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Author Archives: Nazroth

COLOUR RECIPES: INFINITY COMBINED ARMY

Here are some Colour Recipes for Combined Armys from GALLERY: INFINITY COMBINED ARMY lvl 5. Please take note that this is a simple colour scheme, not covering multiple overlapping layers and blends inbetween, that lead to the final product. It is supposed to be used as guidline not a step-by-step.

BLACK/GREY armour & weapons:

Black Undercoat,

Panzer Dark Grey (Val),*

Light Grey (Val),*p

Fenrisian Grey (GW), l&p

Pallid Wych Flesh (GW), l&p

Dark Tone Ink (AP),

Wolf Grey (Val), blend

Pallid Wych Flesh (GW), l&p

Red Terracota (Val), blend

Off White (Val), l&p

ORANGE fibers:

Mix Hot Orange (Val) 9:1 Troll Slayer Orange (GW), wash

Mix Hot Orange (Val) 1:1 Troll Slayer Orange (GW), wash

Mix Troll Slayer Orange (GW) 9:1 Mix Hot Orange (Val),

Mix Troll Slayer Orange (GW) 9:1:X Mix Hot Orange (Val), Pale Wych Flesh (GW), l&p

Pale Wych Flesh (GW), p

Mix Strong Tone Ink (AP) 1:1:1:1 Soft Tone Ink (AP), Bloodletter (GW), Medium,

Hot Orange (Val), blend

RED lights:

Lugganath Orange (GW), l&p

Gory Red (Val), glaze

LAVA bases:

Mahogany (Val), *

Gorthor Brown (GW), drbr rocks

Gory Red (Val), * lava

Scrofulous Brown (Val), * lava

Mix Scrofulous Brown (Val) 2:1 White, * lava

Black, p lava

Scrofulous Brown (Val), *p lava

Lamenters Yellow (Val), * lava

Hot Orange (Val), * lava

White, * bubbles

Mix Scrofulous Brown (Val) 5:1 Black, * rocks

Black, blend rocks

Gloss Varnish, lava

 

l&p – lines and points,

p – points,

bl – blend,

gl – glaze,

drbr – drybrush,

flbr – flatbrush,

stpl – stippling,

*Airbrushed (with multiple layers and mixes)

Nazroth

TUTORIAL: MODELLING LAVA BASES

In this easy, step-by-step tutorial I’m going to show you how to create and paint a Lava Bases. I used these bases for Infinity the Game Combined Army – you can see how it turned out at Infinity COMBINED ARMY ‘Witness Me!’ gallery.

I USED:

  • Super Glue,
  • Basing Glue,
  • Cork,
  • Shoe moist absorbers**

**Where I’m from there’s a small paper bag filled with moist absorbsion balls in every shoe box. If you can’t get that, just use some grains or make small balls out of green stuff or even modeling clay.

*  I started by breaking a piece of Cork into smaller bitz.

*  I then applied Super Glue over the bases in a random pattern. No need to be precise here.

*  Pieces of Cork followed to form 'volcanic rocks' and future spots for the miniatures to be mounted on.

*  Once Super Glue dried out I covered entire base with Basing Glue.

*  I then dropped tiny balls (shoe moist absorbers) oon top of the Basing Glue, between 'volcanic rocks' to create an effect boiling lava bubbles.

*  Next I applied Basing Glue over the bubbles.

BONUS PAINTING STEP-BY-STEP:

:

*  Black Undercoat.

*  Mahogany (Val) airbrushed all over the base.

*  Gorthror Brown (GW) drybrush over the Rocks.

*  Gory Red (Val) airbrushed over Lava.

*  Scrofulous Brown (Val) airbrushed over Lava.

*  Scrofulous Brown (Val) + White airbrushed over Lava.

*  Black spots added around Rocks

*  Scrofulous Brown (Val) airbrushed over Black spots.

*  Lamenters Yellow (GW) airbrushed over Lava.

*  Hot Orange (Val) spots airbrushed over Black spots, White airbrushed over bubbles.

