Fantasy Figures International - Issue 11 - July-August 2021

THE BEST IN FIGURES, FANTASY AND SCI-FI
Issue 11 • £4.95
July/Aug 2021
FIGURES
ISSN 2633-0474
11
9 772633 047011
I N T E R N AT I O N A L www.fantasyfigures.co.uk
pages of ID4
84 features
& reviews
Independence
Day Alien
Attacker
Space
NUN
Sylvain Aubut paints
a Sister of Battle
Painters in
Profile:
The Tin Cop Patrick Kamsma
M.a.K. Scandi-Style and Jon Gómez
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Inside Issue 11
CONTENTS
74 56
62
The Little Patrick
Traffic Cop Kamsma
40
COVER
RE
FEATU
ID4: Independence Day The Nun

Managing Editor: Published by Guideline Publications and or Guideline Licensed Publications Ltd,
David Grummitt Unit 6 Kensworth Gate, 200-204 High photographs, drawings, and plans used
Street South, Dunstable, Bedfordshire LU6 in the magazine and or book become the
Sales & Marketing Director:
3HS. +44(0)1582 668411 publisher's copyright under copyright law.
Tom Foxon
e-mail tom@guidelinepublications.co.uk The company reserves the right to suspend
(tom@guidelinepublications.co.uk
or refuse any advertisements without giving
Tel: +44(0) 7540153368 www.guidelinepublicatons.co.uk
reasons. Whilst every care is taken to avoid
Contributors: Magazine Licensing & Syndication: mistakes Guideline Publications Ltd and
Sylvain Aubut, Fredrik Håkansson, José Luis Guideline Publications publishes top quality Guideline Licensed Publications Ltd cannot
Lopez Ruiz, Jon Gómez, Patrick Kamsma, magazines, books & bookazines. be liable in any way for for any errors or
Robert Lane, Benjamin Lycett, Javier Molina, omissions. Nor can the publication accept
Guideline Publications publishes a wide
Allezander dela Reuda, Don Suratos and the responsibility for the bona fides of
range of publications that are available
Andy Uhrlau. advertisers.
for licensing and reproduction around the
Design: world. You can find out more by contacting
Andy Whittaker Tom Foxon.
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4 FANTASY FIGURES INTERNATIONAL

84
The best in pages of
figures, fantasy modeling
FIGURES
I N T E R N AT I O N A L and sci-fi and painting
CONTENTS
27 34
A Transformer
Transformed
67
The Tin Cop Jon Gómez

06 Editorial 52 Destroy the Death Star!
Allezander de la Rued captures a moment from the
08 News and Reviews Battle of Endor.
We review the hottest releases from across the hobby.
56 At the Bench: Patrick Kamsma
14 New Kit Releases Robert Lane tracks down a modern-day Dutch Master.
What’s new on the market.
62 The Nun
18 Let’s Meet The Maker Sylvain Aubut returns with 40K-themed bust.
Benjamin Lycett of Cerberus Studios
67 Jon Gómez
20 Deadly Encounters FFI talks to one of the emerging talents in the hobby.
Dave Oliver prints and paints an impressive
piece from Archvillain Games. 72 Sign O’ The Times
Andy Uhrlau aka ANDIGO.
27 The Tin Cop
Fredrik Håkansson offers a small reflection 74 The Little Traffic Cop
on the subject of traffic cameras. by Creative Green Stuff World.
34 A Transformer Transformed 80 Book Corner

Don Suratos builds the NBK TF Engineering Devastator.
82 Facebook/Next Month
40 ID4: Independence Day
José Luis Lopez builds a kit from the Sci-Fi classic and
recounts some little-known facts about the 1996 film.
FANTASY FIGURES INTERNATIONAL 5

Welcome...
ilm and television are a big part of what inspires us and our contributors
F
EDITORIAL
here at FFI. Our centrefold this month is a superb tribute to the 1996-film
Independence Day. I remember seeing this film myself and it made a big
impression. Star Wars, as regular readers know, has been a constant theme
since the magazine’s inception and this month we also have a piece inspired
by Simon Stålenhag’s recent Tales from the Loop series on Amazon. When Star
Wars first came out, a trip to the cinema was the only option you had to see
the film, while by 1996 you had to wait for the film to come out on video and
then make a trip to Blockbusters to enjoy it again. How times have changed!
David Grummitt Now Netflix offers instant access to a huge range of Gundam animated films,
Managing Editor
Guideline Publications while Disney+ gives you access to the entire range of Star Wars films, The
davidgrummitt942@hotmail.com Mandalorian, The Clone Wars and more. The danger is, I guess, we spend more
time watching TV in search of inspiration than we do actually building and
painting models!
This issue of FFI has a wide range of subjects and approaches to the hobby.
Dave Oliver kicks off with a fascinating description of his first steps into
3D printing with a superb piece from Archvillain. Next, Fredrik Håkansson
presents a superb Scandinavian take on the world of Maschinen Krieger with
his ‘Traffic Cop’ diorama. Allezander de la Rued returns with an innovative
way to display some of Bandai’s Star Wars kits, while Don Suratos tackles a
Transformer. For figure painters we have a real treat from Sylvain Aubut who
paints a large-scale bust inspired by Warhammer 40K’s Sisters of Battle. We
also have profiles of the very talented Dutch hobbyist Patrick Kamsma and
Tom Foxon Spanish painter, Jon Gómez. We’ll be seeing lots more of Jon’s work in future
Sales and Marketing Director
Guideline Publications
issues. Our centrefold this month is a
tom@guidelinepublications.co.uk great piece of Sci-Fi modelling from the
+44 (0)7540 153368
bench of José Luis Lopez as he builds
the alien attacker craft from
Independence Day. Finally,
the guys from Creative Green
Stuff World workshop present
a lovely Neko Galaxy piece in a
distinctive comic-book style.
Until next time, stay safe and
enjoy your hobby.
Andy Whittaker
Design
Guideline Publications
andy@darkmedialtd.com
David Grummitt,
Managing Editor

News and Reviews
We review the hottest releases
NEWS AND REVIEWS
from across the hobby.
2dreamers
Yuri Alekseyevich Gagarin[a] (9 March 1934

– 27 March 1968) was a Soviet pilot and
cosmonaut who became the first human to
journey into outer space, achieving a major
milestone in the Space Race. His capsule,
Vostok 1, completed one orbit of Earth on 12
April 1961. Gagarin became an international
celebrity and was awarded many medals
and titles, including Hero of the Soviet
Union, his nation’s highest honour.
There has always been some mystery
regarding the lettering on his helmet, as
initially none was present. Even on the day he The quality of
planned to become the first man in space, no red CCCP the sculpt and
the casting is
letters were on his helmet. plaques, one in evident from
However, when he was on the bus on his way to board English and one this close-up.
Vostok 1 someone noticed “Look, he doesn’t have anything in Russian have the
telling the world he is from our country!” One of the relief etched in red.
officers on the bus took a red marker and wrote USSR by The upper torso of the bust features Gagarin’s unique
hand on Gagarin’s helmet. SK-1 spacesuit. The details are nice and sharp and very well
This limited-edition model by Czech firm 2dreamers cast; the creases, vents and zip have all been very well done,
arrives in a stout cardboard box with a photo of the although there is a small release/ cast line on the side of the
completed model painted by Michal Krepelka. Inside the torso that will need to be removed. The helmet will need
well-packed box, you will find a three-part resin bust, a the casting block removing from the top and on my copy
small photoetched fret, a ‘Mission Vostock 1’ nameplate, there was a slight sink mark at the front that needed filling,
parts for the microphone, anniversary emblems in but all the visible internal details are sharply cast. The facial
both English and Russian, a stencil to airbrush ‘CCCP’ details on the head are very well done, with the eyes, nose
on Gagarin’s helmet, some tinned copper wire and and lips very well defined.
an instruction and historical background booklet. The His lightweight hat has a
figure has been superbly sculpted by Pavol Ovecka. The subtle weave texture cast
etched metal contains the space mission logo (BOCTOC along with his headphones.
translating to Vostok ‘East’) and the pieces to construct the A superb bust which will
microphones, four pieces each side. The two anniversary be a treat to paint and very
highly recommended. You
can order directly from
the 2dreamers’ website
(www.2dreamers.cz).
(Steve Brodie)
There are some clear painting

instructions and historical notes
included with the kit.
INVITATION
if you have recently picked up a kit or figure you feel should be
reviewed in FFI then please don’t hesitate to send your review to
david@guidelinepublications.co.uk. We’d love to hear from you.

NEWS AND REVIEWS
Neko Galaxy
Neko Galaxy are best known for their Cyberpunk/

post-apocalyptic figures in 75mm. They also produce
a range of similarly themed busts in 1/10 scale. Their
Facebook page describes their figures as ‘babes with
weapons’ and that just about sums up the subject
matter. Last issue we looked at the new additions
to their ‘Rosa Segrada Gang’ figures, but their latest
release is a ‘babe’ not just with weapons but also with
a bike! ‘Yawa’ is a 75mm figure on
a wonderfully Cyberpunk bike. The
concept art by Anton Lavrushkin is
gloriously comic book in its style and
it’s sure to be a joy to paint thanks
to the sculpting of Tamás Sárffi.
Check out their website (www.
nekogalaxyminiatures.bigcartel.com)
for more information and photos of
the full range. In the UK Neko Galaxy
are stocked by Mr Lee’s Minis (www.
mrleesminis.com), but availability is
limited.

NEWS AND REVIEWS
Red Zebra
Red Zebra are a producer of resin and fine

dental plaster cast figures and accessories
to detail your model kits or dioramas.
Like many of these niche aftermarket
producers, they are a one-man show,
with Paul Wade being the man at the
helm in this case. Although the vast bulk of
their line covers 1/35 scale, they also have a limited
range in 1/48-scale accessories. They are constantly
adding to the range, and Paul is always open to
ideas. If there’s something us hobbyists would like to
see, but isn’t available, they are happy to consider other
subjects. The current line covers quite a range of subjects,
all somewhat unusual or at
least not mainstream. I have
seen Red Zebra products
used by several modellers
in the last few years, in
particular on modern
British AFV projects and
post-apocalyptic dioramas,
so I had one eye on their
releases. Paul recently hand
sculpted/scratch built a
generic 1/35-scale scooter
(do check out his Facebook
page to observe the old
school process involved).
As soon as Red Zebra
produced the scooter as a
resin kit, in both civilian and
post-apocalyptic (with stowage) versions, I grabbed the
latter. Brexit aside, it arrived within a few days, and having
just read After the Apocalypse, I was keen to get stuck in
immediately so it could accompany Alternity Miniatures’
‘Blooty Kid’ (ref: AM70) in a vignette I had planned. The made up of eleven crisply moulded resin parts, with minimal
Scooter arrived in an attractive carded zip-loc package, flash, and a black-and-white set of printed instructions. I
can tell you the scooter goes together like a dream. There is
minimal clean up with a #11 blade, while the casting blocks
separate cleanly and the resin sands flush without drama. I
modelled a tilt in the front wheel and handlebars,
as it’s parked up, easily done due to the way
those sections are produced. The throttles
and levers are separate to the main handlebar
assembly and are a particularly nice feature.
They didn’t even come off when I dropped
the built scooter, d’oh! I highly recommend this
unique, neat little kit, and would say go for
the post-apocalyptic version, as, for just a
few Euro extra, you get that lovely stowage,
useful elsewhere if not on this. It’s available
directly from the Red Zebra website (www.
redzebramodels.co.uk). (Glen Phelan)

NEWS AND REVIEWS
Scale75
There are always interesting Kickstarter projects on

the go, but one in particular caught my eye this month.
Spanish paint and figure manufacturer Scale75 have
launched a Kickstarter
for their ‘Zodiac Mystic
Signs’ collection. The
full collection includes
twelve figures, a wooden with some of the best sculptors in the world and their
display pedestal, special figures are of a uniformly high quality, so this shouldn’t
paint set and book, be any different. The figures will be available in both
while the figures, each 35mm and 75mm and will be available both unpainted
representing a particular and painted (with an appropriate price tag!) Check out
sign of the Zodiac, their website (www.scale75.com) for more details of this
will also be available and the other items in their extensive range of paints and
individually. Scale75 work figures.

NEWS AND REVIEWS
Acrylicos Vallejo
Two new Fantasy-themed paint sets are about to be

released by Acrylicos Vallejo. ‘Fire and Fury’ (70.243)
contains six 17ml bottles: Ivory (70.918), Ice Yellow (70.858),
Moon Yellow (72.005), Orange (71.083), Vermilion (70.009)
and Hull Red (70.985). The Moon Yellow is the new
formulation from Vallejo’s Game Color range with enhanced
opacity. These are perfect for painting a range of fire
effects. The set also includes a step-by-step guide by the
master painter Ángel Giráldez to painting a fiery Golem and
a torch. ‘Elves & Gnomes’ (70.242) is, despite its name, a set
of eight paints designed for painting Elves and Dwarves in
Middle Earth. The 17ml bottles contained are Ivory (70.918),
Sunny Skin Tone (70.845), Vermilion (70.009), Gold
Brown (70.877), Burnt Red (70.814), Light Grey (70.990),
Medium Blue (70.963) and Night Blue (72.019). The set is
also accompanied by a step-by-step guide to painting a
28mm Elf by Ángel Giráldez. Acrylicos Vallejo paints are
available from all good hobby shops and you can check
out a range of online how-to guides on their website (www.
acrylicosvallejo.com).
Ouroboros Miniatures
Last year we did a manufacturer profile on this innovative

Dutch producer led by Tim Daniel Jonker. Tim’s latest
figure continues a theme of interesting, if slightly
disturbing, female figures that blend the natural beauty
of the female form with dystopian, cyborg aspects. ‘CP
Mother’ is a 75mm resin figure in eight pieces sculpted
by Edgar Marocsek. There is currently a twenty per cent
discount on the figure from the Ouroboros Miniatures
website and Tim assures his customers that delivery
will be Brexit proof as the figures will ship from the
United Kingdom where the figure is being cast. This is
a marvellously enigmatic piece and continues the fine
tradition being established by Ouroboros Miniatures
(www.ouroborosminiatures.com).

