busts are slightly different things when it comes to mount-

ing them. They are usually a bit stubbier in their overall
shape than full miniatures. After all, they only show the
subject from the shoulders or waist up and there is no
terrain between the bust and plinth to take into consider-
ation. Still, we need to make sure that they are secured
to the plinth properly. There are two ways how we can do
this, depending on the shape of the bust.
 For accuracy I start with a small guide hole, then drill it
again with a larger bit, then finally with the full sized bit
that fits the diameter of the rod you are using. In the pic-
tures, I am using a 3 or 5mm aluminium tube.

When drilling the miniature, I usually drill the hole slightly

wider than the rod itself to leave some space for adjust-
ments of the position, if needed. When I’m happy with the
position and the rod is glued in place, I simply fill the gap
with putty and sand it off later.

Drilling the hole in the plinth is basically the same. There

is only a small distinction between mounting a bust on
rods to wooden and resin plinths. The trick is to make
sure it’s mounted in the middle of the plinth and the rod
is perfectly vertical (unless you need to move the drilling
point in order to balance the bust better). I use masking
tape, placed diagonally from corner to corner across the
top surface of the plinth and then draw a line with a sharp
pencil along the edge of the tape. Do the same again,
going diagonally from the other two corners. Where the
pencil lines cross marks the centre of the plinth.

If the plinth is tapered, drill at a safe angle to the surface

96

of the plinth until the point of the drill bit is a good couple
of millimetres below the surface, then slowly lift the spin-
Using a mounting rod ning drill to a vertical position.

When using a mounting rod, you need to first glue the rod
in place into the bust. It’s better to do it before painting, so
there is no risk damaging the paintjob and the rod can be
used to secure it to a temporary handle or straight to the
plinth.

Finding the right spot where to drill on the bust can be bit
trickier then with the plinth. You need to take into consid-
eration the shape of the bust and find not the geometric
middle, but the optical one. If the bust is front or back
heavy, you may decide to move the rod slightly forward
or backward to make sure the whole piece balances itself
better. It is all in the eye of beholder, to be fair. Some peo-
ple stick to the geometric middle religiously, while I tend
to go for a more pleasing, balanced look.
Resin plinths are easier to work with, mainly because Below you can see some of the examples painted by me
the material doesn’t chip. It’s sometimes better to make and box arts from Nuts Planet I had a chance to pho-
the hole slightly wider, so that the rod has some move- tograph during Euromilitaire last year. As you can see
ment (photos) which we use to make sure it’s in perfectly from the stickers on the entry cards, they got very much
vertical. Once the rod is firmly secured with glue, fill the deserved gold medals there (box arts—not my work of
gap with the putty of your choice, sand smooth and spray course, at least not those J).
black like you would normally do. Viola – job done!

With wooden plinths it’s slightly more complicated, mostly

because it does tend to chip if you’re not careful. Wooden
plinths are usually just varnished so we can see the beau-
tiful grain, but if you paint a wooden plinth black, just treat
it as you would a resin plinth: fill, sand and paint. If you
want to keep the original colour, first of all you need to be
a lot more careful when drilling the hole. If it needs some
filling, you have two options. Firstly, you can fill the gap
with some wood filler and then sand it when it’s cured. If
you need to, copy the pattern of the wood grain onto the
filler with acrylic paint, matching the colours needed and
then varnish it at the end.

97
The other option is to use a small metal washer that you
use with nuts and bolts to cover the filler. In this case you
need to match the material/colour of the rod with the
separator (with wooden plinths we tend to keep original
colour of the rod) and make sure that the diameter of in-
ner hole of the washer is exactly the same as diameter of
the rod. It looks really sloppy if you leave a gap between
the separator and the rod.