*  Scrofulous Brown (Val) + Black, then pure Black glaze applied oved the Rocks.

*  Gloss Varnish applied over Lava.

 

 

 

Nazroth

PAINTING PHILOSOPHY part four ANATOMY OF BASING

PROLOGUE:

Welcome to the fourth installment into the ‘Painting Philosophy’ series, where “I let you in on ‘how’ and especially ‘why’ I do some things in a certain way. In my opinion a proper approach to painting is crucial to maintain healthy and rewarding experience. Final result depends on it in the same way as on techniques, know-how and tools used. Nowadays internet is full of painting tutorials yet it takes some inner understanding of our own capabilities to find what suits us best and fully benefit from all acquired knowledge. That being said – In this series I will reveal what works best for me as a painter. I hope you will find some wisdom in it…”

PAINTING PHILOSOPHY: BASING LIKE A PRO

Today I would like to talk less about painting and more about basing and composition, cause it does not matter how great your paint job is – if you based a miniature poorly it will look off, so there’s that. By ‘basing and composition’ I understand the way a miniature is set up on a base. It’s not enough that a miniature is just mounted on top of a base. In the end base is a display for our miniature and together they create a composition, that should be both stable on the gaming board and tell a little story about the miniature itself…

What is this about?

Basically, every humanoid miniature has a center of gravity. In most cases it is located slightly below the chest and over the pelvis of a miniature. If a miniature is armed with giant gun or standing with hands spread, the center of gravity might shift a little to encompass additional weight. In these cases both gun (big, heavy part) and main body of the miniature are treated as a single ‘body’ and the center of gravity is shifted away from natural position and towards additional part/parts evenly.

How I do it?

The key is to base a miniature so that it’s center of gravity is alligned with the center of the base. It does not have to be exact, but let’s just say the closer the better. In case of more complex miniatures it is possible that aligning shifted center of gravity with center of the base will move main body of the miniature to one side of the base (for example to the back of the base). This is ok for as long as the miniature stays within the invisible lines of the base’s edge and seem to still occupy the top of the base evenly.

Why do this?

To put it simply – because it looks better and adds feeling of ‘physics’ to the composition. As mentioned before a base and miniature are a single composition. This means that the way you mount a miniature on the base will translate into a short story about what is actually going on. Imagine a base to be a visualisation of physics of your miniature. For example:

‘Bakunin Taskmaster charging, using his right pauldron like a battering ram to slam through enemies…’ You can see this guy is heavy and moving forward. This is achieved by shifting center of gravity to the back of miniature, towards extended armed hand and aligning it with center of the base. This guy is moving forward and you can actually see his immediate destination on the base he’s moving over.

Now imagine how stupid it would look like if Bakunin Taskmaster was mounted with his feet at the center of the base instead. You don’t actually have to imagine, cause I will show you. Now this giant of steel, polimer and fiber muscles looks like he lost his footing and is jumping off a cliff as a result. Entire right hand and part of the pauldron is off the base and seem to drag the rest of the miniature along.

EXAMPLES:

Here’s a set of examples I dug in the web and how I see them performed.

EPILOGUE:

You have now finished the fourth Painting Philosophy article. This series is all about sharing forbidden knowledge so if it drove you insane, just stay calm and paint some. You get back to normal once it settles up in your mind. As usual – ‘Please take note that what works for me, might not necessarily work for you – still there are many ways to accomplish certain things – mine is just one of them’. If you find this article helpful – be sure to leave me some feedback. Have a nice hobbying 😉

“Many fall in the face of chaos. But not this one, not today.”

Nazroth

TUTORIAL: PAINTING CORREGIDOR BASES (BASIC)

In this Step-by-Step tutorial I would like to take you on a spin with some Micro Art Studio’s Corregidor Bases. Guys from MAS did a fantastic job painting this product, but I have my own way which I would like to share with you. Buckle up and let’s get to it!