New Kit Releases
NEW KIT RELEASES
Manufacturer: Aoshima Manufacturer: Armor35 Manufacturer: Armor35

Title: Gattai Atlanger w/Hodoka Atori Title: Fantasy Model Biker Title: Fantasy Model Biker Girl
Kit Reference: GR-01 Kit Reference: ARM35930 Kit Reference: ARM35929
Scale: N/A Scale: 1/35 Scale: 1/35
Manufacturer: Bandai Spirits Manufacturer: Bandai Spirits Manufacturer: Bandai Spirits

Title: HGIBO ASW-G-56 Gundam Gremory Title: RG RX-93 v Gundam [Titanium Finish) Title: 30MM EXM-A9s Spinatio [Sengoku Type]
Kit Reference: N/A Kit Reference: N/A Kit Reference: 5061802
Scale: 1/144 Scale: 1/144 Scale: 1/144

Title: Figure-Rise Standard Ultraman Suit Ver. 7.5 Title: Advance of Z RX-124 Gundam TR-6 Title: HG RX-78-2 Gundam [Beyond Global]
(Assault Type) [Woundwort] [Clear Color] Kit Reference: N/A
Kit Reference: 5061321 Kit Reference: N/A Scale: 1/144
Scale: 1/12 Scale: 1/144

Title: HG Cosmic Era GAT-04 Windam [Neo Title: Entry Grade Strike Gundam (Lite Package Title: Gun Girl Lady Lady Commander Bianca
Roanoke] Version) Kit Reference: 5061560
Kit Reference: N/A Kit Reference: N/A Scale: 1/1
Scale: 1/144 Scale: 1/144

NEW KIT RELEASES
Title: Gun Girl Lady Lady Commander Alice Title: Gun Girl Lady Lady Blast Girl Ver. Alpha Tango Title: Gundam Sentinel ORX-013 Gundam Mk-V
Kit Reference: 5061559 Kit Reference: 5061561 Kit Reference: N/A
Manufacturer: Bandai Spirits Manufacturer: Eastern Model Manufacturer: Good Smile Company
Title: RX-78F00 Limited Edition - Ecopla Title: A.T.K. Girl Qinglong Title: Moderoid Cruiser Chaser Blassty
Kit Reference: N/A Kit Reference: N/A Kit Reference: G11196
Manufacturer: Good Smile Company Manufacturer: Good Smile Company Manufacturer: Good Smile Company
Title: Moderoid Military Armed Exoframe ‘Shango’ Title: Moderoid Impovised Armed Exoframe Title: Moderoid Escaflowne Scherazade
Kit Reference: 139244 Kit Reference: 139237 Kit Reference: 138971
Scale: 1/35 Scale: 1/35 Scale: N/A
Manufacturer: Good Smile Company Manufacturer: Kotobukiya Manufacturer: Kotobukiya

Title: Ghost in the Shell: Motoko Kusanagi Title: The Wraith: Dead by Daylight Title: Frame Arms Girl Hand Scale Stylet XF-3 Low
Kit Reference: 10986 Kit Reference: 04122 Visibility Ver.
Scale: 1/4 Scale: 1/6 Kit Reference: FG079
Scale: N/A

New Kit Releases (continued)
NEW KIT RELEASES
Manufacturer: MAiM Manufacturer: MAiM Manufacturer: MAiM

Title: T.R.W. Unke (Revised Version) Title: T.R.W. Unke (Revised Version) Title: Cableman
Kit Reference: 24289 Kit Reference: 35857 Kit Reference: 24262
Manufacturer: MAiM Manufacturer: MAiM Manufacturer: Max Factory

Title: “Death or Alive, You Come With Me” Title: The Legend Title: Combat Armors MAX25
Kit Reference: 24269 Kit Reference: 10027 Kit Reference: N/A
Manufacturer: Narin Manufacturer: Neko Galaxy Miniature Manufacturer: Volks Inc.

Title: Youngblood Staan (Beginner Series 01) Title: Kiki’s Pop-Up Shop Title: K.O.G. the Knight of Gold A-T Type D2 Mirage
Kit Reference: N/A Kit Reference: N/A Kit Reference: VS-IMS-11
Manufacturer: Wave Corporation Manufacturer: Wave Corporation Manufacturer: Wave Corporation

Title: Space Pod – Crab03 ER04 Middle Range Title: Space Pod – Crab03 ER05 Middle Range Fire Title: Space Pod – Crab03 ER06 Middle Range
Ambulance Fighter (Red) Guard Type
Kit Reference: KK82002C Kit Reference: KK82002D Kit Reference: KK82002E
Scale: N/A Scale: N/A Scale: N/A

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Let’s Meet The Maker
Benjamin Lycett of Cerberus Studios
INTERVIEW
ow did you get into modelling? What
H
never lost the love for sci-fi, and in later years
miniatures did you build and paint returned to the Space Wolves, adding to my
when you were younger? army with additions from the array of other
My first foray into gaming and modelling fantastic miniature studios out there.
was with my grandfather in the 1990s,
when I was ten years old. We started out with What inspires you as a designer? What was
Warhammer 40,000 and the Orks – I still the idea behind Cerberus Studios?
love that 90’s Battle Wagon! – but for every There isn’t a single answer to this question,
evil, you need a hero, and the Space Wolves as there is so much in this world that inspires
called me. From there, we lost ourselves in me. From Renaissance art, sculpture, and
Warhammer Fantasy, collecting a range of history to the more fantastical things like
armies. Finally, I was swayed by the influences Lord of the Rings, or novels from legendary
of Chaos and settled on the Warriors of Chaos. authors like David Gemmell and Raymond
I haven’t looked back since, and still collect Feist. The Greek myths and legends were
them to this day. My grandfather, on the other a well of inspiration for me when I began
hand, loved the stalwart Empire, so we had creating Mortals’ Reckoning and helped birth
a great deal of fun collecting all our armies. I my first miniatures, the hero and villain, the
tormented Lazarus and the Kyrios, the Battle
King. The ancient gods of Greece were the
The concept
perfect source to create my own
art (right) for pantheon, starting with Thenia,
the Goddess of the Goddess of Balance. Modern
Balance.
media is also very inspiring, with
the ‘Big Bads’ in films and comics
such as Marvel’s Thanos, or DC’s
Joker, as well as classic villains in
Star Wars and Lord of the Rings.
All these evils helped develop
my own perfect villain in Celestial
Affinity, Emperor Ar’onath. His
personality and ambition for
destruction are unmatched, as
is his scale in miniature form - a
colossal 23cm tall. A real titan
of the tabletop. These loves, combined
with fantasy wargaming, made the perfect
business and when combined Cerberus
Studios Limited was born.
Your miniatures seem focused around very

richly imagined worlds. How do go about
And painted up, the
creating the worlds which your miniatures
Goddess of Balance inhabit?
in 32mm, standing The foundations of the worlds I create are
an impressive
130mm tall. built from the rich histories of the Ancient
World and the Middle Ages. There is such
a wealth of material to choose from, it
makes the prefect starting point to influence
my creations. All my characters have
interconnecting backstories and, as such,
it’s very important to me that whatever
their motivations - conquest, exploration or

Achlys and Typhon
from ‘Mortals’
Reckoning’.
INTERVIEW
The Demon Emperor Ar’onath, at
annihilation - the world they 230mm tall by the far the biggest
miniature that Cerberus Studios
inhabit offers them (and the have produced.
hobbyist) a place they can explore and
lose themselves in. I’m currently in the process collection will be available imminently.
of penning the lore and backstories to both Looking further ahead, we are now in the
IP’s (‘Mortals’ Reckoning’ and ‘Celestial testing stages for our physical game releases:
Affinity’), and it comes to a point where the an RPG for ‘Mortals’ Reckoning’, and a
world and characters take on a life of their tabletop skirmish game for ‘Celestial Affinity’.
own and write themselves, which makes it This is an exciting time for us, as it will allow
even more exciting to deliver my story to my new and current fans of our range to truly
customers. explore the world and characters they love.
In line with our games and miniature releases
Can you describe how you go about I am also in the process of writing the first of
transforming an idea into a piece that a new novel series for ‘Celestial Affinity’, as
others can paint and enjoy? well as expanding the audio drama collection
This is such an exciting process for me, and for ‘Mortals’ Reckoning’. What would your
one of the many real joys of the business. personal message be to hobbyists reading
When I start with an idea, I begin writing that this? If the past year has anything to teach
character’s backstory, which helps build their us, through the trials and tribulations of the
aesthetic. At this point I then hand over to one pandemic, it’s that we should enjoy our
of the many talented artists I have had the hobbies more than ever. Whether you have
pleasure to work with, who then help bring the time with friends and family, or simply
the character to life through their enviable on your own, to grab that paint brush, you Korvina the Matriarch’s bodyguard,
a 32mm figure from ‘Mortals’
drawing talents. From this original artwork, should do so. Enjoy the distraction and Reckoning’.
3D digital renders are produced, along with escapism the hobby gives us. Cerberus
an original mould. After refining details for real Studios will continually endeavour to create Lazarus from ‘Mortals’ Reckoning’.
world production, the mini is mass produced and deliver exciting and epic distractions,
on sprues in resin, boxed in bespoke which help transport you to new worlds, and
packaging, and distributed for you all to enjoy. make the stresses of daily life fade away. We
encourage you to reach out to us; we love to
What can we expect in the future from chat about the hobby, our miniatures,
Cerberus Studios? our world and what your current
There are many exciting releases coming projects are. One of the biggest joys
soon for both our IPs. Over the next few of this business is the community
months, we have new miniatures in the guise and the people in it. That’s why
of 32mm fast cavalry, fantastical beasts we love the shows so much –
and a very special character riding an epic we can see you face to face – but until we can
four-horse chariot. Not only that, we have do so again, we would love to hear from you
some more teases from our 54mm scale on our site and social media platforms. Come
‘Celestial Affinity’ range, showcasing the and say hello!
various factions of humans, werewolves,
vampires and, of course, demons. It’s not just
miniatures that we bring to the fore though.
We also have an exciting new partnership
Contact
with renowned brush company ‘Artis
Opus’, and our limited-edition paintbrush

‘The figures
are both
original in
Deadly
design and
beautifully
FANTASY DEADLY ENCOUNTERS
sculpted’
Encounters Dave Oliver prints and

paints an impressive piece
from Archvillain Games.
espite being a relatively recent development in the
D model making world, modern 3D printers have

improved significantly over the past couple of
years. What was once an extremely expensive and
complex procedure is now much more accessible
to the hobbyist, allowing highly detailed miniatures to be
printed at home. Having watched these developments with
interest and with several projects requiring bespoke items
not available commercially, I decided to buy a printer at
the start of 2021. There are several Patreon subscription
services, with monthly miniature releases, and the one
that caught my eye was Archvillain Games. The figures are
both original in design and beautifully sculpted providing a
diverse range of subjects for the miniature painter.
Diorama Ideas
‘The Outbreak’ series, released at the start of March 2021,
contained a wide variety of figures from 120mm, down to
28mm. The ‘Gallows Rat’ featured here fell somewhere in
between and came in two options, both with and without
the gallows on the character’s back. I decided to make
the project as detailed as possible and the hapless victim
and the structure on the figures back were printed as well.
With the prints supports removed and the component
parts washed and cured, assembly could begin. The parts
required only minimal clean-up and only some minor
fettling was necessary to get the gallows in place. I did
notice, however, some significant defects in the tail of the
figure. These were soon resolved with the various sections
of the tail being reset into place and the joins remoulded
with Citadel Green Stuff. Although shorter than the initial
design, it proved convincing enough.

1 2

Once washed, cured and assembled, the ‘Gallows Rat’ figure from
Archvillain games was given a primer coat of Citadel Chaos Black
aerosol primer.
A zenithal highlight of Citadel Dawnstone Grey was airbrushed on

the model, followed by a highlight of Space Wolves Grey on the
upper surfaces of the figure. Finally, a dry brush coat of Citadel
Longbeard Grey helped accentuate some of the details, such as
the face and edges of the armour.
Preparation and Priming

I applied a primer coat of Citadel Chaos Black, followed by
a zenithal Highlight, airbrushed, and then dry brushed onto
the miniature, using several Citadel shades of grey. Time
was taken to ensure this stage of the painting process
covered as much of the model as possible, as this would
ensure that the flesh tones, applied initially with Citadel
Carroburg Crimson wash had a translucent quality further
complemented with shades from the Vallejo Malefic Flesh
set (74.102), added throughout the project. A significant
amount of time was spent on the flesh tones with
successively thinner glazes of paint being used to provide
extra levels of detail. This was time well spent as the rat
would be the centre piece of the scene.

The metallic components were first given a base coat 3
of Citadel Bolt Gun Metal followed by a wash of Citadel
Nuln Oil. The edges of the armour and the chains were
then dry brushed with Citadel Mithril Silver to provide
some highlights, while further, more selective washes of
Nuln Oil helped provide some shadows. I decided that
the metal looked a little too shiny, so I dusted a light dry
brushing of Citadel Ryza Rust over some areas to give it

a corroded look. The wooden gallows were painted with
several shades from the LifeColor Weathered Wood paint
set (CS20), using the darkest hues as a base coat, with
the lighter shades helping to highlight the details at the
end of the timbers and the wood grain. The finish was a
little stark, so a wash of Citadel Seraphim Sepia was used Some significant printing defects in the tail were noticed after the
primer and pre-shade had been applied.
as a filter to unify the whole area. The large bell the figure
was dragging along proved a challenging subject to get
right. A base coat of Citadel Tin Bitz was brushed on, 4
followed by a dry brushing of Bolt gun Metal to bring out
the raised details. Not being entirely happy with the finish,
a generous coat of Citadel Nihilak Oxide was brushed
on with any excess removed using a cotton bud. This
produced a much more corroded look, in keeping with the
rest of the scene.
Last Minute Addition

With the Initial figure pretty much complete, I received an
email informing me that a diorama base incorporating the
Gallows Rat had been released by Archvillain Games in
With the parts of the tail reset and glued in position, Citadel
conjunction with Titan Forge, another online subscription Green Stuff was used to remodel the joins to produce a more
service. The scene immediately piqued my interest and realistic appearance.
A Beginner’s Guide to 3D Printing

Before I purchased the printer, (Fluorinated Ethylene Propylene) software, in my case Chitubox, that
the whole subject seemed sheets for the bottom of the was supplied with the printer. Here,
somewhat of a dark art. I don’t resin vat are a consumable that if a 3D representation of the build
profess to be any kind of expert, damaged can render the machine plate – the surface the moulded
but here is a basic overview of inoperable. objects adhere to – can have the
the types of machine available Once the printer is set up relevant STL files moved about and
and the actual printing process. and the build plate is levelled, placed to create the most efficient
As far as the home hobbyist the printing can begin. As use of the plate. Once this step
is concerned the two main mentioned in the introduction, is completed the files are ‘sliced’
types of printer are Filament/ various subscription services are by the software into a language
ABS (Acrylonitrile Butadiene available, offering high quality the printer can understand, this
Styrene) or Photopolymer Resin miniatures as well as numerous .CTB (Autocad Colour Based Plot
Printers. In terms of printing high free files and one-off payment Style File) is then transferred onto
resolution miniatures, especially designs. Once a miniature design a USB stick. Once inserted into
at smaller scales, the Resin Printer has been settled on, the relevant the printer, the printing process
provides the best solution, the file is downloaded as an .STL can begin. The build plate moves
only downside being the slightly (Standard Triangle Language) file. up in increments from the resin
more complex setup and messy Many manufacturers, Archvillain vat, pausing while an ultraviolet
nature of the resin itself. Once a included, offer the option for screen in the base of the printer
suitable machine is purchased, ‘pre-supported’ files, this means cures the photopolymer resin.
various accessories come in handy. that the 3D model of the miniature This process is repeated, building
Vinyl (not latex) gloves and paper has supports that help ensure up the miniature in successive
masks are a must, along with filters the details on the miniature are layers. Once completed, the prints
and a funnel for purifying and moulded correctly, effectively are removed from the build plate
pouring any excess resin back into supporting the structure of the and the supports removed. The
the bottle. A cleaning and cure print. Unsupported files allow the miniatures are then washed and
station is a worthwhile but not user to place their own. The STL placed in a cure station to harden
essential purchase, while spare FEP file is then uploaded to the slicing the resin.