Using wooden plinths can give beautiful results and there

are lots of different woods and types of plinths to choose
from; for me personally, I don’t like the extra hassle de-
scribed above and I think that sometimes the decorative
plinth can take the viewers’ attention away from the bust,
so I tend to stick to resin plinths and paint them all black
to better show off my painted piece.
 When to mount Aesthetic aspects of mounting

Depending on the shape of the miniature and the size of There is no denying that when we spend weeks on
the base/plinth, there are two options. painting a miniature, we want it to look its best, whether it
is in a display cabinet or on a competition table. It should
We can either attach the miniature to the base before also matter how the miniature looks on the gaming table,
priming and paint them at the same time or we can pre- but I can understand that the aesthetics may not be the
pare a proper mounting pin and corresponding hole in the top priority for most gamers. Let’s focus only on display
base and paint the miniature and the terrain separately. pieces, then.

Both approaches have their pros and cons; you need to When talking about the aesthetics of mounting, we can
decide what works best for you. Personally, I tend to paint divide it into three elements.
my miniature separately from the base. I assemble them
temporarily only when I need to apply general lights and It is very important to make the mounting as clean and
shadows that aren’t zenithal (for zenithal lights I can easily flawless as possible. There is no place for lumps of glue
apply them separately). around a miniature’s feet or on the mounting rods. All
chipped wood should be fixed or masked somehow.

Also the joining line between the plinth and scenic ele-
ments of your display should be invisible. It’s not really a
crime against humanity to have a gap or make the sides
of your base/plinth uneven, but the subject of this point
is aesthetics and it’s just not very aesthetically pleasing.
It’s just few more minutes of work more and the whole
98

impression of the piece is much better.

This is the main reason I prefer black plinths for my

miniatures. I do find exceptions for busts from time to
time when it suits the theme, but for full figures it’s almost
invariably black. I did the exception twice and in one case
I still kinda regret it, as the black sides of the steps are still
sore in my eyes. I don’t really have any other examples
of bad aesthetics (at least I hope I don’t), so check out my
Templar’s base. The sides of the steps look out of place,
don’t they? However, it would make even less sense if I’d
try to match the wood texture there. I still quite like the
rest of the paint job, though.
 Actually, there is one more thing you need to take care of. Finishing touches
I’m almost ashamed to mention it, but it is important. Your
plinths and bases need to be clean and properly painted. To complete the display/competition piece, we usually
Below you can see a photo of a plinth with a miniature I use a plaque with the name or title of the miniature or
was still working on. As you can see, the paint has been diorama. You can either order engraved ones from the
removed from all of the edges by my hand. So before this trophy store or a company specialising in making name
mini could be called finished, it all needs to be repaired. plaques for miniatures, or you can make one yourself. The
You should also dust your miniature and check for this engraved ones are usually more formal in character and I
kind of thing before every show. tend to use them for my historical miniatures and busts.

For the home made name plaque, the sky (and your cre-
ativity) is the limit when it comes to using techniques and
materials. You can make them out of thin metal sheets,
plastic, paper, foil, wood or even putty. You can freehand
the name of the miniature, print it (on paper or special foil),
you can scratch it out, burn or punch out or even use dry
transfer letter or your own designs printed on clear decal
paper.

I gathered a few examples of different plaques for you;

just a sample, really. There are countless ways you can
create your own unique plaques, making your miniatures
stand out even more. The main thing to remember is that
the plaque should complete the piece, not compete with it

99
or distract the viewer from the main subject.

Choosing the right plinth for your miniature or bust

Well, that’s a tough one, as it’s the most subjective thing.

If a miniature is poorly attached and falls off or if you can
see glue blobs or chipped wood, it’s pretty clear there
is something wrong here. But the size and shape of the
plinth is just up to the personal choice of the painter.
Some people prefer their plinths to be taller and slimmer,
others like them bulkier. Some people will almost always
go for a square/rectangular base and others will opt for
the round one. For busts, there are also plinths with flat
and tapered tops. If the bust is mounted on a rod, it’s ab-
solutely up to the painter which one he or she chooses.