I USED:

* Regular Brush,

* Stippling Brush,

* Black,

* Tin Bitz / Warplock Bronze (GW)

* Eshin Grey (GW),

* Strong Tone Ink (AP),

* Gun Metal (AP),

* Shining Silver (AP),

* Scorched Brown (GW),

* Calthan Brown (GW),

* Ryza Rust (GW),

* Lugganath Orange (GW),

* Flayed One Flesh (GW),

 

!  You can achieve similar results using different paints as long as you followTutorial's basics. For example Eshin Grey (GW) might be switched for Panzer Dark Grey (Val).

1  I started by applying a layer of Eshin Grey (GW) to  all raised areas of the base, over Black undercoat. Just a hint that applying two slightly diluted layers goes much faster and produces a similar result.

2  I then moved to the mesh areas and painted them with Warplock Bronze (GW). Once again this paint might be diluted but this time no need to apply two layers - one will suffice.

3  Once Warplock Bronze dried out, I applied a layer of Gun Metal (AP). For best results I did this with regular brush and using a Flatbrush technique following:

Five Layers Technique – Metal  basis

4  Next Shining Silver (AP) came in. I applied one layer over Gun Metal with regular brush, Flatbrushing.

5  I then applied a wet, thick layer of Strong Tone Ink (AP) over entire base. Once it dried out - I applied another, identical layer. (Picture seem grey'ish - in real life this would look more brown and juicy)

!  orem ipsum dolor sit amet, Integer commodo tristiqu odio, aliquet ut. Maecenas sed justo imperdiet bibendum. Vivamus nec sapien imperdiet diam. Aliquam erat volutpat. Sed onsectetur suscipit nunc et rutrum. Lorem ipsum dolor sit amet,volutpat. Sed onsectetur suscipit nunc et rutrum. Lorem ipsum dolor sit amet, volutpat.

1  Using either a Stippling brush or a well used up large brush I applied stains of Scorched Brown (GW) over all raised areas. Was carefull not to use too much paint.

2  I then drybrushed edges and some large parts of raised areas using Calthan Brown (GW).

3  Next I Stippled some Ryza Rust (GW) on top of previous layer, ensuring to leave some Calthan Brown visible.

4  Same technique, different paint. I stippled Lugganath Orange (GW) on top of Ryza Rust layer, leaving previous layer visible on the sides of the new one.

!  From this layer onward I usually paint over both raised and mesh areas. For the purpose of this Tutorial I left mesh parts clean, but do not be alarmed if you see pictures of my own bases with a less differentiated colour scheme.

5  Flayed one Flesh (GW) followed. This time I Drybrushed over Lugganath Orange layer and then used regular brush to paint thin lines on the edges.

6  Adding a final touch I painted edges smooth Black to add contrast and keep the paint job clean.

That’s it – you have followed me on my short journey from black undercoat to finished Corregidor Bases. Below you will find some examples of finished Corregidor Bases. Each bunch turns out slightly different from the rest. That’s because a slight difference in surface coverage or layer to layer proportion might result in change of how eye can see these bases. Either way – here they are:

Nazroth

COLOUR RECIPES: SHADESPIRE STEELHEART’S CHAMPIONS

Here are some Colour Recipes for Steelheart’s Champions from GALLERY: SHADESPIRE STEELHEART’S CHAMPIONS. Please take note that this is a simple colour scheme, not covering multiple overlapping layers and blends inbetween, that lead to the final product. It is supposed to be used as guidline not a step-by-step.