5 6

The flesh colour base coat was created by liberally applying
Citadel Carroburg Crimson over the zenithal highlights.
7 Various shades from the Vallejo Malefic Flesh set were then used
to accentuate the light and dark flesh tones, along with the veins
and other skin textures.
the relevant files were downloaded and printed without

delay. Several different options for figures were provided.
I settled on the human hero, as the chain whip helped give
a real sense of movement to the diorama. Once primed
and highlighted in the same fashion as the main figure, the
painting process could begin.
Painting the Base

The cobblestones were beautifully rendered in the
print and as with the flesh tones on the figure, the pre-
shade proved a fundamental basis for the subsequent
painting and weathering stages. A wash of Citadel Agrax
Earthshade was liberally applied over the stonework
and once dry, I gave it a light dry brushing of Citadel
Longbeard Grey, followed by more specific black and
brown washes. Once the other features had been painted,
moss effects from the LifeColor Algae set (SPG07) were
applied to the cracks in the stones and along the edge
of the water channel, with a final application of Vallejo
The armour and metal work were first painted with a base coat of
Citadel Leadbelcher, then after successive washes of Citadel Nuln Moss and Lichen Effects (73.827) providing a thicker
Oil, a drybrush of Mithril Silver was applied. concentration of undergrowth in specific locations.
8 9 10
Creating a realistic wooden appearance

After a dry brushing of Mithril Silver, a to the gallows was achieved with the use
A base coat of Citadel Tin Bitz was applied coat of Citadel Technical Nihilakh Oxide of the LifeColor Weathered Wood paint
to the bell casting to provide a suitably was applied to create a suitable corroded set. A final wash of Citadel Seraphim Sepia
dull basecoat. appearance. helped finish the effect.

13 12
To finish the scene, the base was given several washes of Citadel
Agrax Earthshade and a final dry brush of Citadel Long Beard
Grey to restore some of the detail obscured by the washes.
With the main figure pretty much complete, some final highlights
and shadows were added. Citadel Nuln Oil wash was used 14
sparingly in the recesses of the armour and flesh tones to provide
some contrast and further bring out the detail.
11
Once the two halves were joined together, any small gaps and
imperfections were filled with Deluxe Materials Perfect Plastic
Putty. To ensure the front of the base aligned correctly, a
Plasticard strip was super glued in place, then sanded to follow
the contours of the moulding.
The diorama base consisted of two large sections. Several figure
options were given in the included files. The hero, complete with
chain whip seemed the most appropriate. 16
15
A zenithal highlight using several shades of Citadel Grey was

airbrushed onto the stonework, the final shade was drybrushed
to highlight the surface detail. The idea was to effectively create
n keeping with the main figure, a primer coat of Chaos Black was a base coat for the cobble stones that would only require a wash
applied to the base and the hero miniature. and some weathering to complete the effect.
The water effects were relatively easy to create. Again, the light source to provide some variation in the intensity
the zenithal Lighting technique provided the basis for the of the lamp. Shadows on the figure were enhanced with
effect with several thinned coats of Citadel Green Contrast some subtle black washes, while highlights were added on
paints being brushed onto the surface. The final coat had the skin textures and the lamp itself.
a small amount of Citadel Ardcoat added to give a slight Painting the Hero could take up an entire article on its
satin texture, while a selective dry brushing with Citadel own. Bright colours were used for his tunic to make him
Niblet Green helped add some variation to the surface of stand out against the rather dour pallet of the rest of the
the water. Creating an alternative light source from the scene, while his armour and weapons were given a much
lamp was quiet challenging. A very diluted mix of Citadel shinier finish to help create a suitably ‘heroic’ appearance,
Yriel Yellow was airbrushed at a low pressure around the along with a shock of bright blonde hair and vibrant flesh
lamp and on the front of the rat, while another application tone.
of the lightened colour was applied towards the centre of

17 18
The rust effects on the pipe work were created with the LifeColor
Rust and Dust set (CS10), along with their ‘Rust Wizard’ Liquid
pigments set (LP02). Achieving a realistic rust effect can be a
Several washes of Citadel Agrax Earthshade helped provide a difficult process. Several different washes and pigments were
suitably grubby appearance to the stonework. used to achieve a satisfactory finish.

19 20
Painting the water effects proved to be relatively straightforward. Final details, such as the lamp and bones, were then painted. The
Several thinned coats of Citadel Militarum Green were painted addition of some Vallejo Moss Effects around the edge of the
over the zenithal highlights, with the last coat receiving a small stonework, helped contribute towards the dank appearance of
amount of Citadel Ardcoat to produce a subtle satin finish. the scene.
21 22
To create the Object-Source Lighting effect on the lamp and The hero adventurer helped finish of the whole scene. to make
figure, a thin coat of Citadel Yriel Yellow was airbrushed on to the him stand out from the rather dank surroundings, he was painted
model, with a lightened shade of the base coat sprayed closer to in vibrant colours. The chain whip and his determined stance
the centre of the light source. helped add the finishing touch the scene, while also giving a
sense of scale.
Conclusion
With some final highlights and weathering, the scene was
pretty much completed. This had been a very enjoyable
project, with the excellent composition and quality of the
casting making the painting process an absolute pleasure.
Archvillain Games and Titan Forge should be credited
for such a positive collaboration, and it’s one that I hope
continues to produce engaging and evocative dioramas
such as this.
BE INSPIRED
You can find Archvillain Games on Etsy, Facebook
or Patreon, or at https://archvillaingames.com.

The Tin Cop
MASCHINEN KRIEGER THE TIN COP

Fredrik Håkansson offers
a small reflection on the
subject of traffic cameras.
t all started with me sitting and
I thinking about how to paint my

newly purchased Neuspotter model.
It was not the easiest model to get
into a context as it was supposed
to hover in the air. The Neuspotter
is a reconnaissance robot from the
Maschinen Krieger universe, and I
imagined that behind the glass in its
head there would be cameras as well
as other sensors. For some reason
I started to associate this model
with a traffic camera and with that
an idea started to take form. I also
remembered a picture of a Swedish
police car in Simon Stålenhag’s book
Tales from the Loop. This was a police
car with markings from the late 1980s.
This marking with its blue, yellow and
black stripes, as well as the futuristic
blue font, stood out in terms of design
and it has become an iconic cultural
reference point for Sweden in the late
1980s. Thus, I had the mental image
of how my model would look.

1 2 3
The Swedish police insignia was created in White is a difficult colour to weather. It
Illustrator and then printed on decal paper was important to avoid turning the body The large head lens was the perfect place
using a Laser Printer. of the Neuspotter a dirty grey or brown. to install a LED system.
Neuspotter body, I simply replaced these with the well maintained, so I did not want to
The model is a Maschinen Krieger power cables. overdo the effect of chipped, flaking
Neuspotter from Wave Corporation. The construction of the model paint, but instead just that ‘everyday
Generally, it’s a very nice model to was otherwise straightforward. To wear’ that happens when something
build. One of the dominant features make it all manageable during the is used. I imagined, however, that the
on the model is the big glass screen painting process, I divided it into six ‘foot’ was the most exposed part of
on the front of the head, and it’s sub-assemblies: the head, the body, the whole thing, so here I applied
an obvious place for some type of and the upper arms and forearms. some large spots using Vallejo Rust
lighting. Realising this, I chose to My idea was to represent a machine Texture (73.821). This represented
equip the model with a small flashing that had been in service and sitting areas where the damage was such
light in the form of a red LED that I on the roadside for some time. It was that water passed through the
connected to a flashing circuit and a therefore weathered by the climate or machine’s rust protection and led
battery in the base of the diorama. showed the signs of some unwanted to some severe corrosion. Having
I usually try to place any electronics encountered with trees and other established a vision for the finished
in the diorama base because there obstacles. Yet the machine was still model, I primed the sub-assemblies
is usually both space and it is easy
to replace the batteries. In addition, I
could use larger batteries that would
last longer. The disadvantage of
this arrangement, however, is that
I needed to pull the wires from the
LED in the head through the body
and then further down into the base.
I wanted the Neuspotter to have the
illusion that it was floating, but at the
same time I needed something that
hid the wires yet was sturdy enough
to keep the Neuspotter in place. A
6mm brass pipe anchored with two-
part epoxy at the foot of the model
became the solution. This brass pipe
was then painted the same colour
as the surrounding tall grass and
became completely invisible in the
end.
As the model also had visible
cables, consisting of thin vinyl hoses,
from the head leading down to the

4 5 6

Some heavier areas of corrosion were The Neuspotter is certainly a more menacing traffic camera than we’re used to. No smiley
added to the foot of the Neuspotter. faces drawn on the back of this one!
with white primer.

The entire model was painted white.
The lower part of the foot, the rocket
engines and a few other small details
were then painted black. Everything
was then airbrushed with a layer of
gloss varnish. I tinted the large front
glass on the Neuspotter’s head by
carefully dipping the outside of the
glass in Tamiya Smoke (x-19). I did the
same with the other small transparent
red, green and blue lenses. The blue
‘juice mixer’ had to be scratch build
and I was lucky enough to find a
ballpoint pen with a transparent top
which could easily be ground down
to the right diameter by putting it in a
drill and then processing it with a file
and sandpaper.
I knew from the start of the project
that it was not possible to buy decals
for a Swedish police vehicle from the
1980s in 1/20 scale and that I would
have to make my own. With the help
some reference photos, I was able to
draw both the stripes and the text
‘Polis’ in Illustrator and then print
these together with the Police shield
symbol onto transparent decal film
using a laser printer. With the decals
in place on the model, it was time for
another coat of gloss varnish before
starting on the weathering.
The weathering of the Neuspotter
would, as I said, be based on
everyday wear and tear. I always find
it an extra challenge to weather white
because it is so easy to lose the white

7 8
The base was carved from a piece of

Styrofoam. This lightweight material is
perfect for diorama bases.
colour in the process and end up

with a result that is dominated by a
muddy brown or grey. It is therefore
important to be subtle and not
overdo things.
My plan was to start with
mechanical wear. I did this by The signs were a key part of this project, essential for locating the events in
sponging a dark grey acrylic paint modern-day Sweden.
onto the surfaces that would be
subject to mechanical wear. Then I (A.MIG-3513) and Starship Sludge a slight discoloration of the surface,
went over to the first part of the ‘rust Bay (A.MIG-3532). These are excellent which was the effect I wanted. By
treatment’. Rust would only appear shades for dirt, as the first is a greyish going back several times to certain
on certain exposed parts of the colour, while the second more on places and adding slightly more paint,
Neuspotter, so I chose to brush paint towards brown. I applied the oil paint I could use the Oilbrushers to build up
the foundation for the rust patches. in extremely small amounts based shadows and thus accentuate certain
This also applied to the surfaces around recessed areas and other details on the model. Once this had
that previously had previously been places where dirt would accumulate. dried, the work was sealed with
textured with the Rust Effects. To The paint was then feathered out on another layer of satin varnish.
soften the edges of the rust patches the white surface with an almost dry Finally, to give the rust patches
and at the same time create variation brush that was only slightly damp more life, I used Oilbrusher Rust
and a certain degree of discolouration with White Spirit. This is where the (A.MIG-3510) to create traces of rust
around the stains, I used Vallejo’s properties of the satin varnish came that had run down the Neuspotter in
different rust washes – Rust (76.506), in play. The varnish offered the oil some places, as well as a little extra
Light Rust (76.505) and Dark Rust paint a little more grip and allowed discoloration around certain patches.
(76.507). For the slightly larger areas,
I also mixed in a little rust-coloured
9
pigment to create texture.
On the panel lines and a lot of the
sharp inner corners of the model, I
used Tamiya Panel Line Accent Color
Black (87131) Here, the importance
of the gloss varnish became clear
as it is virtually impossible to apply
a panel line wash without some of it
ending up outside of the line. Without
gloss varnish, the black would have
discoloured the white surface, but
it was easy to wipe it off the gloss
surface with the help of a cotton
swab dipped in White Spirit. After this
step, I sealed everything with a coat
of satin varnish.
The next step in the weathering
was to switch to oil paints to create
dirt and grime. I decided to keep it all
very simple and therefore based the
colors used mainly on two of AMMO’s The dry winter vegetation took a while to complete but was again crucial to capturing the
excellent Oilbrushers Starship Filth look I wanted.

The solution was to use faux fur
as a base. I trimmed it down to the
right height and dyed it with yellowish
brown oil paint. After a very long
drying time, I glued the faux fur to
the slope and then shaped it into
tufts with diluted Mod Podge. On

this I placed bundles of grass that I
made from sisal string cut to varying
lengths. After separating the fibres
from one another, I put them in hot
water for a moment so that they
would straighten out. When dry, I
made small bundles and glued these
onto the faux fur.
The road ditch was powdered
brown tile grout which was moistened
with a 50/50 mixture of alcohol and
water. I then applied different sizes
of gravel as well as lighter shades
of tile grout as a second layer. The
grout was also used to even out and
hide the edge of the faux fur against
the ditch. To create a transition from
the tall grass to the ditch, I applied
yellow Woodland Scenics Static Grass
in different lengths. The rest of the
ditch then received some vegetation
in the form of some yellow-brown
tufts, dried seaweed, and small roots
from the garden. All over the slope
I brushed small amounts of yellow-
brown flock into the high grass and
on top of this I spread some yellow
and brown leaves that I had punched
out from real dried leaves using a
Greenstuff World Leaf Punch. To fix it
all in place, I sprayed some WS Scenic
spray. I made the larger bushes in
the background from Seafoam which
were airbrushed with black and
grey-brown shades of acrylic paint.
When I felt satisfied with the rust, I of Styrofoam covered in plaster. For As a finishing touch on the base, I
finished with a couple of thin coats the road surface, a 3mm cork board added some water in the ditch by
of matt varnish. On joints and other covered in a thin layer of Vallejo Black using Green Stuff World’s excellent
places where you could imagine that Lava Asphalt (26.214) was used to Transparent UV resin.
mobility was important, I added some replicate the tarmac surface. Several
AMMO Fresh Engine Oil (A.MIG-1408) layers of different shades of grey were The Signs
and AK Interactive’s Shafts and airbrushed on the road to give the My intention was that those who
Bearings Grease (AK2032). The feeling of a well-worn surface. Finally, looked at the diorama should be able
rocket engines also received a after the white border markings were to directly identify it as an ordinary
restrained treatment with soot- painted, the road was given a wash of Swedish country road in the same
coloured pigment. diluted Starship Filth oil paint. way as Simon Stålenhag’s pictures
In Sweden, it is common to have convey the feeling of an everyday
The Base wild grassy slopes next to roads Swedish environment. The road signs
The idea was from the beginning and this was something I wanted to became my means of anchoring the
that the Neuspotter would stand include in the diorama. I was also scene in modern-day Sweden. I made
at the edge of a typical Swedish inspired by the colours that appear them from a thin brass sheet into
country road. The base consisted at the end of winter with the yellow- which I drilled holes, then bending
of a 210mmx210 mm piece of white grass from the previous year and soldering them to the right
chipboard. The edges around the as a dominant element. The question shape. These were then painted with
diorama were made from thin MDF was how to recreate this tall grass in acrylic in different shades of rust and
and the landscape itself was formed 1/20 scale? chipped using the hairspray method

