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MojoBob last won the day on September 11 2013

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  1. No, that's a single figure viewed from four different angles thanks to the magic of Photoshop.
  2. My Bones III Kickstarter fulfillment arrived a couple of days ago, and I've been happily sorting through them. I've engaged in all three Reaper kickstarters so far, but I doubt that I'll do another — it's not that they're not a good deal, but there's always a very, very long wait for them to arrive, and they've all been very heavy on the character figures, of which I really do have an ample supply. I mainly want the monsters, and it'll be simpler just to buy them individually when they eventually appear in the shop. I chose this one to start the painting with, mainly because it would be very quick and easy to do, and in fact it only took about twenty minutes. It probably would have taken longer if I'd actually removed any of the mould lines, which I kind of forgot about in my enthusiasm. I don't know what its SKU is; I couldn't find it with a (fairly brief) search in the online store.
  3. I thought it had been too long since I painted a fantasy figure, so I reached into my Big Bag O' Monsters and this was the one that came out. (Full multi-angle image linked due to excessive boobies): It's 77041 Harpy by Julie Guthrie. As usual for me these days, it's one of the plastic Bones miniatures, and if you want one it will cost you the princely sum of about three of those Yankee dollars.
  4. Paint a white base coat, then a grid of pale pink stripes, and last of all, dots of a darker pink at the intersections of the light pink grid. Easy-peasy. Note: doesn't have to be pink, of course. That's just the colour I immediately associate with gingham.
  5. Roman red military cloth was usually dyed with madder, which gives a fairly dull crimson red. It would fade to a brownish pink over time. Really bright red dyes were phenomenally expensive, and didn't become common until the late 19th century or even later, when synthetic dyes made the colour relatively cheap.
  6. Dry-brushing requires, not so much little paint on the brush, but definitely almost no liquid. I brush out the paint on a paper towel until I can't see any more colour coming off, and only then do I start on the model. When I do start, I either start on a sacrificial model to test the brush loading, or else on an unimportant bit of the figure I'm working on. If I get too heavy an effect too quickly, I go back to the paper towel and take more paint off the brush. Most people, when they start out with dry-brushing, don't trust that they need practically nothing on the brush, and start on the model too soon. But believe me, it's almost impossible to unload your brush too much. It's much, much better to build up a dry-brush effect rather than trying to get it all down in on hit.
  7. Here's an old Medieval wargaming miniature from the 1980s, produced by Essex Miniatures. Essex were among the first to start producing larger scale 28mm miniatures, although they actually advertised them as 25mm. Up until then, 25mm had been the standard, and Essex armies towered over their opponents on the wargames table. Basing systems had been designed for 25mm figures too, so Essex figures tended to be very crowded on bases designed for the smaller scale. They tended towards rather caricatured, cartoonish features, but I always rather liked them, except for their horses which looked a bit small and spindly underneath their gigantic riders. Eventually they also started producing 15mm miniatures which were also excellent, and a lot more affordable than larger scale armies.
  8. I have minis half-painted that I started painting more than twenty years ago and got sick of. Some of them I eventually finished, some I still haven't. Some I probably never will. I wouldn't stress out over it, really.
  9. When I worked in the Canterbury Museum's display department back in the late '80s, we were making a lot of large moulds of all sorts of things (bones, mostly), and making them entirely out of RTV was cost-prohibitive. What we did was skin each piece in RTV for maximum detail retention, and once cured, we smoothed on layers of silicon caulk smooshed through burlap sacking as a reinforcing material. A couple of layers of caulk and burlap was generally enough to make a reasonably firm, strong mould, and the caulk is one of the very few things that will actually stick to RTV. The rubber skin-moulds were further supported in a plaster matrix for casting. It's a process that takes a few days; the caulk takes time to cure with each new layer. But it does make a very strong and relatively cheap large mould.
  10. I'm pretty sure this figure must have come from Reaper's first Bones Kickstarter, because they had real trouble with facial features not filling out properly in the mould on a number of the miniatures. This is one such. In Reaper's catalogue, this is 80003: Ellen Stone, by Bob Ridolfi, but I always call her Jenny No-Nose because, well, she has no nose. Rather than try to fill in her missing features with paint, I've just painted her with a flat rag-doll face with no eyes or nose and just a gash for a mouth. She's a Weird West gun-babe.
  11. Next up on the Bones-painting production line is this one, 77261: Bat Demon by Bob Ridolfi. At first I was going to paint him classic devil red, but I went with green in the end to give it a more serpentine look. I don't know why I wanted that; there's nothing very serpentine about the sculpting, but there you are. The heart has its reasons. The wings and elevated position make this figure a bit more imposing than its stature actually warrants. As far as its body goes, it's just very slightly — if at all — larger than the average Reaper bloke.
  12. Cutest froghemoth ever
  13. It's mostly cheating :) I spray the whole thing black, then do a zenithal (highlight) spray in white from above. A black wash defines any lines that the spray has filled in, and then I do a semi-dry-brush in pure white to pull out the highlights. That gives me a black-and-white figure with all the tonal values in place, which I then colour with transparent inks. After that, it's just a case of going in to highlight anything that needs highlighting, like the claws and teeth and the edges of the rocks and what-have-you. And that's about it. It's not a process that will work for every mini, but for mooks like this it's very quick and easy.
  14. Here's another of my vast stash of Bones figures, now splashed with paint. This is a very quick and unfussy paint job, and not really a very good one, but it will do the job. It took me about half an hour. It appears in Reaper's inventory as 77258: Blood Demon, but it seems pretty clear that it's based on an AD&D minor demon called a Babau that I first saw in the MM2, published in 1983.
  15. I've just been painting 77141: Townsfolk: Oswald the Overladen, and I'd really like to see a complete set of bearers and beasts of burden in the same vein. Maybe three or five variations on human bearers, and maybe a couple or three each of pack mules and camels. The animals could be quite easily varied by making individualized pack-loads to go on generic beasts — it would be a bit more difficult to do that convincingly with human bearers though. Of course it would be great to be able to get sets of each of European(ish), Arab(ish) and African(ish) bearers. My PCs really need a plentiful supply of poorly-paid peons to carry their stuff and be eaten by monsters.