And when it comes to the material that the plinth is made

of, you can get them turned out of wood with some very
exotic or unusual wood patterns. You may decide to keep
the wood just varnished or spray it black. You can also just
go for a simple, but elegant black resin plinth.

You see, the possibilities are almost endless and because

of that, I can only suggest looking at the miniature and
plinth together to best judge if the size and colour are not
too overwhelming. Check to see if the main subject of the That’s all folks for this episode.
work, that is the miniature and the story it’s supposed to
tell, are not disappearing in the shadow of the plinth. I hope I explained everything clearly and you can find
some useful information in this article to help you with
When it comes to the shape (round or rectangular, flat or keeping your miniatures safe and sound.
tapered), just determine what suits the miniature better.
Some of them, especially busts, look really weird if put on In the next part, I will be covering priming and last minute
the wrong type of plinth. fixes before we move onto painting.
 Details
Price: €40
Size: 75mm
Material: Resin
100

Available from

Fantastic Miniatures

Fantastic Miniatures Krieg

Kreig arrives securely packed in a beautiful stylised
black gift box with the Fantastic Miniatures brand
logo emblazoned on top. The box looks very classy
and makes the right kind of statement. Once the lid is
removed, I am pleased to find a painting tutorial. It’s
the box art painted by Marc and (for once) the tutorial
that comes with a miniature is not a disappointment! It
is comprehensive and concise and the pictures show
different angles. This is only one approach to painting
this bust, but even if you decide to go your own way
there are some useful tips. It is only in English though,
so there may be a few customers who will need to
make use of Google translate. That said, the tutorial is
a generous extra and not the primary reason we buy a
miniature.

Once I have finished admiring Marc’s handiwork, I

remove the first layer of foam. The bust sits snugly, but
be warned; it’s like a Rubick’s cube. Once messed up it
will be a task remembering where the bits go to make it
just right again.

The four parts are the head and torso, the sword, a bone
and shoulder pad and a crest pin.
 apocalypse. They took this character and enhanced it to
make it more interesting for the painter. You can see this
with the bone armour plate. FM also explained that the
face was modelled towards the strong angular features
recognisable from DC comics during the 80’s and I feel
that it gives the character a more universal appeal. I
do like the fact that they have considered and made
changes with a view to adding areas of interest for the
artist.

101
The parts fit together utilizing the ball and socket
method, although strictly speaking the bone armour
plate ball is actually triangle shaped and not a ball… I will
leave you to ponder whether I should call it a triangle
and socket.

Under close scrutiny I find a small mold line on the rim of

the bone armour plate, but as far as prep work goes that
is it! There are no air bubbles, no flash and no other work
needed. The 3 main parts slot easily together and the
crest is an optional piece that can be placed where the
artist sees fit.

Inside is also a puzzle piece which interestingly

represents the collaboration of each buyer; once the
busts have all been sold, the puzzle will be complete.

I spoke with Sergio of Fantastic Miniatures. Many of you

may remember the brilliant sculpts they released under
their previous name, Shadow Crafter. This is the first
release as Fantastic Miniatures and I’m so pleased they Overall this is a cracking first release that lives up to the
have retained the quality. new moniker. They also have some wonderful releases
planned for the not too distant future, so if you want to
The bust was influenced by the ‘Darksiders’ video see what they are, head over to the online shop or catch
game and notably the character ‘War’ who is the them on Facebook.
main protagonist and one of the four horsemen of the
102

So, the dust has settled on what was a very

successful SeminART. In our last issue, we brought proudly presents

you the first part of Fernando's painting tutorial

where he details the techniques he taught us over
a series of seminars bringing the best
the weekend. As before, over to Fernando. European artists to the UK

Welcome to the second part of my new painting step-by-step!