10 11 12
The ‘leg’ of the Neuspotter provided the

The Love Love Garden figure was perfect conduit for the LED cabling and a
originally designed as a soldier of the brass pipe, painted the same colour as the
Strahl Demokratische Republik but is now grass, enabled me to create the illusion of
a peaceful Swedish farmer. a floating ‘traffic cop’.
after an acrylic grey topcoat. I created When it came to the painting of the also convey a mood similar to the one
and printed the decals for the signs in figure, I had the idea that he would Stålenhag achieved so magnificently
the same way as the police markings. be a farmer. I started as usual by in his pictures in Tales from the Loop.
Once the decals had been applied giving the figure a Zenithal highlight The best part was, however, that I
to the road signs, they were quite foundation and by so doing created once again was able to use a fantastic
heavily weathered with oil paints to natural shadows and highlights. Maschinen Krieger model and fit it
give the feeling that they had been The next step was to paint the face into my own retro Sci-Fi world.
standing by the roadside for a very with a thin base coat of acrylic and
long time. In addition to my Starship then proceed with oil paints. One
Filth, I also used ochre and green. detail I thought fun to include on this
Finally, I sponged on Vallejo’s Moss figure was his five o’clock shadow.
and Lichen (73.827), Slimy Grime I achieved this by applying very
Dark (73.822) and Slime Grime Light thin dark blue oil paint over the skin
(73.823). tones. For his overalls, I choose a
rather strong green color to really
The Figure take advantage of the underlying
To create a story and have some shadows. I made the colour more
interaction between the different transparent with the help of AMMO’s
elements, the diorama needed a Transparator (A.MIG-2016) before
human component. I already knew airbrushing it. This resulted in better
from the beginning which figure I defined shadows on the overalls. To
wanted to use. Love Love Garden create the highlights, I gently dry
has a wonderful piece simply called brushed with a lighter green oil paint.
‘Soldier Figure’ (ref. M.aK.003). The A homemade decal was placed on
figure, who is wearing overalls and a the back of his overall and together
cap, has a relaxed pose and a lovely with a cap painted like those I saw in
facial expression. The only thing I the sawmill near where I grew up, I
needed to change in the figure was now had a Swedish farmer from the
the direction in which he was looking. late 1980s.
I wanted him to look up towards the BE INSPIRED
Neuspotter, and this meant that the Concluding Remarks
head needed to be turned up and to For me, building this model was an Wave Corporation 1/20
Neuspotter NS465 (ref. MK-
the left. This was a simple procedure interesting and educational journey.
050) is available from good
using a razor saw and after gluing The composition and dynamic of the
model shops.
the head into the desired position, story were a challenge. I wanted to
© Kow Yokoyama
the joint was filled with Tamiya epoxy give hints about a time, a place, and
putty. an event in the same small area, and

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The NBK TF
Engineering The figure is first and foremost a toy. It has nice
Devastator is articulation of its limbs and it actually transforms into
quite a beast
when fully several, separate construction vehicles. If you know
assembled, Dinobot Volcanicus, you get the idea! I did ask my client
standing some
18-inches tall.
if he planned to transform this kit into its individual
construction vehicles, and he said he did not. He wanted it
to look super dirty, rusted and ultra-realistic. The principal
MECHA MODELLING A TRANSFORMER TRANSFORMED
problem, it seemed to me, were the clear orange parts.

These are too ‘toy-like’ in my opinion. There were also
the usual hideous seam lines across most of the parts
to contend with. So how do I repaint this action figure,
make it look impressive and less toy-like without spending
months to fix seam lines and repainting everything? Well,
I decided to apply various mud effects, rust and other
weathering techniques like crazy!
Painting
So how did I quickly transform this Transformers action
figure into something better to display? I wanted it to
appear impressive and realistic at first glance while on the
display shelf. I began with some post shading. The idea
here is to add some artificial shadows to emphasise the
shape of the subject, making it appear more dramatic. I
used Mecha Weathering Black Wash (69.518), adding a
couple of drops of Vallejo Flow Improver (71.262), and
airbrushed it with a .15 Harder & Steenbeck airbrush at 20
psi. I then shifted to using my HobbyMate .2 airbrush in
the middle of painting, as my H&S was not performing as
well as it should (I think it simply needed a proper clean).
The post shading is rough, applied mainly to recesses and
This all breaks down into a torso and a different construction vehicle for
each of its four limbs.
undersides of the individual components (photos 1 & 2).
1 2
Don Suratos builds the NBK TF
Engineering Devastator.
his NBK Transformers is not the official Devastator
T design, but there’s no questioning it looks cool. It is

15-inches tall from head to foot and the total height is
around 18 inches. This guy is huge! This project was a
commission for a friend (I rarely accept commissions
but made an exception for this) and I thought it would
make a slightly different painting article.

35
FANTASY FIGURES INTERNATIONAL
3 4
5 6
There was nothing too complex at this point, I just needed I chose the European Mud (26.807) for this project.
to tone down those colors, as the green and clear orange Vallejo produces a range of Thick Mud products - Russian
parts were just too bright to my liking. Mud (26.808), Industrial Mud (26.809) and others - but
I let this dry for half an hour and then sealed it with I think the European Mud had the right mid brown, tone
Mecha Matt Varnish (69.702). I thinned the varnish in equal to complement the green and the purple parts of the
parts with my usual ‘Thinning Sauce’ (two parts Airbrush Transformer. Too brown would make the greens more
Thinner (71.261) and one part Flow Improver), using a .5 vibrant, too dull, or too dark and the action figure would
airbrush and spraying at 20 psi (3 & 4). I let the Matt Varnish look too dark and dirty, so I went with the European Mud.
cure for an hour before proceeding with the weathering I applied the European Mud with a large 1-inch flat brush.
process. Letting the varnish cure for a full 24 hours or more These texture paints are brush killers. I cleaned the brush
is optimal, but it was not necessary for me, as it is summer every hour or so while working my way on this huge kit. All
and thus very hot and humid here in the Philippines. the wheels and tracks were rendered with the Thick Mud.
I applied less on the wheels and more on the tracks, but
Mud Effects both had generous amounts. I let it dry for an hour before
Vallejo’s various Mud Effects are the best weathering applying another layer. I then let this cure overnight and it
product to partially cover some of those hideous seam hardened to a very nice hard rubber finish the next day (5
lines and tone down the garish colour further. As my client & 6).
wouldn’t be transforming this action figure, I was able to At this stage, I realised I had made a mistake. The
apply the mud effects as thickly as I desired. The mud Thick Mud is designed to represent fresh wet mud and
paint dries to a very rubbery and durable finish within a I had applied it first before applying the dry splash mud
few hours. effects. I applied the Light Brown Splash Mud (73.804)

9 10

for this effect. This colour perfectly represents dried mud. I used Mecha Color Light Green (69.025) initially,
I applied the Splash Mud with a needle point scriber (a but it was too subtle. The colour is perfect if this was a
toothpick will do just as well) and flicked a flat brush model kit, but I needed quick and obvious effects for
towards the figure (7). This technique is the messiest this Mech. So, I switched to using Mecha Color Dark
ever. But it is worth it, especially on this Grey Green (69.041) (9).
guy. The chipping effects is
I let the Splash Mud dry for an still a bit subtle for this
hour before applying repaint, but it was a
Model Wash Dark necessary step to tone
Brown Wash (76.514). I down the colour of
painted the Dark Brown the large areas away
Wash over the Thick Mud from the mud effects.
and Splash Mud to
correct my earlier Grime
mistake and tone I used Vallejo
down the bright Weathering
color of the Splash Effects Streaking
Mud. The wash Grime (73.824)
worked like a charm for this step. This
and blended both is a translucent
mud products better than I paint that perfectly
expected. I generously applied depicts the build-up
the wash and blended the of grime. I thinned it with
edges whenever necessary equal parts of Streaking
(8). I had to let this cure for Grime and water and
about four hours, as I applied applied it generously with
it too generously. A hair dryer, a huge brush. I painted it
my usual tool for speeding vertically over vertical planes
up the drying process, was of the figure, producing a subtle
not an option at it would have wide streaking pattern in the
blown away the built-up wash in the process. This thinned grime was
recesses, an effect I like. then let cure for a couple of
hours. Again, I could not use
Chipping Effects a hair dryer as it would blow
I applied a range of chipped paint away the pools of the thinned
effects both before and after the streaking grime in recesses (10).
mud and rust effects. I approached I also applied un-thinned
it this way simply because I was Streaking Grime over some
excited to see how the mud effects areas during the finishing
would turn out in the middle of the touches stage. This was
rather laborious process of adding applied on areas away from
the chipped paint effects. It was the mud and rust effects. This
a good decision as substantial has the effect of toning down
part of the model was the overall appearance or, at the very least,
eventually covered with mud dulling the brightness of those areas that had not
and rust effects. otherwise been weathered.

11 12
subtle, the Mecha Weathering Wash stain more, and the

14 Game Inks stain the most. I suspect this has something
to do with the relative density of the pigments. I used all
the rust washes, alternating them as I proceeded across
the model (12 & 13). This gave subtle variations to the rust
effects which was very nice in the end. Dark Brown Model
Wash (76.514) was also used sparingly to give contrast to
details.
Conclusion
And that was it! The client was happy with this super
weathered NBK Devastator. I found the clear orange
plastic a real challenge as they were. so toy-like. However,
Rust Effects after weathering and after all the mud and rust effects,
I am always hesitant to apply too many rust effects, as I the orange plastic finally toned down a bit. The final step
feel that a functioning Mech should not have too much was the chipping effects with Mecha Color Steel (69.063).
rust. However, my client wanted more rust after I showed This gave the entire Mech a more ‘metallic’ feel to it. It was
him my initial rusting of the figure. I think it turned out well a good move to apply those bare metal chipping effects.
at the end. The rust complemented all the weathering I hope you like this work. It was a relatively quick project
effects applied thus far. despite being so large and it proved a nice distraction from
I always use the Games Effects Dry Rust (73.136) and the some of the more involved
Mecha Color Weathering Rust Texture (69.821) to map out painting projects I’ve been
areas where I want to depict rust deposits. pursuing lately. Until
These products are the main source the next article guys!
of our rust and mapping them out Saludos!
across the model is always my starting
point when modelling rust effects. I
let these paints dry for an hour before
proceeding with the next step. I also
applied a thinned version of these
paints to blend the edges a bit. I used
a hair dryer and let it stand for an
hour before proceeding (11).
Next, I moved on to the rust
washes. I primarily used Mecha
Weathering Dark Rust Wash
(69.507) and Light Rust
Wash (69.505) for this step.
However, I tried to experiment
and see the differences
between these paints against
the classic Vallejo Model
Wash rust washes and
the Game Ink Flesh Wash
(73.204). I was surprised with
the differences as I thought they
were practically the same and ended
up recording some videos of this
experiment for my YouTube channel.
Basically, the Model Wash is the most

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INDEPENDENCE DAY
SCI-FI MODELLING ID-4: INDEPENDENCE DAY
José Luis Lopez builds a Construction

kit from the Sci-Fi classic. The hull of the spaceship comprises two parts, an upper and
lower piece, which I recommend separating from the sprues
with a modelling saw (photos 1 & 2). The join between these
two pieces needs some careful filling as it’s not perfect. I
“Hello boys! I’m baaaaack!” glued the transparent parts of the windscreen with AMMO’s
indberg won the license to produce kits for the 1996 Ultra Glue (3)
(3). The fit between the hull and the transparent
L Independence Day film and produced three kits: an

Alien Exoskeleton (ref. 77312), the biplane piloted by
Russell Casse in the final attack on the aliens – an idea
jettisoned for the final cut of the film – (ref. 77314), and
the ‘Captured Alien Attacker’ (ref. 77311). The latter is an
excellent kit, faithfully capturing the craft from the film,
nicely proportioned at 1/72 scale, and with some superb
part is also not great and requires some extra work, putty
and sanding. The lack of detail in this area is probably the
weakest part of the kit.
I added some details to the missile container, as well as
to the base display using leftover pieces from other kits
(interior parts from AFV kits are invaluable for this type of
work). I also added some leftover photoetched details from
surface details. Best of all, for lazy modellers like myself, a Gundam kit to the hull (4 & 5). I didn’t want to make the
it has only eight parts. The only area in the kit that lacks captured Alien Attacker featured in the movie. After the
detail is the bow area around the cockpit which omits some failed invasion, many alien craft were captured and
of the features that can be clearly seen in the movie. I don’t deployed in hidden bases across the globe
understand why only the captured version of this spaceship in preparation of a new attack. My
was made and a resin conversion, including all the lower Attacker is one of those new
parts of the ship, is available to make the original alien protectors of humanity.
craft. The kit also includes a basic stand but has no interior
parts for the cockpit.

3 4

5
‘Best of all, for lazy

modellers like myself, it
has only eight parts.’

Fantasy
FIGURES
I N T E R N AT I O N A L
6 7
8 9
Painting the Attacker: “Let’s kick the tyres the closer the airbrush must be to the surface. It’s important
and light the fires, big daddy!” to keep the airbrush moving continuously over the kit. Never
Painting the Attacker was a lot of fun: large surfaces, nice stop in the same place for more than a second or the paint
details, rough texture and contrast (6). What more could will begin to accumulate and spatter, spoiling the finish
you ask for? I began with a black primer coat (7) and then (8 & 9).
created a palette of different greys with some blue added Once the base colours had dried completely (a good 48
to create different tones. I applied these different shades hours in a cool climate), I made a new palette, using the
randomly over the different panels and areas of the kit. The same colours but noticeably lighter in tone. Using the
more contrast the better. You can’t be lazy here and Hairspray Technique, I oversprayed some of the darker
the richness of the kit’s surface invites you to panels with Chipping Effects (A.MIG-2011) and then
differentiate each area from those around it. sprayed these lighter colours. After a few minutes, I
I used AMMO’s Black & White Technique used a rough brush, a toothpick and some water to
Set (A.MIG-7128) and added some activate the Chipping Effects fluid and peel away
Blue RAL5019 (A.MIG-0086) to some of this top layer, revealing the darker shades
the palette. I airbrushed the beneath (10 & 11). Remember, you can use any
mixes, adding twenty type of paint for the first coats, but when using
per cent thinner, at a the Chipping Effects Fluid the top layer has
pressure of 2kg/cm2. to be a water-based acrylic.
The smaller the The metallic parts of the
area to paint, craft were painted

10 11

12 13
14 15
16 17
using Alclad metallic paints. I protected the surrounding of the surfaces. This paint, like Jet Exhaust, was not a solid
areas with masking tape before starting. These paints color, more like a filter and so perfect to simulate wear and
require a particular approach. First, I applied their Gloss dirt.
Black Primer (ALC035), necessary to allow a smooth I waited for a couple of days before airbrushing a solid
surface for the subsequent metallic coat (12). I then sprayed coat of Tamiya Clear (X-22) thinned with their acrylic
Aluminium (ALC101), also mixing it with the primer to thinner (X-20A). This layer will protect the AMMMO and
darken the colour in some areas. The idea here was to create Alclad paints from the oil and enamel-based paints used in
a contrast between the different metallic areas (13). I also the subsequent weathering steps. Once this had dried (I like
sprayed some Jet Exhaust (ALC113) on the engine nozzles to leave it for at least twelve hours), I applied a mixture of
(14). I allowed these parts to dry completely for 24 hours panel line washes from AMMO: Panel Line Wash Stone Grey
before airbrushing Burnt Iron (ALC121) randomly over some (A.MIG-1615), Starship Wash (A.MIG-1009) and Blue Wash

18 19
20
21
22 23
24 25

26 needed) and, very importantly, very easy to remove with
water and a brush if you do not like the result. The Shaders
were applied over the kit following the same technique used
the initial colours: several mixes applied randomly over
the different panels (17). Once dry, I protected them with a
coat of varnish as they can be vulnerable to enamel-based
weathering products.