GOLDEN armour:

Black Undercoat,

Mix Rust metallic (Val) 1:1 Blackk metallic (Val), *

Bright Bronze (Val), *

Mix Bright Bronze (Val) 1:1 Brass Balls (P3),

Mix Strong Tone Ink (AP) 1:1 Soft Tone Ink (AP),

Mix Brass Balls (P3) 1:1 Shining Silver (AP), l&p

 

BLUE:

Steel Blue (Val),

Magic Blue (Val),

Mix Magic Blue (Val) 1:1 French Blue (Val), l

Mix Magic Blue (Val) 1:1:1 French Blue (Val), Off White (Val), l&p

Mix Strong Tone Ink (AP) 1:1 Soft Tone Ink (AP),

Baharroth Blue (GW), l&p

Guilliman Blue (Gw), glaze

Off White (Val), l&p

SCROLLS:

Khaki (Val), *

Bonewhite (Val), *

Mix flayed one Flesh (GW) 1:1 Off White (Val),

Mix Strong Tone Ink (AP) 1:1 Soft Tone Ink (AP),

Off White (Val), l&p

Hot Orange (Val), gl

Gloss Varnish (Val), p

 

METAL weapons:

Black Undercoat,

Warplock Bronze (GW),

Gun Metal (AP),

Shining Silver (AP), l&p

Mix Strong Tone Ink (AP) 1:1 Soft Tone Ink (AP),

Shining Silver (AP), l&p

GREY belts & strips:

Black Undercoat,

Panzer DK. Grey (Val),

Fenrisian Grey (GW), flbr

Pallid Wych Flesh (GW), l&p

Mix Strong Tone Ink (AP) 1:1 Soft Tone Ink (AP),

Off White (Val), l&p

 

ORANGE hafts:

Black Undercoat,

Cavalry Brown (Val),

Orange Brown (Val), l&p

Mix Strong Tone Ink (AP) 1:1 Soft Tone Ink (AP),

Orange Brown (Val), l&p

Lugganath Orange (GW), l&p

Off White (Val), l&p

Hot Orange (Val), gl

 

BASES:

Medium Sea Grey (Val), *

Light Grey (Val)*,

Pale Grey (Val),*

Mix Strong Tone Ink (AP) 1:1 Soft Tone Ink (AP),

Off White (Val), l&p

Dirt (Val), bl

Mix Strong Tone Ink (AP) 1:1 Soft Tone Ink (AP), bl

 

 

l&p – lines and points,

p – points,

bl – blend,

gl – glaze,

drbr – drybrush,

flbr – flatbrush,

stpl – stippling,

*Airbrushed (with multiple layers and mixes)

Nazroth

TUTORIAL: ERASING BLOOPERS

Painting bloopers – something that happens to all of us, hobbyists, regardless of skill level and experience. In my everyday painting practice bloopers happen all the time. This led me into ‘Improvise. Adapt. Overcome.’ kind of situation and today I would like to present to you a way of dealing with painting mistakes.

I USED:

  • Wooden toothpick
  • Water
  • Gentle touch and persistence 😛

1  First let's take a look at this ugly bastard of a line. One moment everything goes smooth, then BAM! and I end up with an ugly line that stands out like crazy. Repainting entire fragment of the coat with many layers is out of question. At this point I can only try to thin the line down by erasing part of it. I grab a wooden tootphick...

2  ...and dip it in a water filled bowl. After 15-20 seconds I use a paper towel to remove excess water from the softened tip of the toothpick. My 'Blooper Eraser' is ready for action.

3  I always start by touching the surface perpendicularly with the soft tip of the 'Blooper Eraser'. Then I move the tool gently up and down along the surface, softening the paint and stripping major shape of a blooper.

4  Once desirable shape is achieved, assuming I don't want to erase entire thing, I use an edge of the tip to further improve the shape.

5  Removing paint from the edges works very similarly, except that instead of the tip, I use side of the toothpick, . This way 'Blooper Eraser' is easy to control and stay on target.

And that’s actually it. You now know my secret technique of creating the ‘Blooper Eraser’ and saying goodbye to ugly bloopers. This technique works for me like a charm and I do hope it will work  for you as well. Cheers!

Nazroth

COLOUR RECIPES: SHADESPIRE GARREK’S REAVERS

Here are some Colour Recipes for Garrek’s Reavers from GALLERY: SHADESPIRE GARREK’S REAVERS. Please take note that this is a simple colour scheme, not covering multiple overlapping layers and blends inbetween, that lead to the final product. It is supposed to be used as guidline not a step-by-step.

