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This is another bogle for Monster Blood Tattoo though it happens to look a lot like an especially large werewolf.
First the sculpt: Although fur is often difficult to clean the parting line on this one was largely invisible to begin with.
Second the paint: It lent itself to a simple drybrush, but I've gone for such dark colors it doesn't show up in the photo.
Third the question: I just glued it to a round base today and can't decide how I should finish the base. It's going to be used in tabletop skirmish games so it doesn't need anything fancy. I just can't decide between gluing on sand and little rocks, applying resin sand gel, or using Apoxie Sculpt to build up the circular base to the level of the stock base. Opinions? Pros & cons?
The second add on tie-in to the Lost Valley: the Thunderfoot Behemoth, for 8 dollars in the kickstarter campaign.
An almost-Triceratops, biggest difference is the crest of horns around the rim of it's skullplate that the fossil record does not quite support as far as I know.
I went with the same-ish colour for this and the thunderfoot defender sauroid, as they were painted at the same time, and why not?
I ditched the original base and made a 125x100mm for it instead.
Paint big minis with big brushes! I used a 12mm wide make up brush for most of this mini.
On a black undercoat I drybrushed the top half or so with Vallejo Green Brown 70.879 and from the bottom with Vallejo Nocturna Pale Flesh 74.015. I honestly don't remember the other colors...some reddish brown, an ochre yellow, a bone white and a few others. And when the paint was on, I used CItadel Athonian Camoshade to wash the whole thing, taking care to remove any pooling with a brush. After that was dry, I carefully drybrushed the main colours one more time to lighten them a bit. The horns were done in the pale flesh with the camoshade, and then drybrushed with two different off whites. Details like the eyes, based and done.
Also consider for a bit what kind of environment that promotes the evolution of this kind of size, armour and weaponry in prey animals. This is a twelve ton herbivore. with armour-piercing horns!
in comparison, a heavy modern day Rhino clocks in at 2.2 tons. A triceratops could be more than five times that!
Yeah, it figures it would not have them if it did not need them...T-rexes and Triceratops did live at the same time and the same place...the late Cretaceous period, about 68 million years ago in what is now North America. This is about 75-80 million years after the jurassic period...so that park has a lie for a name.
A triceratops would be around 3m tall and 9m long, so the Thunderfoot is not far off it would seem. up to 12.000 kilos. That's a solid "oh HELL no!" on the fluffy scale.
an add on in the
Bones 4 kickstarter, 2019
Made in Classic Bonesium PVC
probably available from reapermini.com soon
Im going to start another PBP. So far I have interest from @ShadowRaven, @dwarvenranger, @Dilvish the Deliverer, and @Kangaroorex.
We’re going to start the Serpent’s Skull adventure path. Pathfinder 1e.
All books are in play, but I reserve the right to veto something if it seems too gross/bloated.
Please utilize the Serpent’s Skull Players Guide from the Paizo website.
Abilities: 4d6, reroll all 1’s, drop lowest score, yielding ranges from 2-18 pre mods.
Avg. Starting gold.
We’ll follow the AP leveling track when possible.
We’ll have individual initiative.
I hope to get this started soon, so please post those characters.
1. HP beyond first level. Roll the hit die. If the roll is less than”avg” then take avg instead. Example: Wizard d6. Rolls a 1. Gets 4hp instead, before Con mod.
2. Acrobatics can be used to avoid AOO when standing from prone.
3. If someone is not responding and action is waiting for them, I’ll send a pm after 24 hours. If no response 24 hours later, I’ll take over that character to get action rolling again.
It has been years since I posted here but it has also been a while since I painted anything.
This is a step-by-step tutorial for painting the Daggertooth King Lizard made by AntiMatter Games for ShadowSea. The way this model is painted is in steps that require the paint to completely dry before going to the next step. It is a lot of washes and glazes that build up on top of each other and not wet blending.
Step 1 was to prime entirely in white. Then in Step 2 the underside was painted with a mixture of Liquitex Muted Gray and Matte Medium, about 50/50, then thinned with a touch of water. By touch, I mean dipping the tip of the brush into water after putting the color on the brush. The ink mix needs to be thin enough to flow but not so thick it collects in thick pools.
Step 3 was to paint the top side with thinned Yellow Oxide from Golden Fluid Acrylics, mixed with Buttermilk (Americana Brand). More water was added to glaze this color onto the edges of the Muted Gray underbelly.
Step 4 was a shading step, where the underside was given a wash of Black Ink + Phthalo Blue ink (20/80), mixed with Matte Medium (50/50 of mixed color to medium). Black can overpower the color, so only a small amount is needed. The top side was given a wash of Burnt Sienna ink + Matte Medium (50/50). The inside of the mouth was given a wash of brick red paint mixed with black paint and a bit of matter medium. The underside was done first and allowed to dry. When painting the top side, the model was flipped upside down so that the ink did not run down onto the underside.
Sep 5 is something a little different. This is a glaze of thinned white paint to reduce the “intensity” of shadows and even things out. More layers were applied to the tops of muscles and areas that are highlight zones and to also make the belly lighter overall. The white paint was basic craft paint from Americana brand.
Step 6 was a glaze step. Glazes of Burnt Sienna ink, thinned with about 50% water, were painted on the upper body and head and Burnt Umber ink was applied to the top of the back. The claws and spikes were given a wash of Burnt Umber ink + black Ink + Matter Medium (50/50 with color).
Step 7 was to give paint some stripes. This was pretty simple, using black paint + Turquoise ink, thinned with water so it was translucent (maybe 60/40 water/color).
Step 8 was the basic highlight stage. Thinned Buttermilk color was painted on the top edge of scales to simulate light reflection while thinned white was used to highlight the legs and underside. This was done with a very small brush, unlike all of the previous steps. The spikes on the back were painted with more Burnt Sienna ink mixed with Buttermilk to blend them, then thinned Buttermilk for the edge highlights. Some final highlights were with thinned white on the top of the spikes.
Step 9. Final Highlights and Base. The claws were painted like the spikes in Step 8 while the teeth were glazed with white to build up brightness, then painted in the edges with pure white. Small details, like eyeballs were done here also, using bright yellow and orange for the eyeball and back pupil with a small white dot for the reflection. The base had rocks painted in gray paint and the ground a light tan. This was allowed to dry, then a wash of a mix of Raw Sienna + Turquoise ink + Matte Medium was applied. The ground was washed with Raw Sienna ink + Matte Medium. Highlights were made with the tan paint on a bristly brush (an old drybrush brush with bristles pointing all around). The paint was put on the tips of the bristles and stippled around to add some random patterns. A bit of thinned white was used to add some edges to the rocks. Then the while model was given a coat of Dullcote, which ended up being a bit glossy, but that’s how it goes sometimes.
Part 1 of the Serpent’s Skull Adventure Path. By James Jacobs, (c) 2010.
Using the Pathfinder Rules from the Pathfinder Core Rulebook
Sixth Printing, 2013 and copyright 2009 and on
Also uses Open Game License Content 1.0a Copyright 2000 Wizards of the Coast
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