If you haven't read last month’s introduction to this tutorial, I’ve painted a
couple of mini-busts from a line that we have recently launched, Portraits from
the Middle Ages. It’s quite an interesting subject because for this line we are
going to do pairs of mini-busts with the same theme, most likely a campaign,
a battle or a certain location or period, so the individual pieces will be related
to each other. To start off, we have chosen something quite popular, the Battle
of Hastings, which happened in 1066 in England.

by Fernando Ruiz
 51 52

Moving on from last month, I thought it was the right That way we get some sort of metallic chocolate brown
moment for painting the metal parts on the Saxon bust, that will be very interesting to have underneath. For the
before starting with the main cloth areas. It is better shadows, I applied some rough staining and washes with
to first finish the upper areas, so we can paint them in Periscope on the lower areas and joints.
a precise way without worrying of touching the lower

103
parts; the wise choice was to continue with the helmet.
For the helmet I wanted an iron look, somewhat rough
and battered. This way, no matter how much you polish
it, it would always look rusty and worn. First, I painted
it with a mix of Tinny Tin from Game Color and Black
Leather.

53 54

What we have is an interesting and colourful foundation I used this basecoat of Tinny Tin and Black Leather with
for the helmet that will be there even when it gets a bit of Gunmetal Metal by Vallejo Game Color, applying
metallic paint over it. Next is the first coat of metallic. the colour with the tip of the brush not trying to cover
just trying to build towards the upper part of the helmet
and showing underneath both the basecoat and the
blueish lower shade. Also, avoid any drybrushing and
just stipple with the tip of the brush to create the effect.
Next, I insisted a bit more, now with Gunmetal Metal.
 55 56 57

Then I used a mix of Black and The next step was to mark After that, I applied Green Ink and
Sepia Ink to outline the different scratches and points of highlights Red Ink by Citadel to the lower parts
joints of the helmet and also the with the Silver tone of the new to enhance all the previous tones.
rivets. acrylic Metal Color range from
Vallejo (highly recommended), to
represent parts in which the metal is
sharper because it is more rubbed.

58
104

59

And finally, a bit of rust in the lower

joints.

Again, I had to be very careful with this rust effect in

order to avoid it looking too rusty. For that I used Orange
Leather by Scalecolor, a perfectly matt tone. Also, I
took the chance to paint the nose guard pieces of both
helmets with this tone.

For the chainmail, I used the new range of colour by

Vallejo, acrylic Metal Color. They are aimed for airbrush,
but you can apply them pretty well with a brush and in
this case the good thing about this colour is that it is
quite liquid but at the same time it covers, so you don’t
have the usual problems that you have with acrylic
metallic colours (they get rough and not too clean). With
this range, you have no such problems and you can
apply a good and solid coat of colour without having to
worry too much of having a rough surface.

So, I applied a basecoat of coat of Burnt Iron in a couple

of coats to the whole chainmail areas and it already
looked good.
Then I added some strong shadows.
I wanted it to look dark as it was 60
going to be underneath the rest
of the elements. These shadows
were done with a few washes with
Red and Green Inks, to add some
interesting tones and later with Blue
and Black Ink, to obtain the needed
depth on certain spots. All inks were
from the old Citadel range, so they
are quite shiny.

105
61
 As you can see, I treated the
62 chainmail as if it were another
piece of garment. If you do it that
way, instead of the usual system of
picking up the relief of the chainmail
links, you really enhance the
sensation of volume of it.

To finish the chainmail, I added

some highlights but following the
upper side of the file of rings, so I
applied very thin lines highlighting
the different links. First of all I
used the basecoat tone and then I
added Silver to get some additional
touches.
106

Before leaving this this bust for now,

63 I painted the strap of the helmet in
the same colour and the same way
I did with the one of the Norman.
Also I painted the leather edge of
the chainmail that frames the face
with a bit of Cork Brown, a couple
of the previous inks of Red, Blue
and Green and highlights with
Scalecolor Pale Skin.