SKULLS:

Black Undercoat,

Bonewhite (Val),

Skeleton Bone (AP),

Mix Skeleton Bone (AP) 1:1 Off White (AP), l&p

Off White (Val), l&p

Mix Strong Tone Ink (AP) 1:1 Soft Tone Ink (AP),

Off White (Val), l&p

 

SKIN:

Black Undercoat,

Red Terracotta (Val), *

Dwarf Skin (Val), *

Flesh (Val), *

Mix Strong Tone Ink (AP) 1:1 Soft Tone Ink (AP),

Dwarf Skin (Val), bl

Flesh (Val), b

Tanned Flesh (Val), gl

Flesh (Val), l&p

RED armour:

Black Undercoat,

Red Terracotta (Val), *

Khorne Red (GW),

Mephiston Red (GW),

Mix Strong Tone Ink (AP) 1:1 Soft Tone Ink (AP),

Fire Dragon Bright (GW), l&p

Lugganath Orange (GW), l&p

Streaking Grime (AK),

 

METAL armour:

Black Undercoat,

Warplock Bronze (GW),

Gun Metal (AP),

Shining Silver (AP), l&p

Mix Strong Tone Ink (AP) 1:1 Soft Tone Ink (AP),

Shining Silver (AP), l&p

BROWN belts & strips:

Red Terracotta (Val), * undercoat,

Pallid Wych Flesh (GW), flbr

Off White (Val), l&p

Mix: Scorched Brown (Val) 1:1:1 Dark Fleshtone (Val), Medium,

Mix Strong Tone Ink (AP) 1:1 Soft Tone Ink (AP),

 

GREY clothes:

Black Undercoat,

Panzer DK. Grey (Val),

Fenrisian Grey (GW), flbr

Pallid Wych Flesh (GW), l&p

Mix Strong Tone Ink (AP) 1:1 Soft Tone Ink (AP),

Off White (Val), l&p

BASES:

Medium Sea Grey (Val), *

Light Grey (Val)*,

Pale Grey (Val),*

Mix Strong Tone Ink (AP) 1:1 Soft Tone Ink (AP),

Off White (Val), l&p

Dirt (Val), bl

Mix Strong Tone Ink (AP) 1:1 Soft Tone Ink (AP), bl

Off White (Val), l&p

 

l&p – lines and points,

p – points,

bl – blend,

gl – glaze,

drbr – drybrush,

flbr – flatbrush,

stpl – stippling,

*Airbrushed (with multiple layers and mixes)

Nazroth

COLOUR RECIPES: SHADESPIRE SEPULCHRAL GUARD

Here are some Colour Recipes for Sepulchral Guard from GALLERY: SHADESPIRE SEPULCHRAL GUARD. Please take note that this is a simple colour scheme, not covering multiple overlapping layers and blends inbetween, that lead to the final product. It is supposed to be used as guidline not a step-by-step.

BONES:

Black Undercoat,

Dark Earth (Val), *

Khaki Brown (Val), *

Bonewhite (Val), *

Mix Bonewhite (Val) 1:1 White, *

Off White (Val), l&p, stpl

Mix Strong Tone Ink (AP) 1:1 Soft Tone Ink (AP),

Streaking Grime (AK),

Off White (Val), l&p, stpl

METAL armour:

Black Undercoat,

Warplock Bronze (GW),

Gun Metal (AP),

Shining Silver (AP), l&p

Mix Strong Tone Ink (AP) 1:1 Soft Tone Ink (AP),

Shining Silver (AP), l&p

Streaking Grime (AK),

 

BROWN belts & strips:

‘BONES’ undercoat,

Mix: Scorched Brown (Val) 1:1:1 Dark Fleshtone (Val), Medium,

Mix Strong Tone Ink (AP) 1:1 Soft Tone Ink (AP),

Flayed One Flesh (GW), l&p

Off White (Val), l&p

 

