Now I blame Borderlands

It’s been quite a while since my last post because I haven’t done a huge amount of painting, despite nearly everyone else using their lockdown time productively. I blame Borderlands 3 this time.

Anyway, I haven’t been completely inactive, and have now basically finished Putin:

I’m really happy with how he’s come out, and with the addition of a ‘CENSORED’ plaque, he’ll be all finished up.

Those of you following along on Facebook will remember that I had some issues with his background not being suitably erect, which I resolved with a bit of 0.8mm brass strip (thanks for the idea, Bob!), which should be sturdy enough to keep the very thin plasticard in place. It’s not a pretty solution (I will, of course, improve matters by repainting the back), but it is effective:


Meanwhile, the lack of shows to give me a deadline has sort of pushed me into just doing some fun pieces to try things out. First up is a bust I’ve been playing around with to test some things:


Of particular note is the helmet, which didn’t actually start out intending to be NMM. I was actually trying to do a matte metal, like a lot of worn iron you see around. Of course, one thing led to another, and now it looks like (dodgy) NMM. I suppose it’s good practice.

I’m quite happy with half of the helmet, but the other half needs a bit more light in a few spots. What’s really interesting, is that the two halves actually work quite well independently of each other, they just don’t quite work as a whole. Viz:

The next project I’ve started is a demi-ronde I picked up from Bash Models for the bargain sum of £4 (well, £20, but only because I bought 5 of them). As you might expect for that price, there are a few issues with the casting – lots of bubble holes, uneven back, etc., but nothing beyond an hour or so filling and fixing.


What I’m also doing is changing his shoulder to make it a little more interesting. Originally, it was all tassels, but I think it’s reasonable to have some of the suede/leather of the jacket visible there. There are a few other spots I’ll do a bit more with, too, like evening out his hair on the left.

Finally, you might be wondering what’s up with Lady Gaga. Well, she’s not in my good books at the moment. Aside from repainting the stockings on her legs about five times, I decided to have a poke at her face to give me a break from that. This is when I realised that the original face is basically non-existent. There’s nothing to work with. There’s a gesture at eyes and lips, and other than that, it’s just a swathe of smooth surface, and not really in the right scale.

As a result, I’m now looking for 54mm female heads. I’ve seen a Hornet set that might be useful, and I had also wondered if 32mm heroic heads might work (which would open up a huge range of options), but if you know of anything that could be suitable, do let me know.

Three dilemmas

With the latest flat complete (and up on Putty and Paint over here), I don’t really have much of an excuse to not work on Lady Gaga – or do I?

The problem with my Good Ideas, is that nowadays I have one Grand Idea, which gives rise to several Good Ideas. The Grand Idea I’m working on is to recreate artworks as models, which doesn’t seem all that Grand, and certainly not original – I mean, I’m sure we’ve all seen at least two or three versions of Napoleon Crossing the Alps, and at least a couple more of Bonaparte Crossing the Alps, not to mention various Last Suppers, and so on.

However, of late, I’ve been interested in seeing how far away from ‘traditional’ historical entries I can go while still being indisputably historical. The ducks are a good example of this, simply because model shows are awash with military pieces, and civilians and wildlife make up a vanishingly small minority. So, this Grand Idea is to take some less traditional art topics and turn them into models. Lady Gaga is the first of these – the meat dress is a prime example of performance art. Some of the other pieces I’ll be working on are marginally less approachable, I suspect.

So, here’s the lineup so far:

From the left we have: a bull (obviously), Lady Gaga and Vladimir Putin. I’ve already explained Lady Gaga, so on to the others:

The bull will be one of a pair working as a sort of shorthand version of Picasso’s Bull, which depicts a bull in various stages of abstraction. This bull was one of a pair I picked up at SMC last year, and I’ll have to make the second one from scratch. More sculpting, alas, but at least an abstract bull doesn’t need to be particularly refined.

Putin will be a recreation of the apparently banned painting of Putin in drag (I say ‘apparently’ because the legal declaration taken as a ban doesn’t specifically identify the image). I’ll make a few changes to the original simply because some elements won’t really work on a model – tinting all the skin pink would probably just look awful, for instance.

I’d originally intended to do this simply as a greyscale piece with the tints supplied on clear acrylic sheets to make more of a point about censorship (when does the picture become objectionable? If any change at all is objectionable, does the artist have any real freedom?), but the more I thought about it, the more it felt like a gimmick (well, more of a gimmick than making the piece in the first place).

(Note: If anyone hears about a novichok attack in Cambridgeshire, it’s been nice knowing all of you.)

I bought Putin as a 3D print from Shapeways, and the quality is generally excellent. If you look at the full-size image, you should be able to see the printing lines, but they’re pretty minor. I did clean up a few of the more notable ones, but I’m happy to leave the rest and rely on the paint gradually sorting them out. I do have one issue, however: a porous section on top of his head:


That darker area is rougher than the rest of the print and soaks up the paint, so I’ll need to fix that, probably with a thin layer of magicsculpt or milliput.