So, for the moment I left this one

and went again to the Norman.
The gambeson is the biggest area
of the Norman bust and it is quite 64
interesting because it has a lot of
folds and tension wrinkles that need
lot of contrast to be applied on
them in very small space from the
darkest point to the top highlights.
These kinds of garments used to
be dyed to a certain tone but also
were worn in the natural colour
of the linen they were made of. In
this case I wanted a dyed colour
because it would help in the
project of using corresponding
colours in both busts, so I decided
to do a nice deep red. First of all I
painted a basecoat of Deep Red by
Scalecolor.

107
After that I added a couple of
washes, first with Red Leather by 65 66
Scalecolor and then adding to it a
bit of Boreal Tree Green.
 That way I got the needed depth in all the wrinkles
and the divisions of the vertical straps. You can insist 67
with the darker pure mix in the most hidden points to
enhance the shadows. The next thing to do was to work
on the highlights section by section. In these kinds of
big extensions, I usually work in one area at the time in
order to get an idea of the final look and then I move
around the whole piece finishing the remaining parts of
the same material. So, first I went for the left front side.
I applied some extensive highlights with the original
colour, Deep Red, just to bring back the red to the
garment.
108

As you can see, my main concern is marking all the

wrinkles and micro volumes. Don’t worry too much of 69
being clean here, because there is a lot of contrast going
on and you can always work on that later if you need
it. Then, for adding additional highlights I used a mix of
Aldebaran Red and Iroko, both from Scalecolor, and I
added that mix to the Deep Red of the basecoat. That
mix is a slightly pinkish tone that works perfectly well for
enhancing the deep tone of the basecoat. So I applied
the highlights in 2 applications, each one lighter than the
previous one and the last one just marking the edges of
the wrinkles.

68
 70 71 72

To finish the area, I added pure

Aldebaran Red as a medium
tone in the transitions that would
enhance the richness of the colour
while helping smooth any rough
transitions.

73 74

109

The point is applying the colour very thinned and using it in the mid tones to
bring back the intensity of the red just only a bit, not trying to overdo it. As I
liked the result I simply painted the other sections of the gambeson following
the same procedure until everything was finished and balanced.
 Taking advantage of the same mix of the gambeson, I
75 painted the sleeves of the shirt of the other bust in red.
That way I don’t have to mix colours again. The colour is
basically the same, but instead of going for a paler look
in the highlights I made it a bit warmer adding Orange
Leather from Scalecolor in the highlights in order to make
it slightly different from the gambeson.

For the next part,

76 I returned to the
Saxon. To finish the
main body of him,
I just needed to do
the cloak. In order
to keep the visual
look of the busts
balanced I thought
that would be a
good idea to paint
it in green with a
rich texture of wool
fabric. So, for the
110

basecoat I prepared
a mix of Abyssal
Blue and Boreal
Tree Green from
Scalecolor.

What I got was a

blue-green tone that
was very consistent
with the colour of
the helmet of the
other figure.
After painting the basecoat, I applied a
77
couple of washes with Black to define
the volumes of the folds and get
additional shadows.

111
 For the highlights, I would do
78 the same technique I used in the
Norman’s hood, only using a range
of greens so the final finish would
look less dirty and more like a richly
coloured wool. First, I prepared a
palette with the different tones of
highlights I was going to use; the
mix of Abyssal Blue and Boreal
Tree Green, this mix with a bit of
Ardennes Green, pure Ardennes
Green and also Spring Green for
the final highlights, all of them by
Scalecolor. What I did was adding
the highlights as a small series
of dots in order to create the
sensation of a really rich fabric that
goes lighter towards the upper
highlighted areas. It’s a very easy
way to paint highlights and shadows
in a fabric and also it saves time
because instead of having to add
highlights and shadows first you
112

start doing all the highlighting and

shadowing process as you add the
pattern on the go. I started with a
small part of the cloak.