BLUE clothes:

Black Undercoat,

Stegadon Scale Green (GW),

Mix Strong Tone Ink (AP) 1:1 Soft Tone Ink (AP),

Stegadon Scale Green (GW),

Mix Stegadon Scale Green (GW) 5:1 Off White (Val),

Mix Stegadon Scale Green (GW) 4:1 Off White (Val),

Mix Stegadon Scale Green (GW) 3:1 Off White (Val), l&p

Mix Stegadon Scale Green (GW) 2:1 Off White (Val), l&p

Mix Stegadon Scale Green (GW) 1:1 Off White (Val), l&p

Off White (Val), l&p

 

BASES:

Medium Sea Grey (Val), *

Light Grey (Val)*,

Pale Grey (Val),*

Mix Strong Tone Ink (AP) 1:1 Soft Tone Ink (AP),

Off White (Val), l&p

Mix Strong Tone Ink (AP) 1:1 Soft Tone Ink (AP), bl

Dirt (Val), bl

Off White (Val), l&p

l&p – lines and points,

p – points,

bl – blend,

drbr – drybrush,

flbr – flatbrush,

stpl – stippling,

*Airbrushed (with multiple layers and mixes)

Nazroth

“SHADEGLASS SCENERY” SPECIAL PROJECT

“The Mirrored City of Shadespire is a nightmare plane of illusions and madness, an ever-changing labyrinth of endless stairs, cramped streets and soaring archways. The original city is drained of all colour and life, and for thousands of years, it has rested as a foreboding ruin. Those unfortunate, brave, or foolhardy adventurers that set foot within its walls are drawn through the veil between realms and trapped within the Mirrored City. For such wayward souls, all hope seems lost. Yet there are those who will not accept their fate without a fight.”

CONCEPT:

Whenever I pick a new title I always crave to have an ultimate gaming set – the same happened with Warhammer Underworlds: Shadespire. It started when I’ve finished working on a small Shadespire commission and  was instantly drawn into the game. Two days later I was already painting my first warband – the Sepulchral Guard, but it wasn’t enough to quench my hobbystic thirst. I moved to another warband, being Garrek’s Reavers, all the while my hype was kept strong by Shadespire facebook group – full of awesome inspiration. Somewhere in the middle of Garrek’s Reavers paint job I let myself be overwhelmed by hype and decided to go for a Shadespire scenery set. The idea was to keep it as crazy cool as I am capable of. Concept was there – inside my head – all along, fuelled by Shadespire’s background story and insanely sweet art from the rulebook. So, the scenery was to fit the board with a ‘ruined city of sorcery and mysticism’ theme in mind. Most important part: ‘Shadeglass’ – broken, ghostly lit mirrors incorporated to a variety of trinkets, statues, pools, wells etc.

CITY OF WANDERS:

The way I see scenery making is this:

* Prep all necessary reasources.

* Create a baseline shape and base it firmly.

* Apply basic texture.

* Add major features.

* Add detail.

* Polish.

* Paint.

I faced “Shadeglass Scenery” Project following these key points. Started by preparing all the stuff that seemed usable and/or necessary. I like my scenery to be light, durable and painting friendly, so I picked 3mm plasticard to become both bases and baseline shape. Used hot water to bend some pieces, then cut ‘walls’ and hex bases out of the stuff…

Plasticard is very easy to work with. Adding texture all over newly created ‘pieces’ was a matter of using a right tool, rather than sophisticated and time consuming techniques…

With texturized walls and bases I was ready to move to major features – Shadeglass vessels of all sorts and sizes. For this purpose I used perfume cups plundered from my wife’s collection. (At the point when I’m writing this article she already noticed all the missing cups – fortunatelly the scenery is done and we played with it so she’s more like – ‘for the greater good’)…

Throughout about twenty years in the hobby I accumulated a vast collection of bitz, altho untill recently skulls where a rare commodity in the collection – Praise Nagash, Games Workshop released a set of skulls thus rendering them near to unlimited. Skulls backstory aside – I used some bitz to add detail and points of focus to the scenery…