I now decided to add some stencils, testimony to the
spaceship’s new ownership. I used spare decals from
various aircraft kits airplanes. I added them using a similar
placement to that seen on modern aircraft. They were fi xed
in place using AMMO’s Ultra Decal Set (A.MIG-2029) and Fix
(A.MIG-2030) (18). Don’t forget to protect the decals with a
for Panzer Grey (A.MIG-1006). I never use the same across layer of varnish once the solutions have dried.
a kit. Try to change the colour of the wash from one area The support stand supplied with the kit is very basic, so
of the kit to another to maintain the contrast between the I decided to add some extra details to it. I used the same
base colours. I find that washes tend to even out contrasting hairspray technique for painting the yellow colour over
shades (15). a red primer base (19 & 20). The rest of the steps were
Next, I tried to emphasise the shapes of some areas of the like those used for the spaceship: washes, oil paints, and
spaceship to enhance the drama of the final appearance, shaders to enhance the contrast before adding the decals.
making it look more aggressive. For this I used a mixture of I also used some of AMMO’s new photoetched airbrush
Tamiya Flat Black (XF-1) and Brown JGSDF (XF-72), highly stencils (A.MIG-0835) which were handy in creating random
diluted with their lacquer thinner (X-20) and airbrushed effects across the base (21).
close to the surface using a very low pressure (1 to 1.50kg/ As a final touch, I decided to mount the ship and its stand
cm2) (16). on a small base, reminiscent of the Area 51 airbase. I used
At this stage I thought the model was finished but when cork sheet for the concrete and inscribed a rectangular
watching again the Area 51 scenes of the attacker, as well pattern. It’s important to avoid this being perpendicular
as the final scene of the attacker running from the alien to the sides of the base itself (22). I added some texture to
mothership, I noticed a remarkable blue hue across it. the surface using AMMO’s Light Earth Ground (A.MIG-2102)
This blue shade was not noticeable in the scenes of the acrylic paste (23). I primed the entire base using Titan
dogfight during the first human attack. I loved it, Light Grey Matt Primer (TTH102) (24). In my opinion, this
so I decided to apply to have a go. For this is the same quality as Tamiya’s Surface Primer but only
task – changing the hue of a base in a much bigger can! Once dry, I sprayed the cracks
colour – AMMO’s new Shaders between the pavement panels black and then using
are unbeatable. They are a several shades of grey, painted the concrete,
kind of acrylic pigment, looking for contrast and a richness between the
easy to apply with an different shades (25). The photoetched stencils
airbrush (directly from were invaluable here for creating subtle
the bottle, no dirt effects across the
thinner concrete
(26).

27 28
Using masking tape, I also added some typical landing area

markings and using interior parts from old AFV kits, I added
some machinery around the spaceship (27 & 28).
Conclusion: “It ain’t over until the fat

lady sings.”
It doesn’t matter how old a kit is – and this Attacker is
now more than 25 years old – or how accurate and detail,
modelling can still evoke powerful memories. Building this
and watching Independence Day again after all these years
took me back to the 1990s. It was quite an adventure! See
you soon in FFI with another classic Sci-Fi kit!
BE
INSPIRED
Lindberg 1/72 ID4
Captured Alien
Attacker (ref. 77311)
is available from
good model shops.

INDEPENDENCE DAY
Independence Day
José Luis Lopez recounts some little-
known facts about the 1996 film.
e are fighting for our and creature designs, and so on. But ‘On 3 July 1996, the
“W right to live. To exist.

And should we win the
day, the Fourth of July
will no longer be known
as an American holiday, but as the day
the world declared in one voice: ‘We
will not go quietly into the night!’ We
I loved it! The fi lm entertained and
provided an adrenaline rush, with
some scenes, such as the destruction
of the White House, impossible to
forget. If you have the chance, watch it
again!
expectation around
ID-4 was realised
with one of the most
spectacular movies of
will not vanish without a fight! We’re Here, some curious facts the nineties’
going to live on!” about the movie:
Independence Day was the highest- • Many scenes were shot at Wendover
grossing fi lm of 1996. In the United airfield, former home of the Enola the Martians in the original movie.
States, it took $104.3 million in its Gay. The name ‘El Toro’ (Will Smith’s
opening week. The fi lm is currently • The film lost the support of the US base) was the same as that of
the 72nd-highest worldwide grossing military over its Area 51 references. home base of the nuclear bomber
fi lm of all time and sold over 69 million Why would the military be so that tries to destroy the invading
tickets in the USA. In 1996 I had just sensitive about this … ? Martians.
finished my Civil Engineering studies • Do you remember the ‘Welcome • The president’s role was originally
and began for an engineering firm. On Wagon’ helicopter (Sikorsky CH-53) written for Kevin Spacey, but one
the weekends I danced the ‘Macarena’, with giant spotlights that greeted executive concluded that “he is not
but one day I saw the incredible trailer the alien visitors? More than 150 a movie star”. The famous speech
to the movie and said to myself: “I Californians called to report UFO before the final battle was based on
must see this!” sightings while the helicopter was Shakespeare’s Henry V.
On 3 July 1996, the expectation making night-time test fights! • The script was written in just four
around ID-4 was realised with one • The movie takes many cues from weeks. Not bad for a month’s work,
of the most spectacular movies of the 1953 sci-fi classic The War of the but it may explain the complaints
the nineties. Opinions, as always, Worlds. The computer virus disables about the weak dialogue. In fact,
were divided about the fi lm: weak the aliens’ shields allowing the many of the exchanges between
dialogue, nationalistic overtone, a humans to destroy the invaders, Jeff Goldblum and Will Smith were
lack of imagination in the spaceships whereas a biological virus defeated improvised.

STAR WARS DESTROY THE DEATH STAR!
Destroy the
Death Star! Allezander de la Rued captures a
moment from the Battle of Endor.
The Battle of Endor
G
rowing up in the 1980s the original Star Wars trilogy
was very much part of my childhood. I have to admit After receiving
that I was a little confused by the storylines at first word that the Rebel
– joining the saga mid-stream, so to speak – but I team had destroyed
grasped that Darth Vader and the Galactic Empire the shield generator on
were the villains, while Luke Skywalker, Princess Leia, Han the forest moon, Admiral
Solo and the Rebel Alliance were the heroes. My favourite Ackbar ordered his fighter
parts were always the battles, and none is more epic than squadrons to commence their attack
the climactic Battle of Endor in Episode VI: Return of the Jedi. on the Death Star’s main reactor. General
With Solo and his team of rebels try and disable the shield Calrissian led his fighters into the Death Star’s
generator on the forest moon of Endor and Lando Calrissian superstructure, with several TIE Fighters and
and Admiral Ackbar lead the rebel fleet against the partially TIE Interceptors in pursuit. After some Rebel craft
finished Death Star, Luke enters the wolf’s liar to confront were shot down by pursuing TIE Interceptors as they
Emperor Palpatine and his own father, Darth Vader. went through the reactor tunnel, Calrissian ordered
Star Wars has always inspired me in my modelling and most of the surviving fighters to split up and head
I eagerly await the release of a new spaceship or ground back up to the surface to draw away their pursuers.
vehicle in kit form. I have previously built such classics as Ultimately, this worked, leaving only two TIEs to pursue
the AT-AT Walker, the speeder and, most recently, the main the Millennium Falcon and Red Leader Wedge Antilles’
character from The Mandalorian. This time I wanted to try X-Wing Fighter. To dissuade more Imperial ships from
something a little different and capture a moment from my attacking the Rebel fighters within the Death Star’s
favourite movie scene, the final assault on the Death Star in superstructure, Ackbar ordered a concentrated assault
Return of the Jedi. I wanted to achieve the sense of movement on the Imperial flagship, the Executor, to buy Calrissian
and drama as the Battle of Endor reaches its climax. more time. Green Squadron A-wings provided support

The Bandai kits are easy to build and quite simple but capture
the shape and feel of the Star Wars craft very well.
The base was assembled from spare bits of plastic. The picture frame
would be essential to how I intended to display this diorama.
for the Home One by disabling the ion cannons on

three Star Destroyers, while one of the Star Destroyers
was severely damaged by a ramming attack from
a CR90 corvette. With a combined effort of the entire
Rebel flotilla of capital ships, the bridge shields on the
Executor were temporarily brought down. Several
fighter squadrons began to target the Executor’s main
sensors. After Jake Farrell - Green Four - destroyed
one of the giant sensor spheres, Green Leader Arvel
Crynyd attempted to perform a trench run across
the Executor’s dorsal cityscape, and destroyed several
turbolasers before his fighter took critical damage from
a turbolaser hit. Crynyd steered his crippled fighter
into the Executor’s bridge. Gherant witnessed Crynyd’s
A-wing approaching the bridge and attempted to warn
the Imperial commander, Admiral Piett, but it was too
The surface of the Death Star was created by a myriad of items from
late. A catastrophic explosion of much of the command my scrap box, including pieces from old model kits, Lego bricks
bridge, killing all the bridge command staff. and old computer components.

The two craft were

test fitted and then fixed in
place with steel rods before
being removed for painting.
Before the secondary command centre could regain

control of the ship, the Executor was caught by the second
Death Star’s gravity well and was consequently pulled
toward the battle station. It then crashed into the surface
of the Death Star, exploding into a ball of fire, and killing
every remaining officer and crewman on board. The
senior Imperial officer on the Death Star, Moff Jerjerrod,
remembering his orders from the Emperor to destroy the
forest moon if the shield was brought down, began to
rotate the Death Star toward Endor. The Rebel fighters,
led by the Millennium Falcon, sped to the space station’s
reactor at its core. Jerjerrod responded by flooding the
area with interference to hinder the Rebel’s progress.
Ackbar ordered that all ships be moved away from the
Death Star, sensing that it would soon be destroyed.
Finally, Wedge Antilles and General Calrissian managed
to arrive at the Death Star’s main reactor chamber. Antilles
targeted the reactor core’s power regulator with proton
torpedoes, while Calrissian targeted the core itself,
proceeding to rush out of the core tunnel and narrowly
escape just as the core erupted behind them. The pursuing
TIE interceptors, however, were unable to evade the
resulting fireball, being destroyed as they were pursuing
the Millennium Falcon close to the exit (source: www.
starwars.fandom.com).
The Model
To realise my dream of making a model inspired by the
dramatic space battle across the surface of the Death Star,
I purchased the two kits that would form the focus of this
piece. Bandai’s 1/72-scale Resistance X-Wing Fighter (ref.
0202289), released in 2015, is actually from Episode VII: the
Force Awakens, but it is such a great kit and was the only
one available in my local hobby shop. Antilles, of course,
as Red Leader had a craft with red markings as opposed
to the blue included in this kit. Similarly, the TIE Striker (ref.
0214474) is from the film Rogue One, but I think it has a
much more dramatic appearance than the TIE fighters and
interceptors that featured in Return of the Jedi.
I also bought a 60cmx30cm picture frame which
would house the diorama and set its dimensions. I then
checked my scrap box and picked out all the materials I
could possibly need, including Lego blocks, old kits parts,
computer components, and random pieces of plastics in
The two Bandai kits were different shapes. In the movie, it’s clear that the Death Star
painted and weathered with a
combination of Vallejo acrylics surface is comprised of rectangular shapes of different
and locally produced Zurk paints. sizes. After assembling the materials, I started snap building

the X-Wing and TIE Striker. I added some small details to
the wings of the X-Wing as in this larger scale it looked
a little basic. I then set about building the base. It would
show one of the Death Star’s trenches so I built
up either side of the trench with Plasticard and
then simply began gluing the various pieces
I had collected to the bottom and either

side of the trench. I tried to arrange them
in perpendicular lines and imagine
what function the various pieces
would have. The two spacecraft
were then mounted on
two stainless steel rods. I
wanted these to be sturdy
enough to hold the models in place and
ensured that they would not be visible
when the diorama was viewed when it was
mounted as I intended it to be.
Painting and Weathering

I started to paint using Vallejo acrylics
and Zurk Paint, a brand made locally in
my country, the Philippines. First, I used
Zurk primer paint on both models. Vallejo
White (70.861) was the principal colour of the X-Wing.
The stripes along its sides were masked and sprayed with
Vallejo Deep Sky Blue (70.844.) For the other mechanical
parts I used Zurk Gunmetal and Vallejo Red Gold (70.794)
and for cockpit Vallejo Light Grey (70.990). The pilot figure
was painted in the classic rebel colours: Zurk Flat Orange
and Zurk Flat White. and chips on the panels, as well as adding heat
For the TIE Striker I began with a mixture of Zurk Flat discolouration to the engine parts. The base was painted
Black and Deep Blue mixed with a small amount of Light in a similar way: a medium grey, altering the shade to add
Grey. I used more of the Light Grey to add highlights and interest and depth and then heavily weathered with oil
pick out the trim. The Rebel fighters in the film are heavily stains and the laser blast marks.
weathered, so I added a few oil stains and paints scratches
The Display
I wanted to display this piece a little differently in a way
that would capture the drama and movement. Taking
advantage of the picture frame base I hung it on my
wall with the intention that the piece is at head height,
giving the viewer the impression that the models are
suspended in mid-air, racing through one of the Death
Star’s trenches. I was delighted with the way this turned
out and I think I have successfully captured one
of the iconic images of my childhood.
BE INSPIRED
Bandai 1/72 Stars
Wars Rogue One TIE
Striker (ref. 0214474)
and Resistance X-Wing
Fighter (ref. 0202289)
are available from good
model shops.

At the Bench
AT THE BENCH PATRICK KAMSMA
Patrick
Kamsma Robert Lane tracks down a
modern-day Dutch Master.
have a soft spot for Antwerp. From travelling there on
I several motorcycle trips to catching the late evening ferry

after work on a Friday to trade at their local IPMS show
back in the day, I always had a good time. However, with
relevance to this piece, Antwerp was also the home of one
of the best model figure shows I have ever attended. While
not as big as SMC, World Expo or Salute, the show had great
atmosphere and the quality of the work that was on display
was outstanding. Sadly now long gone, it was at the Antwerp
show that I first met Patrick Kamsma. Patrick is one of the
nicest people in the hobby that you could meet. He always
has a positive attitude and has a passion for figure painting.
This passion can be seen in the work he has put into his
figure painting, developing his own style of wonderful
smooth transitions in paint application.
Hopefully, many of you will have seen his wonderful
Road Girl article in issue 5 of Fantasy, Figures
International, I was very pleased that he agreed to share
with me some of his thought about figure painting and the
hobby at large. I do like to find out how people
get into figure painting, so I asked Patrick
what was his way in, and could he remember
his first model?
“In 2006 I got back into modelling. I met
my wife back then and she had a dozen or more
creative hobbies. As a teenager I had built scale
models like planes, tanks and cars and I was in
search for a creative hobby to spend the winter together. We
even visited a IPMS show together, bought a Tamiya tank
and from that moment I got hooked on modelling again.
In 2008 I joined a scale model club and things got more
serious. When you surround yourself with creative minds
and get feedback on your work, you progress quickly, and I
started visiting more international shows and start entering
competitions.
In 2012 or so I hit a wall when I saw during a demo some
very skilled modellers detail painting a tank hatch for over
‘Fear of the Dark’ by an hour; and that was just one hatch. As these guys were
9th Gate Miniatures.
taking all the medals at the competitions like Euromilitaire,
from that moment I realised I was never going to be at that
level because the scale models were too big to fully grab my

You can Patrick’s article on Journeyman
Miniatures’ ‘Road Girl’ in our FFI Yearbook,
still available from the Guideline website.
attention and requiring that

level of detail was not for me.
I visited Euromilitaire in 2010 at

the 25th anniversary as a tank modeller
and it was mind blowing to see so many
figures and models in one room. The seed
for figure painting was planted, I guess. It
was shortly after that I visited my first AMSS
show in Antwerp where I met you, Robert,
and fellow members of The Basement and got
some insights, techniques, and some ‘how-to’
tips on miniature painting. I just had finished
my first mini, a 54mm Andrea Miniatures
French Dragon retreating from Moscow 1812.
I didn’t know a lot about paint consistency
and highlights and shadow back then, and
I remember the mini was very glossy and
looked more like a paint-by-number effort.
But back then I was very happy about
my work. I finished a project, it kept my
enthusiasm until the end and I managed to
grab the essence of the miniature, the cold
harsh winter conditions and the retreat
from a lost war. And all done in a matter of
weeks.”
As you can see from the photos Patrick
paints both busts and full figures. I
wondered if he has a preference, and
does he find he needs different
skills for each?
“I don’t have a preference
actually. Recently, I’m more
into busts mainly because
I had the privilege to do
some commissions and the A beautifully
customer asked me to paint finished
Teutonic
some he liked. But it’s nice to knight by
do some small-scale full figures Nocturna
Miniatures.
as I like doing groundwork as
well. I consider a bust nothing more
than a bigger canvas on which more
detailing or a smoother finish is possible.
54mm figures ask for highlights with a single
brushstroke and I often struggle finding the
sweet spot between blending and contrast.
In that case I do find busts and 75mm
figures more suited to my style. I like
smooth blends, but also high contrasts
and a bust is often big enough to
achieve both. Nowadays it’s more of a
thing to paint OSL (object source light)
or more comic style and I believe bigger
miniatures are more suited for this kind
of painting.”
Choosing what to paint next can be
difficult with so many excellent products
Opie Winston from Sons of Anarchy

by Little Leads.