And finally, Lady Gaga has, in fact, progressed. She now has her booties and jewellery, and the start of her hair:

The hair is currently strips of pewter sheet, which has two advantage for me:

  1. It’s very thin, so I’m less concerned about the hair ending up too bulky.
  2. It’s rigid, so I can add the crimping now.

I’ll sculpt over this as thin as I can to build out the rest, fill in the gaps and add a little motion to it. This, of course, means that Lady Gaga is very nearly ready for paint – huzzah!

Iron Skull 2020

This weekend, Martin and I headed down to London for the first Iron Skull show. I honestly wasn’t expecting much: it’s a first-past-the-post competition with categories clearly built on the Golden Demon model – monsters, vehicles, squads, etc., and only a single category for historical (which, to be fair, is fine for the most part – very few painters take much interest in doing whole regiments for historical, and they allowed historical vehicles to be entered alongside fantasy and sci-fi ones).

Having a strong preference for open display competitions, I’m not generally convinced that squad/regiment entries are really much more than giving a nod to the wargaming roots of most fantasy and sci-fi painters. While this isn’t a necessarily bad thing, it does seem to me that in these cases painting is being treated as kind of subordinate to a wider hobby, rather than being something that really does stand on its own merits.

So I was generally expecting some of the painfully competitive types among a horde of GW fanboys. There were, of course, a lot of GW entries – there always will be at a show catering to sci-fi and fantasy – but I didn’t see any evidence of the petty competitiveness that I’ve seen far too often at other first-past-the-post shows, which was a pleasant surprise. In fact, the whole thing was very friendly and ended up being a pretty great day out.

So, assuming it’s still on next year, I’m pretty confident Martin and I will be back.

Anyway, on with the photos, and then some more commentary:

So. something you might note is that the pictures are uniquely terrible, even for me. This is where my commentary begins:

  1. Lighting
    The cabinets were the usual type you see at GD and Salute, and like both of those venues, somehow no one has yet figured out how to properly light them. These cabinets had hard lighting, and were lit from behind. Unless your figure was in a six-inch sweet spot on the third shelf down, it’d be lucky to look even remotely accurate. I couldn’t get a single shot of David Soper’s best of show piece because it was so atrociously lit.
    I’m also informed that the style of cabinet they used can be fitted with diffuse lighting.
    I can understand that the judges want to be able to see the models, but the judges had a separate table at the back with some very good lighting, and they could do exactly as Alan Merrett for years and bring a little torch if they need to.
    Alternatively, they could do exactly what all of the other major shows I attend do: just put the models on tables or shelves.
  2. Backpacks
    For the love of god, ban backpacks at model shows. Even though this show had the figures in cabinets, minimising the risk of damage to the models, people in a cramped area turning around and smacking me with their backpack is getting tiresome. They take up too much space, force everyone else to accommodate their need for whatever the hell they’re carrying around in there (rocks? Scaffolding? Who knows), and just piss me the hell off.
    Whenever I see someone with a backpack at a model show, I assume they’re a selfish arsehole with a severe Oedipus complex. Are you a selfish arsehole with a severe Oedipus complex? No? THEN DON’T WEAR YOUR BACKPACK.
    Ban backpacks. Ban backpacks. Ban backpacks.
  3. Cabinet arrangements
    Cabinets are always hell to get to at shows, but it’s not helped when they’re arranged in an L shape. This means that instead of, say, four people looking at each cabinet, you end up with a clot in the middle where you might get 2 people looking at each of the corner cabinets. This reduces overall traffic flow and increases the temperature.
    This really also comes back to my point about using tables or shelves. There was plenty of space in the hall to allow more room to view the entries.

So, while this sounds very negative, they’re actually quite minor points (except the lighting – I’m honestly perplexed as to how anyone can run a show (especially one they clearly invested so much money in) now without understanding the importance of good lighting. The hall itself was very well lit and didn’t have competing lighting coming in large windows, so it’s really the ideal venue to get that right).

Overall, it was a very good show, so it would be remiss to not mention the positives:

    I might be slightly biased, but this is something a lot of shows don’t really take into account. Iron Skull had a small bar with some seating, so you could sit down, have a drink and talk smack about models. There weren’t many traders, so the hall was spacious. It was really pretty well laid out (except for the cabinets, obviously).
    Granted, quite a few shows have bars on site nowadays, but they’re often cramped, inconveniently located and/or horrendously expensive (I believe I paid £2.50 for a bottle of water at Euro). The bar here was pretty much exactly the right size for the show, and the seating was about right.
  2. Great trophies/badges
    The trophies and finalist pins are really nicely made. I have trophies from shows all over the place, and these are probably among the nicest ones I’ve seen. My finalist pin will look very good in the drawer, shaming the finalist pins/badges/bits of card I have from elsewhere.
  3. Little touches
    The show also had some really nice little things, like the quality of the entry card that sat under your model – they were actual card with rounded corners rather than a flimsy bit of paper or a number on a sticker stuck to your plinth. It’s not much, but I did think they were actually a nice little touch.
    The lanyard passes. Again, really basic, but much nicer than a stamp on your hand or one of those nigh-unbreakable bracelets.
  4. Location
    While the area doesn’t look like much, it was literally a few minutes’ walk from Liverpool Street, which was strangely convenient because trains weren’t running into King’s Cross. Martin and I also went off wandering to look for lunch and found an absolutely awesome tapas restaurant. We’re contemplating whether our better halves might want to come next year, if only for the lunch.

