I always shied away from Object Source Lighting effects (or short OSL). The idea is that you paint a light source and the light it casts on surfaces. As you can imagine, it ain’t easy to do that on a miniature. I decided to give it finally a try. Did I succeed? You will be the judge.Continue reading A ghost in the attic – Experimenting with object source lighting
I always thought the most intriguing aspect of historical maps such as the Carta Marina are the fantastic beasts and odd creatures depicted on them: Humanoid figures without heads, sea serpents swallowing ships whole and dragons terrorising villages. Many of these depictions are based on Roman and Greek myth or on tall stories told by sailors over an ale. But how can you add such beasts to your own maps and how do you go best about coloring the map?
In this short tutorial I will show you one way of drawing such beasts and digital colorisation techniques. I already covered the basics in another posts that gives you an introduction to hand-drawn maps. In this installment we draw a much more detailed map and use layers of translucent color instead of layer masks to bring the map alive.
So come along and explore the Margravate of Greifshold with me, but be warned that we will meet dragons and sentient mushrooms in long forgotten ruins, serpents deep below the waves and fierce tree guardians deep inside an autumnal forest.
Last time we fashioned a diorama base featuring weathered gravestones, a gnarly autumn tree and moss-covered flagstones. As promised in this second installment we will focus on an objective token or a small piece of scatter terrain featuring a ruined shrine and a removable birch tree. Naturally nothing stops you to use it as a scenic base instead or to incorporate this idea into a gaming board.
We will also cover how to make a generic flagstone base if the miniature you are working on does not demand a very elaborate base.
Given I already covered the basic techniques in the graveyard base tutorial, I will only provide instructions for new elements and some work in progress pictures with short annotations for the rest. The list of materials needed is similar to the graveyard base one, with some exceptions noted below.
Crumbling gravestones covered in moss, faded letters, weathered by rain, wind and ice, a gnarled tree, the cry of an owl in moonlit night; who does not enjoy adding an eerily beautiful atmosphere to a base that will hold a vampire, ghost or necromancer? But how to go about it, what materials can you use and how should you arrange the scene?
Fear not fellow enthusiast of the dark arts, I shall answer these questions in a detailed step-by-step tutorial. In part one I will build a base for a Vampire Lord based on Reaper’s Judas Bloodspire sculpted by Werner Glocke, but naturally you can use the techniques presented below in any project, may it be a scenic base or a gaming board to add a somber, yet unsettling feel to your terrain.
Part II will focus on an objective token using the same techniques, namely a long forgotten shrine with a tumbled over statue and we will also look at generic flagstone bases.
Finally part three will present the painted miniature. We will also add some further details, such as walls and bats.
Our yew tree stands already proud, but yew trees are evergreens, so we cannot leave it barren, instead we have to find a good-looking solution to depict coniferous leaves.
In Part I of this tutorial we created the trunk, branches and scenic base of our ancient yew tree. In this second part we will conduct some experiments to find the best solution to depict the leaves, use some simple weathering techniques to add depth to the foliage and finally fixate it with thinned down PVA or acrylic medium. The last step is to matte varnish the tree and then glorious battle around its trunk can ensue! We will also revisit the fallen branches and add some finishing touches to the bases.
Ancient trees with their often haphazardly growing branches, bulbous trunks and weathered appearance always fired up my imagination. Inscribed in their bark are stories of times long past, combined with a certain mysticism and deep respect for such an old being. To depict such a tree on the gaming table can add such qualities to our games and add narrative potential as well as a welcome change to young or middle-aged deciduous trees that are most commonly depicted.
For this two-part tutorial I chose to model an ancient yew tree. With their broad, often hollow trunks they allow us to use the tree as cover or as a mission objective, adding further to the appeal. I also decided to magnetize two of the main branches for easy transport and storage. Per usual I will provide some botanical background, some facts about owls, a list of the materials needed, followed by detailed step-by-step instructions. Part I will cover the trunk and branches as well as the scenic base, while Part II will focus on different options to depict the foliage.
Browsing my blog it becomes apparent that I have a thing for modelling trees, evidenced by earlier posts on oaks and birch trees. But what about bushes, shrubs or hedges? There is a variety of shrubs and bushes that one could depict on the gaming table and construction will be very similar in most cases. That said I chose to make a hazel bush for this tutorial given they have a distinct, very appealing bark texture and the fruit lends itself for base decoration. Oh, and I think squirrels are adorable, so why not give them some scale hazels to forage?
Per usual a step-by-step tutorial will guide you through the creation process, with additional background information and scenic shots of the finished bushes.
While we are spoilt for choice these days if it comes to miniatures, it still happens that I really love a miniature, but there is this one detail that really does not work for me. For instance the pose is awesome and the garments are beautifully rendered, but instead of a spear the miniature is wielding a ‘tree log’ or a sword is as thick as a wooden plank. With Bones miniatures (or any other miniature really) miscasts can be an issue and may ruin an otherwise wonderful sculpt.
Fortunately we have greenstuff and bits and bobs from other sets at our disposal to change or enhance the look of a miniature. In this first installment of a semi-regular feature on conversions I will talk about the basics and provide an example for making thin braids and wooden staffs. This tutorial is meant for the conversion novice, mainly because I am one also :P, but I hope future installments will add complexity.
You will be all familiar with the famous caulking method to make beautiful flexible wargaming mats. However, this technique does not only come in handy to cover an entire gaming table, but can also be used for scatter terrain, such as rough terrain, roads, villages and even hills. It can also be used to create a very versatile photography mat.
In this first installment I focus on making some flexible rough terrain featuring some rocky outcrops, brush and small bushes. I took my inspiration for this piece from ekimdj, who not only has a very nice blog, but also wrote a tutorial for flexible desert terrain on the Sweetwater-forum, so if you are able to read German check it out (it is pretty picture heavy, so you can follow it easily in any case).
This tutorial will also come in handy if you want to learn how to create basic groundwork, flexible or not. This technique can be applied to a small base or an entire terrain board.
Per usual I will give an overview of the materials you need, followed by detailed step-by-step instructions and finally some ‘action’ shots showing off the piece’s flexibility.
Last time we focused on general advice if it comes down to taking scenic photos of your treasured miniatures. We covered the choice of camera, lighting, backgrounds, scene composition and photo editing. If you did not read part one of this tutorial I suggest to go back and have a look, as this part will be based on this general information.
We look at the initial idea, finding the right props for the job, setting the scene to bring the idea to life, framing the scene and finally photo editing. The last point will also include some falling snow effects.