Patrick has captured the feel of cold
Richard D Winters
bust by Nuts perfectly in these two converted
Planet. Verlinden defenders of Bastogne.
‘Promises of No Man’s Historical busts, Hal Moore, the hero

Land’ (left) was an like this Wehrmacht of Ia Drang during
evocative piece that Hauptmann by FeR the Vietnam War, by
Patrick displayed at the Miniatures, might be Dolman Miniatures.
AMT show in Torrent, said to be Patrick’s
Spain, in 2014. forte.

on the market. I asked Patrick what a figure or bust must do down, collect pictures, make mood boards, and start
to make him want to buy it. shopping with the idea in mind instead of buying miniatures
“Nowadays, character or emotion. Like most painters I which end up in a box. Although on occasion, I also do fall
have a nice collection of unpainted miniatures waiting to be for that one ‘have to have’ miniature. In that case I’ll always
painted. But half the collection probably never gets to see be reminded by a Dutch model shop owner who passed away
the light of day because the interest shifted and the piece couple of years ago: “When in doubt: buy it”. Buying and
lacks this emotion. In the early days I bought historical collecting is part of the hobby we’re in.”

miniatures because of the box art, often painted by my Speaking to Patrick and following him online, I know he
favourite artists and then I started reading about the likes to visit fine art galleries. I was interested to know if he
battles or the era it portrayed. was influenced by the work of the old masters and if he had
Today it’s more the other way around but that’s mainly used any of their techniques in his own work.
because my interest slightly shifted to human fantasy “It was a tip from Spanish painters when I attended a
and sci-fi miniatures. I got a lot of inspiration from digital Danilo Cartacci workshop in Madrid. I was a ‘newbie’ back
artists, character development in computer games, comic then and looking back the class was a bit too advanced for
books and movies. Websites like Pinterest, Artstation and me. Still, I learned a lot and the best advice they gave me
Instagram are a great resource for inspiration and once I was to visit the Prado museum and study the classic artists,
find something I like I usually have a miniature or scene something we did the next day. I had no idea what to look
in mind. But it’s for, but it raised my interest in classical painting and later
something I teach I started not only looking at the painting itself but also at
myself recently to brushstrokes, colour use in shadows,
also stop me from and trying to understand how the
buying miniatures painter achieves a certain look or
randomly. Nowadays file. I can’t say I’m influenced by a
I write my ideas classical painter, but I do get a lot
of inspiration to
Another FeR paint and the
Miniatures bust: confirmation
2nd Missouri
Cavalry, ‘Merrill’s
that there
Horse’, 1863. are so many
Cab Calloway
by King’s
Road
Miniatures.
‘Rocket Girl’
by Dolman
Miniatures.

different styles that basically you can do day show whereas a model show
whatever you want as long as the whole is limited to one. Figure shows feel
miniature is treated the same way. There are like more of a cosy get together with like-
no rules in painting. Caravaggio paints very dark minded people and usually feels like a small
and high contrasts, Frans Hals mimics highlights holiday to me. I always meet new people at figure
using very rough single brushstrokes and hardly shows and end up with old and new friends at a bar
any blending, Vermeer uses bright and desaturated or restaurant at the end of the day and strangely
colours and Rembrandt plays with subtle lights enough we hardly talk about miniatures. Feels
and dark. They are all roughly from the same like the show itself is a sideshow; it’s just an
period, yet so different. Art is personal. opportunity for us painters to hang out.
Looking at art is more of a hobby to me. I That’s what I miss the most these days because
improve my techniques basically from fellow of the pandemic. We all have a lot of hobby friends
miniature painters by attending workshops around the world and although we only see each other
and learn from them. I do find participating in during shows, when we do it’s like we saw each other
workshops of your favourite artists the best way to yesterday. I can’t wait to travel around Europe again.”
get knowledge and tips and tricks and as a bonus Finally, I finished with the question I ask each
you’re making new friends in the process. I time: what is the best piece of advice you have been
learned a lot from Roman Lapat, Ben Komets given and what would your advice be to aspiring
and Sang-Eon Lee. And, although the Cartacci figure painters?
workshop was too advanced back then, some “Most important: Paint and have fun. Keep
things learned then do make sense nowadays. those brushes wet. It’s a hobby that progresses
You know you’re at the right place when by doing. You can read or watch video’s
John Gantt
you’re sitting next to Jesus Martin, Pepa Oregon Trail all you want, but you need to slap
Saavedra and Ivan Hortal as your fellow 1843- La Meridiana some paint on a mini and learn
Miniatures
attendees. from mistakes to improve. Gain
There is a parallel with the classical knowledge. I already summed
artists in there. Back in the day the up a few things when it comes
historic painters didn’t have social media, to gaining knowledge by
Patreon or YouTube. The master painter attending shows and
usually had a group of apprentices in workshops. Contact
their own workshop where they study the great fellow painters
master and some of those pupils became great artists as at social
well.” media
In the UK we can get blinkered into thinking that groups and
model shows are the same all round the world. Patrick ask for
has mentioned he has attended Euromilitaire on several advice.
occasions; I asked him if he saw any Don’t
differences in figure painting worry,
and model shows in the UK most will not
and those in Europe. bite. Attend
“It’s difficult to say for workshops of
the UK because I only went your favourite
to Euromilitaire and its artists. If there
successor Euro Model Expo aren’t any around,
in Folkestone, but I think a organize one yourself. A workshop
show in the UK is no is also a great opportunity to get in
more different than contact with fellow painters in
in Europe. The your own neighbourhood.”
main difference Patrick’s last answer is very
between a apposite for the current time.
figure show and Many of us have missed going to
a model show is shows and seeing friends we only
how a visitor spends meet a few times a year. Hopefully if
their time there. you are thumbing through this
A figure show is copy, after finding it in a pile
usually a two- of old magazines in several
years’ time, the current
situation will be a distant
memory as you plan your
Red Devil
Arnhem 1944- show calendar for the year.
Fer Miniatures
Pegaso’s superb
French Revolutionary
figure.

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SCI-FI PAINTING THE NUN
The

1 2 3

Sylvain Aubut returns with 40K-themed bust.
had had this bust sitting on my detailed plans and lots of note, I just
I bookshelf for a while. I used to look

at the piece and couldn’t decide
what I wanted to do with her. I’m
not a fan of Warhammer 40K as
such, so when first bought her I hadn’t
realised what she meant was meant
to represent. Then the Brush Beast
went with faith in my interpretation
of the imagery of the Sisters. Very
appropriate, I guess!
Getting Started
I began with my usual pre-
shading. Some artists prefer a
painting competition came along, and zenithal light approach (that is,
I wanted to paint something different, from one direction), but for me
so I took her down from the shelf. I wanted to place the light source
When one of my friends told me that as specifically as possible. So doing
I had a Sister of Battle bust, I said ok, also gives me an idea of the three-
I’ll do some research on those gothic- dimensional character of the figure. I
looking space nuns. I decided I’d placed my light in the area I wanted,
simply paint the bust, so didn’t think took some photographs, and then
about a background or anything else followed this blueprint. As I said,
for her. I didn’t have a particular plan or
I hadn’t considered writing an process to paint her (or for any of my
article when I took her down from figures for that matter). I consider
the shelf, so didn’t make a note of myself more of an artist painting
specific colour mixes and ratios. To be figures than a real figure painter. I like
honest, like many painters I suspect, to explore my limits and the overall
my bench looks like a grenade has affect of the figure that I paint, but
hit it. Before I started, I did some let’s get back to our subject. The
research on the Sisters of Battle and pre-shading was done with Green
their place in the rich lore of the 40K Stuff World (GSW) Matt Black
universe. Over the years there has Primer, adding highlights with
been some fantastically evocative Liquitex white ink. I like to use white
artwork produced of the Sister, both ink since the pigment is very fine
by fans and official Games Workshop and with the airbrush it gives a much
artists like John Blanche. The dark smoother gradient (photo 1).
colours, lots of reds, blacks and golds, As I said, I’m not a particular fan
and deeply gothic imagery was of 40K and wanted to steer clear of
very evocative. Rather than having a the colour schemes that have been

4
assigned to the Sisters of Battle over colours – from greens to reds – to end
the years. I deliberately avoided any up with a mid-tone of peachy flesh.
of the schemes you might see on the I was really pleased with the lighting
gaming table. That said, the sculpt by effects, which gave her a suitably
Victor Aguilar for his Urvara range, stern look while maintaining the
is fantastic and I wanted to make the smoothness of her skin (2 & 3). greens, trying to keep it as natural
most of this, as well as giving a nod and realistic as possible. As you can
to her Grim Dark heritage. Thus, I The Armor see, moved from right shoulder, going
decided to contrast the armour with Since this nun’s environment is around the bust and finishing with her
some deep red fabrics. one in which there is only war, I back. This was a new way of painting
As I said, I wanted the bust to have didn’t want to create a nice pristine Non-Metallic Metals (NMM) for me. I
some contrasts that would affect armour. I wanted a more rugged look abandoned my usual technique and
the viewer’s perception of the whole with some evident battle damage. just mixed, shaded and highlighted
piece. I started painting with the Working from the principal direction the colours in a way that seemed right
face. Painting female faces is always of the light source, I started with at the time. I was really pleased with
a challenge, as the skin is usually a dark blue (GSW Imperium Blue) the result (4 & 5).
much smoother than with males. I and added some black to it, then I These space nuns are also all about
also wanted to integrate some scars, worked my way up to the highlight, leather! Again, I didn’t follow my usual
underlining that fact this lil’ lady adding Mirage Blue and finally White. technique for painting leather and
honours the Emperor of Mankind in Trying to respect the different forms decided to create an oily, glossy finish.
both faith and battle. I started with and shapes of the armour, I shaded I started with a base of GSW Dwarven
GSW Cutthroat Red, adding different the armour with different reds and Flesh and Black, adding some Ivory

6 7

to it. It looked a little flat at this stage,
so I decided to experiment a little with
inks. I added Walnut Brown ink to
the base colour, mixed with Phoenix
Orange for the reflections. This gave
the leather that oily look I wanted. The
use of the inks integrated with the
paint gives it a certain depth. I applied
three washes of the Walnut Brown
and five washes of Phoenix Orange to
obtain this effect (6).
The gold ornamentation was
relatively straightforward as the bust
has some beautifully sculpted details.
As I was painting for a competition,
I really wanted to go to town on this
and picked out all the trim. NMM Gold
is, in my opinion, easier than other
metals. My basic recipe is Red Ochre,
Sepia Ink, Warm Yellow, and Light
Flesh. Working my way from dark to
8 9
light, I started with a mix of Red Ochre
and Sepia, adding some delicate black
lining between the mid-tones and the
highlight, just to add the perception of
greater depth (7).
The purity seals represented a little
more of a challenge. First, they have
writing on, detailing the oaths the
Sister has made before battle, and
second, they are a key part of 40K
lore. As such, I wanted to make them
a more prominent part of the figure
so spent some time getting them
right. I started with a base brown,
working them up with Ivory. I wanted
them to appear battle-worn, as if they
had been splashed with mud, blood,
but still recognisable. To achieve this
effect, I applied a light wash of Burnt
Red (8 & 9).

‘Bringing it all together was a
real challenge that tested my
abilities as a painter’
Look to Your Battlegear

I didn’t want her bolter and
chainsword to look shiny and new
either, so I decided to add a little rust-
coloured pigment to the basic red,
giving them the impression of dried
blood. Pigments dry perfectly flat, so
mixing them with paint is a great way
of imparting a worn, weathered look
to weaponry and other similar pieces
of equipment (10).
I finished the piece with the final
enhancement of the Object Source
Light (OSL) effect. I wanted a second
light source hitting the figure from
the opposite direction to the main
one. This time I wanted the second
light source to come from behind
and to the right. I wanted the red
velvet of the cloak to be reflected,
quite a challenge as velvet has a very
particular reflection (11).
10 11 Final Thoughts
This foray into the world of
Warhammer 40K was something new
for me. I’m not a big fan of gaming
miniatures, but this was something
completely different for me and thus
challenging and fun at the same
time. The light and reflection of the
cloak and other pieces in the Sister’s
armour was very different to the NMM
pieces I’ve painted before and quite
unique. Bringing it all together was a
real challenge that tested my abilities
as a painter. I really enjoy painting this
figure and I hope you like the way
she turned out. If you like my work,
you can follow me on Instagram at
www.instagram.com/sylvain.aubut.5/
to see more. Thank you for reading
and thank you to FFI for giving me
another opportunity to share my work
with you

FFI talks to one of
PAINTER PROFILE JON GÓMEZ

This Space
Wolves
the emerging talents Bladeguard
in the hobby. veteran was a

study in OSL.
Jon Gómez
Jon used a
Where it All Began wonderfully
Like many of us, my involvement subdued
palette of
in the hobby goes back to colours on this
when I was eleven years old. I Plague Marine.
remember fondly the excitement
of going with my parents to my
local hobby, comics and game
store, Ronin in Vitoria-Gasteiz, the
capital of the Basque region of Spain, soldiers, commissioned me to paint
which stocked Games Workshop some antique lead soldiers in his
miniatures. I will never forget the collection. This sparked my interest
sense of wonder on entering the store in other types of miniatures, World
and seeing this whole new world War II figures and aircraft, which
with shelves packed full of boxes of became a staple of my hobby for
miniature and blisters of metal figures. some time. As I got older, again like
I began to buy White Dwarf and my many others, life got in the way of my
first Codex publications, painting an hobby and my interest in miniatures
eclectic assortment of figures that and painting took a back seat as I
caught my eye. So, it was with Orks, focused on my studies and later my
Imperial Guard and Space Marines career in computer
from Warhammer 40k that I, like so engineering.
many others, entered this hobby. Rediscovery
At this age I didn’t game with my It was then that I discovered board
Games Workshop figures, but rather games. There were some great
enjoyed the painting and collecting games available at the time
side of the hobby. I occasionally and they became my
engaged with figures in battle in principal hobby, playing
games with friends, but what I really them with friends and
enjoyed the most was painting. I
don’t think I was any great A Space Wolves Primaris
Redemptor Dreadnought on a
shakes as a miniature scenic base.
painter as a
teenager,
but I was
encouraged
when my
uncle, a
collector
of toy

An AT-AT walker
from Star Wars
Legion.
Jon teaching his daughter, Naroa, the tricks of

the trade, so that she too can enjoy painting
and exploring this wonderful hobby.
The glow
from this
Ultramarines
Hellblaster’s
plasma gun
is a great
example of
OSL.
Jon has
tried a very
different
painting style
with this
Goku
Kid from
Dragon
Ball.
the figures from board games like

‘Descent’ and ended up finally
going back to the miniatures
from my childhood that I was so
passionate about, Warhammer 40k
and other science fiction subjects.
When I returned to painting as adult,
I discovered I had so many more
resources to hand, not least the
financial independence to buy
all the materials, tools, paints,
and figures I wanted! In addition,
I was lucky enough to have a large
with my wife. This led, some fifteen to I discovered workspace where I could paint and
twenty years after my first experiences Vallejo acrylic paints, which were at have everything organised. There
in miniature painting, to a rediscovery least as good, if not better, than the was also so much more information,
of that aspect of the hobby. In 2009 I brands I had been using previously, tutorials, painting guides and the
bought the first edition of Guillotine and very affordable. It’s fair to say like for me to absorb and develop as a
Games’ ‘Zombicide’. For me, playing the that Vallejo changed my life and when painter. So, I kept painting more and
game with unpainted miniatures just I had finished painting the entire more figures, trying to improve my
didn’t seem right, so I bought some complement of ‘Zombicide’ figures techniques, and learning from other
paints, and my miniature painting contained in the box, I found my love of hobbyists, so that the next painted
journey began again. miniature painting truly rekindled. miniature would always be better
I discovered that the hobby had I wanted to paint other figures, than the previous. I pushed myself to
moved forward so much since the improve my techniques, and continue leave my comfort zone and try new
mid-nineties with techniques and learning and progressing as a painter. techniques and approaches with each
brands I had not previously heard of. From ‘Zombicide’, I went on to paint miniature I painted.