All in all, it was a great day out, and the competition was exactly the right size for the venue. I think the guys who organised it did an excellent job of gauging their needs and accommodating precisely. Sort out the lighting and ban backpacks, and bingo: you have a winner.

Oh, and Martin got some kind of trophy, I think. Just in case you hadn’t noticed him spamming it all over the Internet.

A variety of scales

This week, it seems I’ve been working in a whole range of different scales – from the very large flat down to a teeny-tiny 32mm-scale schoolgirl. Not that this is a particular indicator of excellent progress – everything is still a bit rough and isn’t coming across well in the photos, but oh, well.

So, first up, progress on the halberdier:


As you can see, he’s come along quite a way, although much of that is rough and difficult to read properly. The orange, in particular, has caused me grief. There were about four attempts at it before this, and I’m now inclined to leave it there. I might hit some higher spots on it, though, it make it look silkier, but the general gist is as it will be.

The helmet is the most recent part, and it looks considerably better in the hand. I think I need to go back in with some black ink to improve the coverage, as too much of it is just a sort of muddy blue at the moment.

Beyond that, it’s really only his frilly shirt collar, the halberd and the dirt, and then he’ll be ready for mounting. I’m thinking of a pretty tight frame for this one, as he’s already sort of spread out, and giving too much space around him will make the frame both massive and astonishingly empty.

Up next, some heels for Lady Gaga:

There’s obviously not a lot of change here, except that she now appears to have ice skates. Those are just blocks of sculptiboard that will form the core of the platforms. This should make sure they’re equal heights, which can be a little problematic when only one foot is really in contact with the ground.

I am, of course, petrified at the idea of sculpting her hair. I have a sort of plan for it, but we’ll have to see how that works out.

Finally, the tiny creepy schoolgirl:


This is really just a bit of fun with a slight purpose. My old wargaming club has started having an annual tournament/get together, which I obviously can’t attend (I mean, I guess it’s technically possible for me to fly around the world for a weekend of beer and Warhammer, but that doesn’t seem the most fiscally responsible thing to do) so I instead provide some trophies and prizes.

Last year, I sort of cleaned out all the old stuff I’m not too attached to anymore, so this year I’m making a custom trophy, which will feature this wee sweetheart. I’ll chuck some other stuff in the package, too, just to make the postage worthwhile. Anyway, she won’t take much longer, so expect finished pics in the next update.

In other news, I’ll be attending Iron Skull down in London in a couple of weeks, which should be interesting. If I’m honest, I’m not expecting much from the show – it seems to have positioned itself as a painting competition aligned with wargaming, much like Golden Demon and Salute, so I expect to see a lot of last year’s Golden Demon entries and stuff like that. I also don’t really have anything new to take, so I’ll just drag along a couple of older pieces and see how they do.

Martin is, of course, taking everything he’s painted for the last six years (yes, the minotaur is apparently attending – just in case you somehow hadn’t seen it yet).

Back to it

It’s been some time since I’ve posted, which is because it’s been some time since I’ve done any hobby stuff. Partially, this is because I took a long holiday to the Antipodes, which was very pleasant, but also reminded me why I don’t live there anymore (SPORTS, MATE).

Mostly, however, it’s been the accursed Playstation. That, and Witcher 3, which I finally got around to playing. A word to the wise: if you’re prone to getting sucked into games and find it difficult to drag yourself away until they’re finished, don’t play games with more than a hundred hours of content.

Anyway, Geralt has now saved the world (and defeated some sort of demon in a battle of wits, not to mention saving totally-not-France from a vengeful vampire), so I can get back to what I should be doing.

First up, some progress on the flat:


I’m not totally sold on the trousers, but they’re good enough for now. I’ll probably come back to them later to sort them out a little more. The NMM I’m reasonably pleased with. I was going for a black lacquered sort of effect, and I think this is a competent effort. I’ll see out it works out once the breastplate and helmet are done, too. The fancy guard still needs some work, I think. Needs more colour and light on the upper section.

And that brings me to Lady Gaga:

As much as I despise sculpting, I do think this is coming along. I’ve sorted out a few of the issues I was having – reduced the size of her chest and resculpted the beef there, added to the shanks on her legs to make them a little less even, narrowed the waist a touch, added to her nose and given her slightly more prominent cheekbones. There are still some bits to resolve:

  • The fillets at her waist I think need to blend up over her chest. It looks a little too empire line at the moment.
  • Straps on the back need to be tidied up.
  • Beef booties need to go a little higher, and – of course – the steak platforms need to go under those.
  • Her neck needs to be filed down, as she’ll be getting a choker, and I need to make sure it doesn’t make her neck bigger than her head.

Still, all things considered, she’s coming along nicely. She should be a pretty quick paintjob, but obviously I don’t want to be struggling against the sculpt when the sculpt is my own doing.