I then used self prepared Hobby Gravel to add more detail and make the scenery pieces look ‘ruined’. Once I was sure that each piece is telling it’s own story – final polish followed and all was ready to get painted…

NAGASH'S CURSE:

Painting a ruined city of sorcery and ghosts was an interresting transition between a colour recipe I use for Shadespire warband’s bases and working on a much more bigger scale. I decided to follow my guts – start as usual and then see where it would take me. Somewhere along the way I started adding blends of purple to compliment incomming ghostly green’ish-turquise hume. This turned out to be a bullseye hit, creating an illusion of morbid, colorful lights dancing across the ruins…

The ghostly hume of Shadeglass was a real challenge. I feel very comfortable with toxic green light, but going turquise is moving away from warm colour spectrum – my sphere of comfort. Still a hobbyist gotta do what a hobbyist gotta do – I braved the unknown with a mix of Vallejo’s Jade Green and White.

BROKEN MIRRORS:

Broken Shadeglass mirrors – a special feature and main theme of the scenery. Decided to approach this in two different ways. First are the hand painted broken mirrors, adorning walls. I simply airbrushed hard angles with a mix of Jade Green and White using a Scarhandpaing’s bussiness card like a stencil. I then adjusted transitions of particular ‘pieces’ of glass and made them more distinct with sharp white lining. Other vessels were a different story. I cut translucent plastic into shards and tossed them into resin-filled vessels. Some sunk instantly, while others stayed afloat – creating a really nice effect – which unfortunatelly looks much more badass in real life, than in the pictures.

THE CITY AWAITS:

The “Shadeglass Scenery” set is done and it have already seen some Shadespire action. Who knows what will come next if the hype continues? Either way – if you plan to venture into the Mirrored City – be sure to head there throug  “SHADEGLASS SCENERY” SPECIAL PROJECT gallery

Nazroth

“THE COLONY” SPECIAL PROJECT part ten

“The Colony” – an Infinity gaming board project that streaches in time and space.

Yes – The Colony Special Project lives on and dayum! I almost run out of space to store it! Last time (“THE COLONY” SPECIAL PROJECT part nine) I was pretty sure that once I airbrush a bit here and there, The Colony would finally be completed. Imagine my surprise when I saw how the project expanded since last article. So, let’s dive straight into it…

THE COLONY - part ten: NEW HEIGHTS

Leave no MDF behind

It finally happened – The Colony is now fully painted with no MDF, be it white or regular, visible. The project was set aside for few months, when all of a sudden I got new buildings from Gingermane and painted them to match my existing set. I then followed through with all the rest including bridges, food booths, walls and ad stands. Fortunatelly for me, Bocian from Gingermane is a cool bruh of mine and he cut thin paper pieces to cover all illustrations adorning his designs. I only had to take care to cover plexi elements by myself. Once done – my work went fast and easy. Few evenings was all it took.

Urban Peaks

The Colony is vast already, but there’s always room for some extra terrain pieces. With new Gingermane designs appearing every month it’s difficult to stop expanding . It gets even harder, as he let’s me peek on work in progress designs and I sometimes get to buy some before release. Obviously when I saw ‘SF024 The Tower’ I freaked out and demanded these be handed to me emmediately. Gosh how I love these two…

Moarrr Crates

Another addition to The Colony – ‘SF010 Cargo Crates’. Slowly my own designs and scrap-built scenery are forced off the gaming board. I don’t mind it, cause at this point I’m already hooked on Gingermane’s stuff either way 😛

Dark Adjustements

With ‘SF024 The Tower’ I intorudced black/grey colour to The Colony’s overall scheme. It seem to compliment the board so I followed up on this, going back to older scenery pieces. I wander if these, once paper box, buildings will ever rest…

Epilogue

One day ‘The Colony’ will be finished, but seeing how it changes time and time again I can only say TO BE CONTINUED…

 

Nazroth