The highlighting and zenithal
lighting effects on this
Space Wolves Repulsor are
particularly striking.

Tau XV8
Battlesuits,
especially the
older design, lend
themselves to
‘edge highlighting’
as seen here.
A New Beginning Spellcrow, Kromlech and

Eventually I thought, why not share CrystalFortress
some of these miniatures with the One of my strongest
community, and show how to paint collaborations, however, is with the
them for free? That’s where the idea Spanish paint manufacturer, Acrylicos
for my blog (http://pintureando.com/) Vallejo. I feel very privileged to be all those years ago, I could never
was born. On this I currently publish able to work with them to launch new have imagined I would be sponsored
tutorials on how I paint some of the tutorials for both their existing range to paint by my favourite paint
figures. More recently, I also created and new products. To be honest, when manufacturer. I use acrylic paints
my own Instagram channel where I picked up those figures exclusively on my miniatures and my
I publish in-progress images of the from ‘Zombicide’ favourite scale is 32mm, the so-called
miniatures that I am painting, and ‘epic’ scale, used by Games Workshop,
post mini-tutorials that, I hope, can Star Wars Legion, and other Sc-Fi
help the community. figure manufacturers.
Currently, I’m delighted to be able
to collaborate closely with some Tips and Techniques
of the best-known manufacturers Whenever I start a new subject,
and companies in the hobby, both I like to plan my painting
miniatures, accessories, and tools, process, studying illustrations,
testing and giving feedback on reference material and analyse the
products even before they go on sale. colours I will use. How do my plans
I am passionate about my hobby, relate to the basics of Colour Theory?
and I really enjoy experimenting and What parts of the miniature will
learning about new products, so I paint with an airbrush and which
I find this development really parts by hand? What am I trying to
exciting. Some of the companies achieve with this particular miniature?
I regularly collaborate For me, this is the most fundamental
with are Frikland, part of any project, choosing the
RedGrassGames, combination of colours that will define
Who can resist the Child
the appearance of the miniature from
from The Mandalorian? the very beginning. It also reduces the

Prince Vegeta of
the Saiyan race
from Dragon Ball.
Nothing says Space

Wolves like Thunderwolf

cavalry!
Another example of
a simple yet effective
use of OSL in a Dark
Angels figure.
risk of unpleasant surprises as the

project progresses!
Also, before I start, I like to think
about any modifications I can make to
a figure, either by modelling some new
parts with putty or adding alternative
Adrax Agatone,
bits, to make it unique. This is the ‘the Hammer
part that usually takes time and of Nocturne’, a
Salamanders Space
dedication, but it is something that I Marine presented
really enjoy doing since it’s the best with a suitably themed
way to personalize your work. In each base.
new miniature I like to try something

different. It is important not to be
afraid to try new things and make to help, share ideas and even
mistakes, because it is the best way inspire people who are looking
to learn. There have been times when and finding to paint similar miniatures as
wanting to experiment, I have ended a method either standalone pieces or
up repainting the whole miniature. of painting as part of a tabletop army. I
This can be frustrating at first, but that allows hope to share some of these
when you realise how much you have you to put techniques here in Fantasy
learned and how it will help you in the army Figures Internation al in the
future projects the pain is eased – a quickly and coming months.
little! effectively on the
In addition to painting single tabletop. Fired Up
miniatures or painting for dioramas, I I also love to experiment with I was really delighted when David
have on occasion painted whole armies OSL (Object-Source Lighting) and contacted me about contributing to
or large groups of miniatures. Here I other effects on miniatures. An this magazine. I hope that you will find
have tried to find techniques that allow understanding of how light and my articles and tutorials interesting
me to paint large numbers of figures reflection works and the different ways and helpful. Stay tuned! In the
quickly to an acceptable standard. I we can use this in our miniatures meantime, you can follow my work on
usually paint a few quick ‘test’ figures, can turn an otherwise plain or my Instagram account (@ pintureando.
using different combinations of colours unappealing miniature into a visually miniatures) and check out my free
to find the one that works best. For striking work. tutorials available on my blog, both in
me, it’s a question of both finding These are things I try to show in the Spanish and English:
colours that work together in an army tutorials on my blog (or on Instagram) www.pintureando.com.

After the Apocalypse
Sign O’
AFTER THE APOCALYPSE
The Times
Andy Uhrlau aka ANDIGO
magining the days after
I the Apocalypse, I wanted

to capture the darkish
vibes of dejection,
overshadowing a life in
ruins. The scene is set in
an empty wasteland at
the end of world with only
a handful of survivors
left. One of them is our
desperate wanderer, who
stands on the edge of
the precipice, suddenly
confronted by isolation and with devilish ambiguity, so
an overwhelming sense of I used it as a centrepiece
alienation and with nothing and took it from there. I
left but faith. I wanted to wanted to keep everything
gather some paradoxical simple and added only a
elements in one sublime few other elements. First,
dystopian vignette but at a giant Gundam robot-
the same time spice it up arm as a rusty catwalk
with a little twist, a slight and a wonderful figure by
touch of humour. For a kit Kellerkind Miniatures,
bash-artist like myself who carrying old books of
loves ‘What if...?’ concepts, wisdom. Certainly not
I frequently mix different everyone who wanders is
genres, styles and scales lost, but my character is
to come up with my own travelling on an existential
blend. Thus, in my mind one-way street of
even the Corona beer street contemplation ... born to lose
sign was suddenly charged but live to win!

Order from our website
www.fantasyfigures.co.uk
NE W
This book is post-apocalyptic modelling at its very best and will both inspire
and inform you as you tackle your own modelling projects.
Guideline Publications is delighted to announce After the Apocalypse,
brought to you by the team from Fantasy Figures International and
Marco Riolo of Alternity Miniatures. This softback 84-page book brings
you the very best in post-apocalyptic modelling, with stalkers, zombies
and all manner of horrors from dystopian futures. It features seven
previously unpublished articles, each covering
a different aspect of post-
apocalyptic modelling including
figure painting, vehicle
modelling and diorama
building. Each article is
fully illustrated with
step-by-step photos,
informative text,
and extensive
galleries of
the finished
model.
We never miss an issue • Subscribers copies sent first and on time.
Military Modelcraft International is the world’s number one

English-language armour modelling magazine.
Subscriptions
available from
only £27.00
Packed each month with detailed step-

by-step builds by the best modellers from
across the globe and exclusive reference
material, it is the essential magazine for all
modellers and tank enthusiasts.
First-class photography and clear explanations will allow you
to improve your own modelling and expand your knowledge
whether you are new to the hobby or an experienced modeller.
Military Modelcraft International is available from good
newsagents, model shops and directly from the publisher at
militarymodelcraft.co.uk.
Subscribe online
militarymodelcraft.co.uk
TRICKS & TECHNIQUES THE LITTLE TRAFFIC COP
The Little Traffic Cop

by Creative Green Stuff World. 1
t this stage of my modelling career, I think I have
A finally reached the style that I feel the most

comfortable with, the ‘cartoon style’. The characters,
vehicles, buildings, even the environment they
inhabit, are full of references to comics, graphic
novels, and Manga. I use very a saturated palette, colourful
characters, soft effects and framing very similar to that
found in cartoons. I hope you enjoy reading about my
works as much as I do making them; I really think they
reflect my personality and approach to life.
This scene was a collaboration with two of my favourite
hobby brands, Alternity Miniatures and Neko Galaxy. Both
miniatures asked to tell a story together, so I just listened to
them and put my brushes at their service. What happens
when you deliver pizzas for a living and you get fined for We’ll start with the Neko Galaxy biker girl, ‘Xen’, a 75mm figure
sculpted by Tom Lishman. I replaced her left hand, which was
just doing your job? Well, your face reflects the desire to
originally carrying a gun, with a less aggressive 3D printed hand.
dismantle the robot policeman with a hammer. Do you The black primer helps make the metal filters with which we will
think she did it in the end? paint her clothes much more spectacular.

2 3

Green Stuff World’s Interference Colours paint set is a set of
metallic filters that can metallise any colour, changing its tone
and adding a convincing metallic finish. I used two filters for the On white primer, I added some spots of fluorine colour that later
biker’s trousers. This colour will change the tone of the original will be masked to add some colour to the hovering motorbike. On
acrylic paint. top of this I airbrushed a layer of airbrushed chrome.
4 5
While paint on the bike cured, I used GSW flesh-coloured paints I used GSW Liquid Mask to cover the painted parts of the figure.
for her face. I didn’t make too many harsh shadows and highlights This transparent latex film can be removed easily. Once applied to
because I wanted her to look more like a Manga drawing. the suit, I started to paint the boots.
6 7
The colour scheme of the boots must be very different from the
suit, in both contrast and colour. Once the shadows and highlights
have been applied with the airbrush, I used a brush to add texture Here you can see how the transparent masking film comes off
to them. without any problems, keeping the area underneath clean. It does
not damage the paint and does not leave any residue.
8
9
For the vehicle I used GSW Chrome airbrush paint. The areas
painted in the fluorescent colours are covered in masking tape. I again used Liquid Mask over the Chrome, airbrushing the
Once painted, these areas will have a stunning finish. remaining portions of the bike with GSW Candy Ink.

10 11
For the headlights and glazed parts, there is a very simple and
This results in a very shiny and coloured metallic finish. The quick trick, which consists of using GSW Ultraviolet Resin as
chrome effect will not disappear completely, just change its lenses. It dries instantly under ultraviolet light and the finish is
colour to red. completely transparent.
12 13
Next, I begin painting the backdrop to the action. The garage Once the yellow is dry, I wetted the whole piece and scrape it
door first has a a red primer and different shades of brown and gently with GSW Scratch Brushes. You can also use an old stiff-
orange. I then airbrushed a coat of GSW Chipping Medium and haired paintbrush. The rust painted parts begin to appear in
paint the yellow. different areas.
14 15
I usually place the decals after doing the chipped paint effect, as I use a mixture of red and black to make different types of rust
the brush would not lift the paint from the decal area. Now it only shades and apply them randomly over the whole surface. I
remains to imitate a little more wear and rust, using a very simple concentrate more on the edges of the door, as it is the part that
technique. sees the most wear. I also subtly weather the decals.
16 17
For the rest of the wall, I used mauves and purples, Once the graffiti has been placed, I used the base colour of wall,
complementary colours of yellow on a colour wheel. This results lightened with white, and applied with a sponge pen to imitate
in a very attractive contrast. This is weathered using similar small imperfections. This gives a sense of depth and realism to the
techniques to those used in the door. wall.

18 19
Once the different elements of the scene have been assembled, For the posters on the wall, I use GSW printable decal sheets. I
it’s important to integrate them together in a convincing manner decided on a range of subliminal messages that will help to build
and for this I used Liquid Pigments to give an overall layer of dust the story and give the viewers clues with which to interpret the
to tie things together. scene.
20 21
Now time to turn my attention to our friendly traffic officer. The

paint scheme will be police blue, but for the head visor, I used
GSW Colourshift paints. Always apply these over a layer of black Here you have a spectacular metallic finish, a perfect base on
primer. which to add eyes from GSW decal sheets.

22 23
I started with a dark blue, gradually adding lighter blue highlights

I applied Liquid Mask over the finished visor and turned my to the figure. In the area of the visor, I masked a strip to add the
attention to the rest of the robot. word ‘Police’.
24 25
In addition to the writing on the top of the head, I used more

items from the GSW decal sheets to decorate the whole body of And remember, all the elements in the vignette, as for example
the policeman. The range of decals in GSW’s catalogue offers the pizza box, need to be treated to the same level of painting
hundreds of possibilities suitable for any project. and weathering to integrate everything together.