79 80

Then I added more contrast while working on making the When I decided I liked the result, I simply painted the
layer of points much finer. rest of the garment, each section at a time, trying to get
an overall balanced look. Also, I included a pattern of
dots in certain areas with Orange Leather and Deep Red,
both from Scalecolor, in some scattered points to add a
bit of richness to the overall result.
 81 82

The next part would be the Norman shield, which had After that, as the surface we are working on is quite
to be painted on both sides. I considered the outer side small and the final effect should look rough, I simply
as a piece of cloth or painted leather that would be added some stains towards the upper area with a mix of
covering the wood planks of the shield and the edge Orange Leather and Iroko by Scalecolor to the basecoat.
reinforcement as made of leather. I started with the most

113
visible part, the outer side that would also require a
freehand design.

Keeping in mind the choice of colours, for the basecoat

I used Abyssal Blue by Scalecolor applied in a couple of
layers.

83 84

What I wanted was a light pale orange. If you mix this It is useful that I used the basecoat colour in the mix
with dark blue, you get an interesting colour that is a bit for the drawing, so in case I made a mistake it was
greyish. The orange is complementary to the blue, so easy to cover. After that I simply made the colour more
you get the sensation of a worn out blue that is looks noticeable by saturation and I better defined its shapes.
cool on this kind of shield. Adding much more of the mix
of Iroko and Orange Leather, I obtained an even lighter
colour that would be great for the freehand design. I
outlined the shape of the emblem that was some kind of
medieval dragon with a dog-like head and wings.
 85 86

I then started playing with this tone and the basecoat to For finishing the shield, I gave a couple of controlled
add some imperfections and some cuts. I’m not a big fan washes with Skrag Brown by Citadel on the inner parts
of having too many cuts in the shields because, if you of the motif itself to add more depth and also I’ve
think about it, as it’s a cloth or leather cover, it should applied a bit of green here and there. You can add a
be broken. I prefer to do some scratches and minor lot of colours here in the form of scratches and stains,
114

imperfections. because they add a lot of character.

87 88

The back of the shield is pretty simple. I painted the Then I started adding washes with Skrag Brown, Brown
wood planks in Iroko. Leather and Black, concentrating the layers towards
the inner and lower part of the shield so you get the
sensation of dirt, but the kind of dirt you can produce on
wood because you have been touching it a lot.
 The trick is to play with the texture
89 sculpted on this part of the shield
so you get a better result. Also, I’ve
added a couple of scratches that
were essentially dark colour painted
lines that break the lines of the
grain.

Finally, I highlighted the planks very

carefully, first with Iroko and then
with Pale Skin by Scalecolor over
the edges and some bits of the
grain that will be noticeable even if
the shield is glued on place.

It only remained to do the leather

edge reinforcement, which is also
very simple. I applied a basecoat
with a mix of Vallejo’s Glossy Black
and Dark Flesh, an old Citadel
colour (similar to Cavalry Red from
Model Color). That way I have a
glossy dark brown to start with.

115
90 91

After that I started highlighting with Brown Leather until I Then I added additional highlights with Brown Leather
ended up applying pure Brown Leather. and Iroko.

92 93

That would be the end of this part. I just had to paint the
head of the nails to put everything in place, but I waited
until I had to paint some other metallic bits to paint.
 The last part of the Norman bust would be the leather
94 belt crossing the chest and holding the shield in place. I
used the same mix that I used for painting the straps of
the gambeson. For the basecoat, I used the Dark Flesh
and Black Ink combination that I’ve used for the shield,
but I went for another colour for the first highlights, in
this case, Scalecolor’s Dubai Brown.
116

95 96

I also incorporated Pale Skin for the final highlights. That To finish, I added a couple of washes with Spring Green
way you make worn leather that looks really interesting. to make it look different from the texture painted in the
hood and applied the final highlights with pure Pale Skin
in the edges.
 97 98

Basically, the Norman knight bust is finished except for I planned a rough surface, because these axes’ surfaces
some details such as the shield’s rivets. For the Saxon, are not really smooth and they even tend to get rusty in

117
only the gloves and the head of the axe remained. I took the nooks. After applying this basecoat, I used a bit of
the chance to paint the shaft with the same tones of the Periscope to add some additional shadows to the lower
wood of the shield to gain more coherence. part of the metal head.

First, I painted the metal head of the axe. I started with

a mix of Black Leather and Tinny Tin, as I wanted a rusty
iron surface for the basecoat.

After that, I did the main metallic

99 work with the aid of a simple Ikea
pencil I had around. The graphite
has exactly that not so shiny
metallic tone I wanted. I started
“painting” with the tip of the pencil
in a rough pattern, trying not to
leave too many lines, but more
like dots or marks to create an
overlaying pattern of applications,
heavier towards the top of the
piece.
 100 101

After that, I used Silver by Game Color to enhance the With a bit of Orange Leather and Deep Red I added
top edges and a few scratches here and there, and some points of rust which accumulated in certain areas.
finally, a wash of Periscope again towards the lower
edge just to unify and integrate the whole thing.
118

102 103

The last part were the gloves that I’ve decided to paint Then, I added a couple of washes of Dubai Brown plus
as worn buff leather, as I wanted them to look lighter so Black Green by Model Color to make it appear a bit more
they could stand out in front of the green cloth of the greyish and greenish and add some shadows.
Saxon housecarl.

I started with a basecoat of Dubai Brown.

Then I applied a bit of Black to outline the
different seams of the gloves. 104

And finally I started highlighting back the

gloves. First of all, I used Dubai Brown and
then added Iroko and, for the final highlights,
Pale Skin. That way we have realistic looking
buff leather gloves.

To finish, I added a couple of washes here

and there in the midtone areas with Skrag
Brown and a bit of the green colour, Black
Green.

I just needed to glue everything in place and

the work was finished!

Hope you enjoyed the process

FeR

105

119
106 107
 Details
Price: €45
120

Scale: 1/9th
Material: Resin

Available from

FeR Miniatures

FeR Miniatures Sha’un, Ram Tribe Warrior

Today I have for you a miniature that is very special
to me. It is a piece that was on my mind for months,
unavailable (due to a store being initially closed for
remodelling and then just closed) without any assurance
that I’d ever be able to buy it.

So when I learned that Fernando from FeR Miniatures

bought masters for most of the Raffaele Picca’s Forged
Monkeys line, I was both hopeful and terrified. What if
he didn’t buy this particular model? You can imagine my
relief when it turned out that Fernando bought it:D

So ladies and gentlemen, without further ado, I present

you Sha’un, Ram Tribe Warrior. He is one of the most
famous warriors from the clan of ram beastmen living in
the cold, harsh and misty tops of Mountains of Gulgoth.
A few words about the character

Once upon a time there was a girl who liked to wander

through mysterious and fantastic lands and destroy, kill,
exterminate (you name it) the murderous scum of monsters.
She was quite good at eradicating all evil from this magical
land. At last until she entered the Arcane Sanctuary of an
evil, yet very powerful mage. And there she got her bottom
kicked all over the place...by goats... Well technically
goatmen, but yeah... goats...

She finally managed to defeat those formidable enemies, but

the bitter taste of defeat stayed with her for a long time.

Yes, you guessed it right. The girl was me, years ago, and
the game in question, Diablo II. And even though I believe
I encountered this type of monsters earlier in the game (or
later, can’t remember the whole storyline exactly anymore),
I never had such problems with getting rid of them in any
other location. So for me they will always be associated with
Arcane Sanctuary and serious bum kicking. Surprisingly
though, I never had any problems with them in DIII;]

121
Even though there is a whole other story about the character
published on the FeR website (check it out, it’s quite
interesting), for me Sha’un will always remind me of the
Diablo II goatmen. This association is so strong in my head
that there is no other way for me, than to paint him like the
bloodthirsty creature conjured from chaos by evil magic.