Book Corner
REVIEWS
Worn Art Collection 3:

Chernobyl Exclusion
Abilio Piñeiro Grajera et al. AK Interactive.
Softcover, 112pp. €17.95
The disaster at the Chernobyl Nuclear Power Station in 1986,

the subsequent evacuation of the nearby town of Pripyat,
and the creation of the ‘Exclusion Zone’ around the plant has
provided a rich source of inspiration for modellers in recent
years. We have seen several pieces in this magazine and our
After the Apocalypse book that have taken a post-apocalyptic
slant on the subject, inspired by video games like Stalker.
The third volume in AK Interactive’s Worn Art series doesn’t to make a hole in the base of the reactor building and which
include stalkers or radioactive zombies but does contain a now stands as a rusting hulk in the exclusion zone. Next, we
superb array of model themed around the real events around have a scene set at the abandoned swimming pool in Pripyat
Chernobyl and in the Exclusion Zone. The contributors take where an Exclusion Zone tourist takes a selfie on the diving
the vehicles and personnel of the Chernobyl disaster to create board, followed by a nicely done shadow box diorama of the
some wonderfully evocative and beautifully finished models. plant control room. George Johnson then paints and weathers
First, Abilio Piñeiro Grajera creates a small vignette set on the an Mi-6 helicopter similar to one of those abandoned in the
roof of the damaged reactor as one of the STR-1 robots clears Exclusion Zone. Michael Traj makes a stunning paper model of
radioactive debris from the roof. Michael Dostál presents one the one of the IMR-1 recovery tanks used to clear radioactive
of the four ISU-152 self-propelled guns used in an attempt rubble, while Rob Ferriera builds a diorama showing a pile
of rusting BRDM-2s and a ZiL-131 truck. Finally, FFI regular
Roberto del Cima presents an imaginative diorama capturing
a ‘then and now’ moment in the town of Pripyat.
90 SECONDS I really enjoyed this book. The models are superb, while
the techniques used are applicable to all sorts of post-
apocalyptic and sci-fi modelling. The book is presented in a
The Chernobyl disaster was caused by a nuclear accident that
occurred on Saturday 26 April 1986, at the No. 4 reactor in the Chernobyl Nuclear
Power Plant, near the city of Pripyat in the north of the Ukrainian SSR. It is still
La catástrofe de Chernobyl fue causada por un accidente nuclear
ocurrido el sábado 26 de abril de 1986, en el reactor No. 4 de la Central Nuclear de
Chernobyl, cerca de la ciudad de Pripyat en el norte de la República Socialista Soviéti clear and accessible way with first-rate photography and a
dual Spanish/English text. The reference photos taken in the
The accident started during a safety test on an RBMK-type nuclear reactor, which El accidente comenzó durante una prueba de seguridad en un reactor nuclear tipo
was commonly used throughout the Soviet Union. The test was a simulation of an RBMK, que se usaba comúnmente en toda la Unión Soviética. La prueba fue una simu
electrical power outage to aid the development of a safety procedure for maintain lación de un corte de energía eléctrica para ayudar al desarrollo de un procedimiento de
ing reactor cooling water circulation until the back-up electrical generators could seguridad para mantener la circulación del agua de refrigeración del reactor hasta que
los generadores eléctricos de respaldo pudieran proporcionar energía. Este corte era
tial safety problem that could cause the nuclear reactor core to over-heat. It was CDÓ@OQNWHL@C@LDMSDÓTMÓLHMTSNÓXÓRDÓG@Aŷ@ÓHCDMSHȫB@CNÓBNLNÓTMÓONRHAKDÓOQNAKDL@ÓCDÓ
Exclusion Zone (including of the abandoned fairground, the

hoped to prove during a scheduled reactor power-down that the residual rotational seguridad que podría provocar un sobrecalentamiento del núcleo del reactor nuclear. Se
energy in a turbine generator could provide enough power to cover the gap. Three esperaba demostrar durante un apagado programado del reactor que la energía de ro
such tests had been conducted since 1982, but they had failed to provide a solution. S@BHźMÓQDRHCT@KÓDMÓTMÓFDMDQ@CNQÓCDÓSTQAHM@ÓONCQŷ@ÓOQNONQBHNM@QÓRTȫBHDMSDÓDMDQFŷ@ÓO@Q@Ó
On this fourth attempt, an unexpected 10-hour delay meant that an unprepared cubrir el vacío. Se habían realizado tres de esas pruebas desde 1982, pero no habían
proporcionado una solución. En este cuarto intento, se produjo un retraso inesperado
CDÓÓGNQ@RÓDMÓTMÓSTQMNÓNODQ@SHUNÓDMÓRDQUHBHNÓPTDÓMNÓDRS@A@ÓRTȫBHDMSDLDMSDÓOQDO@Q@CN
subject of Mirko Brechmann’s Chernobyl piece that you can

A large amount of energy was suddenly released, vaporizing superheated cooling
water and rupturing the reactor core in a highly destructive steam explosion. This Se liberó repentinamente una gran cantidad de energía, vaporizando el agua de en
friamiento sobrecalentada y rompiendo el núcleo del reactor en una explosión de
able airborne radioactive contamination for about nine days that precipitated onto vapor altamente destructiva. Esto fue seguido inmediatamente por un incendio en el
parts of the USSR and western Europe, especially Belarus, 16 km away, where núcleo del reactor al aire libre que liberó una considerable contaminación radiactiva
en el aire durante unos nueve días, que se precipitó en partes de la URSS y Europa
ally released about the same amount of contamination as the initial explosion. As
evacuated from the area, primarily from Pripyat. The exclusion zone was later in
occidental, especialmente Bielorrusia, a 16 km de distancia, donde aterrizó alrededor
dualmente aproximadamente la misma cantidad de contaminación que la explosión

inicial. Como resultado del aumento de los niveles de radiación ambiental fuera del
lugar, se creó una zona de exclusión de 10 kilómetros de radio 36 horas después del
see in our 2021 Yearbook) are superb and again a wonderful
reference for anyone tackling any of ICM’s recent Chernobyl-
accidente. Cerca de 49.000 personas fueron evacuadas del área, principalmente de
Pripyat. La zona de exclusión se incrementó posteriormente a un radio de 30 kilóme
About 25% of the red-hot graphite blocks and overheated material from the fuel
channels was ejected. Parts of the graphite blocks and fuel channels were out of
the core was established by the high temperature of the core. The air ignited the hot lentado de los canales de combustible fueron expulsados. Partes de dichos bloques
3N©ETKȯKK©SGD©BKD@MHMF©S@RJ©U@QHNTR©QDLNSDKX©BNMSQNKKDC©UDGHBKDR©VDQD©TRDC © LNMF©

them there was a special mobile robot STR-1 developed by VNIITRANSMASH to
gether with other organizations. The robot was used to remove the obstructions and
radioactive elements from the roof of one of the plant buildings where people could Para cumplir con la tarea de limpieza, se usaron varios vehículos controlados a dis Modeled, written and photographed by
themed releases. Overall, a real treat and a book that all
modellers can enjoy and learn from. If you haven’t done so
not work for a long time, 90 seconds maximum [Kemurdjian, 1993]. tancia. Entre ellos había un robot móvil especial STR-1 desarrollado por VNIITRANS Maqueta, texto y fotos por
MASH junto con otras organizaciones. El robot se utilizó para eliminar las obstruccio ABILIO PIÑEIRO GRAJERA
STR-1 consisted of a 6-wheel drive chassis equipped with a dozer blade and
included a transport cradle to move the STR-1 to the roof via helicopter. This cra
dle also allowed it to recharge its on-board batteries without human assistance. It
had TV cameras placed on the mast for surveying the area and stationary cameras El STR-1 con chasis de tracción total equipado con una pala de un bulldozer era la
already, it’s also worth checking out the first two volumes
linked to a remote radio-controlled box with monitor for driving. The chassis was parte principal de este equipo, incluida también una base destinada al transporte del
robot al techo y para recargar las baterías a bordo; tenía cámaras de TV de topografía
estacionarias colocadas en los mástiles; una caja de control remoto por radio con
in this series, the first on wooden effects and the second on

paint chipping effects (with the added bonus of a superb Slave
wornart collection 3 chernobyl
One model). Our thanks to the guys at AK Interactive, and
especially the book’s editor Mürat Özgül, for the review copy.
“Hay un accidente en la central nuclear de Chernobyl. Ya no pueden

apagarla “. Con estas palabras impotentes se informó a las autoridades soviéticas, y
UNIT 4 It’s available directly (www.ak-interactive.com) and all good
booksellers.
later the world, were informed about the largest nuclear catastrophe of our times. luego al mundo, de la mayor catástrofe nuclear de nuestro tiempo. La historia es aún
The story is well known nowadays, especially since the excellent HBO miniseries mas conocida hoy en día, especialmente desde que la excelente miniserie de HBO se
I remember when in 1986 playgrounds in West Germany were closed, milk was Recuerdo cuando en 1986 se cerraron los parques infantiles en Alemania Occiden
declared undrinkable, deer in Northern European forests had to be shot and burned, tal, la leche se declaró no potable, hubo que disparar y quemar a los ciervos de los
bosques del norte de Europa, e incluso 20 años después “en Alemania, los niveles de
reached 40.000 Bq/kg. The average level is 6.800 Bq/kg, more than ten times the cesio-137 en el músculo del jabalí alcanzaron los 40.000 Bq / kg. El nivel medio era de
6.800 Bq / kg, más de diez veces el límite de la UE de 600 Bq / kg ”, según el informe
on the internet, showing a hunched technician in basic protective gear in front of Posteriormente, cuando encontré en 2016 una foto de Serhiy Koronavniy (Servicio
the empty consoles of Unit 4´s control room, I knew I had to build this scene as Ucraniano de RFE / RL) en Internet, que mostraba a un técnico encorvado con equipo
a boxed diorama showing man´s capitulation in front of his most sophisticated de protección básico frente a las consolas vacías de la sala de control de la Unidad
4, supe que tenía que hacerlo. Construí esta escena como un diorama de caja que

HORNET1/35th Scale Resin Head Sets
HH/1 5 different heads HH/16 5 more European bald heads HH/31 Heads, 2 old men, 2 youths, 1 boy
HH/2 5 different character heads HH/17 5 different heads eating, drinking HH/32 5 bare with emaciated features
HH/3 5 heads, close cropped hair HHH/18 5 different heads, necks turned right or left HH/33 Bare heads with ultra short haircuts
HH/4 5 different heads, WW2 haircuts HH/19 5 different heads, looking up or stretched out HH/34 5 Heads with aquiline features
HH/5 5 different African bald heads HH/20 5 different heads looking down HH/35 5 More bare heads with Caucasian features
HH/6 5 different European bald heads HH/21 5 different heads, gaunt or battleweary HH/36 5 unkempt heads with beards
HH/7 5 different east Asian bald heads HH/22 5 more heads with WW2 style haircuts HH/37 5 additional bald heads, European features
HH/8 5 different middle aged euro heads HH/23 5 bandaged heads HH/38, 5 bare heads shouting, 'War faces'
HH/9 5 different heads, sleeping HH/24 5 more heads with european faces HH/39 5 European heads with defined irises,
HH/10 5 different female heads - no hair! HH/25 5 more european heads HH/40 5 East Asian heads stubble hair
HH/11 5 different heads laughing, joking HH/26 5 bald heads with defeated expressions HH/41 5 Character heads, stubble hair
HH/12 5 different bareheads, neutral expression HH/27 5 bald heads with triumphant, exulting faces HH/42 5 European faces with haircuts 1914
HH/13 5 different youthful heads WW2 hair HH/28 5 heads with hooked or semitic noses HH/43 5 heads with hair, 1 African, 4 European
HH/14 5 different heads, snarling, gasping HH/29 5 Bareheads, one eye closed. eg: sighting a weapon HH/44 5 Heads with central Asian features cropped hair
HH/15 5 heads, smoking (add own ciggies) HH/30 5 Bareheads, anxious or frightened expressions HH/45 5 Sub Saharan Africans
HISTOREX AGENTS, Wellington House,

157 Snargate Street, Dover, Kent, CT17 9BZ, ENGLAND
Tel: 01304 206720 eMail Sales@HistorexAgents.com
@FantasyfiguresInt
FFI ONLINE
TAP • READ • ENJOY

t was with regret that we took the decision to cancel models on the
I our June shows, the London Toy Soldier Show and the

London Plastic Modelling Show on 26 and 27 June 2021.
The dates were very close to the planned 21 June lifting
of COVID restrictions by the UK government and the
continued lack of clarity with regard to social distancing
regulations and other rules around mass-gathering events
leaves us in a very vulnerable position should the situation
Facebook page.
It’s a real pleasure
to see your work.
Our Facebook page
www.magzter.com
is growing all the time and has a considerable global reach.

Don’t forget to check out the Facebook pages, and click
‘Like’, of our sister magazines, Scale Aircraft Modelling,
change further. Moreover, the majority of our traders and Military Modelcraft International and Toy Soldier Collector &
visitors from Europe are currently unable to travel to the Historical Figures, as well as our new titles. Our Facebook
UK and this has meant a large gap in those able to attend. pages together have tens of thousands of international
We are confident that our December shows, the London followers, making them the most-liked modelling magazine
Toy Soldier Show on Saturday, 5 December and the pages on Facebook. If you would like to take advantage
London Plastic Modelling Show on Sunday, 6 December of the opportunities offered by our Facebook page or our
2021 will take place as planned. We have already taken on expanding print media to promote your products then
additional space for both shows to ensure we can maintain please contact me, Tom Foxon, Guideline Publications
any social distancing guidelines that may be in place then Marketing Manager (tom@guidelinepublications.co.uk),
and to ensure we have enough space for everyone to enjoy tel +44(0) 7540 153368. Similarly, if you want to see your
the shows. models featured on our Facebook page, then please do
Do also continue to share your own miniatures and message us.
Coming in Issue 12 of Fantasy Figures International
Masterclass Into Battle

Dave Colwell discusses his A treat for fans of
approach to the hobby. Maschinen Krieger.

Fantasy Figures International - Issue 11 - July-August 2021

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THE BEST IN FIGURES, FANTASY AND SCI-FI

Buy, collect and

ID4: Independence Day The Nun

4 FANTASY FIGURES INTERNATIONAL

The Tin Cop Jon Gómez

34 A Transformer Transformed 80 Book Corner

FANTASY FIGURES INTERNATIONAL 5

6 FANTASY FIGURES INTERNATIONAL

from across the hobby.

Yuri Alekseyevich Gagarin[a] (9 March 1934

There are some clear painting

8 FANTASY FIGURES INTERNATIONAL

Neko Galaxy are best known for their Cyberpunk/

FANTASY FIGURES INTERNATIONAL 9

Red Zebra are a producer of resin and fine

10 FANTASY FIGURES INTERNATIONAL

There are always interesting Kickstarter projects on

FANTASY FIGURES INTERNATIONAL 11

Two new Fantasy-themed paint sets are about to be

Last year we did a manufacturer profile on this innovative

12 FANTASY FIGURES INTERNATIONAL

Manufacturer: Aoshima Manufacturer: Armor35 Manufacturer: Armor35

Manufacturer: Bandai Spirits Manufacturer: Bandai Spirits Manufacturer: Bandai Spirits

Manufacturer: Bandai Spirits Manufacturer: Bandai Spirits Manufacturer: Bandai Spirits

Manufacturer: Bandai Spirits Manufacturer: Bandai Spirits Manufacturer: Bandai Spirits

14 FANTASY FIGURES INTERNATIONAL

Manufacturer: Good Smile Company Manufacturer: Kotobukiya Manufacturer: Kotobukiya

FANTASY FIGURES INTERNATIONAL 15

Manufacturer: MAiM Manufacturer: MAiM Manufacturer: MAiM

Manufacturer: MAiM Manufacturer: MAiM Manufacturer: Max Factory

Manufacturer: Narin Manufacturer: Neko Galaxy Miniature Manufacturer: Volks Inc.

Manufacturer: Wave Corporation Manufacturer: Wave Corporation Manufacturer: Wave Corporation

16 FANTASY FIGURES INTERNATIONAL

Online / On the Phone / At Model Shows

Our tailor made bases are

FANTASY FIGURES INTERNATIONAL 17

ow did you get into modelling? What

Your miniatures seem focused around very

18 FANTASY FIGURES INTERNATIONAL

FANTASY FIGURES INTERNATIONAL 19

Encounters Dave Oliver prints and

espite being a relatively recent development in the

D model making world, modern 3D printers have

20 FANTASY FIGURES INTERNATIONAL

FANTASY DEADLY ENCOUNTERS

A zenithal highlight of Citadel Dawnstone Grey was airbrushed on

Preparation and Priming

FANTASY FIGURES INTERNATIONAL 21

brushing of Citadel Ryza Rust over some areas to give it

Last Minute Addition

A Beginner’s Guide to 3D Printing

22 FANTASY FIGURES INTERNATIONAL

FANTASY DEADLY ENCOUNTERS

the relevant files were downloaded and printed without

Painting the Base

Creating a realistic wooden appearance

FANTASY FIGURES INTERNATIONAL 23

A zenithal highlight using several shades of Citadel Grey was

24 FANTASY FIGURES INTERNATIONAL

FANTASY FIGURES INTERNATIONAL 25

26 FANTASY FIGURES INTERNATIONAL

MASCHINEN KRIEGER THE TIN COP

t all started with me sitting and