Box

It comes in a standard FeR box;

plastic, quite deep with a photo
of a lovely paintjob on top and
with thick foam inside for extra
protection. Nothing fancy, being
fair. It is just a secure box, but
for me proof that you don’t need
to spend big bucks to provide
your customers with secure and
aesthetic packaging. Trust me, if
you’re anything like me when it
comes to luck and the Royal Mail,
or any other delivery company for
that matter, you’re gonna need
any bit of security and support
from the producer you can get.
And yes, of course, a beautiful
box makes us feel special and the
whole process of unpacking the
miniature even more exciting, but
the main goal of the packaging is
security of the contents.
 Quality of the Cast

I gave this bust a very thorough

inspection and I’m really happy with
what I found. The cast is not perfect.
There are some small mould lines
and remains of vents that need
to be removed, but everything is
in the right place and easy to get
rid of. There are no unreasonable
cuts in weird places, no need to
dig deep to remove excess resin,
no unexplained blobs of resin...just
a complicated bust prepared for
casting and then produced the best
way possible.

I admit, I’m no specialist when it

comes to preparing miniatures to
be produced or casting itself, but
sometimes miniatures are divided
in pretty weird places (at least from
painter’s point of view) with mould
122

lines running through vital parts of

detailed work, making prep work
long and painful.

The only thing that could be better

for me personally is the back of the
bust. I prefer them being smooth
rather than so heavily textured
and a bit fuller, but it’s my personal
preference and it doesn’t make
the bust any worse. In fact, it might
even contribute to the reasonable
price of the bust. After all it’s just a
chunk of resin, that if present, would
most likely contribute to the final
price of the product.
Details and Texturing

I’m looking at all the parts and keep thinking what to say
and how to describe what I see and what I feel. I think I
can only say this: the bust is perfect when it comes to the
balance between some really nice textures and smoother
surfaces; it simply is.

All metal parts, all leather and bone/horn elements are

very carefully detailed to make these elements interesting
to paint, but at the same time, the skin on Sha’un is
beautifully smooth, and the fur, while detailed in the
sculpt, has nice smooth surfaces of each strand of hair,
making painting it a real pleasure.

Assembly

As you can see in the photos, this bust consists of quite

a few parts. It’s rather not that common, with most busts
having only one or two parts, but not absolutely unheard
of, either.

Sha’un has a separate head, horns, tribal pendant and

123
some (at least I think so) optional elements: a fragment of
the armour that goes on his helmet and 3 horns that can
be attached to the shoulder pad.

After filing some excess resin and dry fitting the parts, I
must say that they don’t fit like a glove and some filling
will be required; the horns, pendant and spikes will most
definitely need pinning. The only trouble will be with the
pendant, as it is really thin so you need to find a really thin
drill and wire to make sure it will stick. That being said,
it is pretty complicated miniature and still bloody good
prepared for assembly. There are no cuts in weird or ill
planned places. Every joining point can be easily masked
with a bit of putty. A+ from me here.

Customer Experience

Every time I deal with FeR Miniatures, either online

or during a show, I’m always impressed by their
professionalism. All the orders are dispatched quickly and
personal service is simply impeccable. But there is also
the other side of meeting face to face with Fernando and
his wife Elvira; their sense of humour and down to earth
attitude. It’s always a real pleasure to meet both of them.

Overall Opinion

I admit I might not be fully objective here. I love this bust,

I simply love it. I wanted to have it for such long time that
I might be slightly biased in favour of this piece. On the
other hand, it is a truly beautiful sculpt, full of character,
very well casted and a pure pleasure to paint. What’s not
to love? This is another great release from Rafaelle Picca
and FeR.
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 Conrad Kurze by Ryan Allen
126
 127
Khalgrim Gunnarson by Juan Ignacio Corujo

Jessica Thunderhawk by Gary Smith

Roboute Guilliman by Nicole Matano

 “Here we go, Ladz!!” by Juan Ignacio Corujo
128
The Riding Hood by Enrico Collenzini

129
 Also available
The Old Gnome &
The Gem Smith
plus many more
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