UMS "Agram" : PIRATE'S COVE GAMING BOARD – pt.2 < Articles < Hobby

PIRATE'S COVE GAMING BOARD – pt.2

Marko Paunović, 22nd August 2020

This article finds the second and final part of the step by step tutorial of the building process of a gaming board for a board game called Pirate's Cove that my club's (terrain workshop did a couple of years ago.

The Design:

In the previous article, Andrija and I made the basic outline of the board with the frame, ran the wires underneath the board and made all the ships. The next thing, before the actual build, would be to have all the electronics installed so the terrain could be built around it. Before installment, we needed to check all the calculations and agree on the final layout of all the features.

Electronics:

In this model we decided to fit the smoke generator (hereinafter - fogger), and in every house an LED would be built in order to evoke the effect of burning lamps or candles. As the power source for the board we chose the electricity from the grid which meant 220V AC current (in Croatia). Therefore the alternating current must be mentioned here, since the fogger is powered via the adapter from the city grid. The adapter which goes with the fogger changes AC 220V current to 24V AC also. (NOTE: If the device transforms the current from 220V AC to 24V DC for example, it is then called the transformer - author's note).

The advantage of using city power grid (ie adapters and transformers) is that there is no concern about the consumption of electricity, namely, no batteries which could be spent.

Since the LEDs are working exclusively on DC, it was necessary to connect the LED circuitry in parallel with the fogger. Apart from the fogger branch, we needed to extract one branch to go through Graetz bridge which would be connected to all the LED circuitry. As explained in a previous issue, Graetz combination (ie single-phase full-wave rectifier) only corrects the voltage, but it does not ''straighten'' it. In order to straighten the voltage it is necessary to add an RC circuit. In this gaming board, that was not necessary to make because the local electrical grid works on frequency f = 50 Hz (meaning that the voltage is sinusoidal and makes 50 cycles per second). Using a single-phase full-wave rectifier that frequency doubles, so the frequency is 100Hz. The human eye does not notice the higher frequency of 20Hz. What does this mean exactly? That our LED will be flashing 100 times per second, but you will not notice it. Indeed, it will look as if the LED were constantly lit. It should be noted that Graetz circuit losses of approximately 10% and that voltage 24V DC will therefore be around 22V DC.

The calculation of the LED circuits is relatively simple because there is a lot of repetition. Each branch (except Crew Island) looks the same and as far as the resistance calculation runs as follows:

and for Crew Island:

Here we calculate the electrical power in each branch :

which is relatively high power. It is no surprise when one considers the fact that the resistor reduces the voltage for 20V! This information is important when choosing the resistor, because when you buy it, you will need to emphasize that you are looking for such a powerful resistor. For the Crew Island two resistors of 50Ω and 0.04 W are required

This result is also not surprising because the resistor reduces the voltage for only 2V, and through it flows a current of 20mA.

We now return to the beginning - the adapter, which in this case has Imax=1200mA. The next step is to add all the currents in the branches.

So, to run all the LEDs you need 240mA which leaves 960mA for fogger to work, which after testing with a multimeter showed that is enough. If it were not,the calculation should be revised.

Finally, the elements needed for this project are:
• Fogger (with adapter AC 220V → 24V AC)
• 2 pairs of male-female Jack's
• Graetz bridge
• 7 switches
• 10 R = 1kΩ resistor R, P = 0.5 W
• 2 R = 50Ω resistor
• 27 LEDs (yellow, 3mm)
• 2 LEDs (red, 5mm → Treasure Island, the eyes of the skull)
• 1 LED (red, 3mm → Tavern Island, the upper floor tavern)
• a minimum of 10m of wire.

The Continuation of the Build

Once the electronics were installed and the Graetz bridge was prodected inside a box that was made from balsa wood, we did a test run. The LEDs indeed did not flicker, the volcano produced the fog and we could proceed with the terrain build.

The first island we tackled was Crew Island. We decided to have a small sea town with a town hall and a church with a graveyard on a hill. The streets of the town were made from plastic pieces of a 1/72 medieval castle. The buildings were built by Andrija from 1,5mm thick balsa wood and thin card. The window shutters were about 1x1mm in size and were each cut from a piece of paper. We placed most of the buildings on top of 3mm yellow LEDs that were drilled through the bottom of the plastic street construction.

The fortress on Gun Island was done from the same medieval castle plastic kit. Sides of the octogonal bastions were carefully cut using a scalpel blade. The guns were salvaged from a Revell plastic ship. To finish the job, we placed a chain at the port entrance.

The body of all the islands was made from 2cm thick HD styrofoam. The beaches, cliffs and the rest of the features were modelled from air drying clay (DAS). The piers were done from 2mm thick balsa wood. Once the clay and PVA glue were dry, the islands were coated in watered down PVA glue. The top surfaces were sprinkled over with coarser sand while the beaches were covered with smallest grain sand we could find. In this case, it was chinchilla sand from a local pet shop.

With this, most of the islands were done. All that was left was to do the Pirate's Cove island and make a removable volcano. We had to make the volcano removable to make it possible to fill and empty the vessel for the water that the fogger uses to make fog. If we left the board in one piece, it would have been impossible to empty the tank which would eventually cause the formation of calk or something even worse. Again, the body of the island was built by HD styrofoam. Using styrofoam boards made it possible to have a straight cut between the island and the removable volcano. Once the island part of styrofoam was dry, the tank was placed in its spot and around it another layer of styrofoam was placed and glued to the tank from the top side. Once it was dry, we made the island and volcano features following the same procedure as we did for the rest of the islands using DAS air drying clay. Once it was dry, we textured it with sand (two different sizes).

The islands were painted using Pebeo Deco colours (Black, Brown, Ochre, Ash, White and Grey) and flocked using static grass. The trees were made from twisted wire trees bought on Ebay. When the islands were done, I painted the seas. As I wanted the blue to be really bright, I used a white undercoat that was hand painted using a large brush as I didn't want to risk botching up the rest of the work by accidental spillage by using sprey/air brush. After it was done, I mixed several shades of blue (by mixing Pebeo Deco White and Blue). Each progressive layer had more Blue in it. Before pouring in the resin, we decided to make a compass with a club sign. The painted design on a piece of paper was simply cut out and glued using watered down PVA glue. All that was needed was to mix the resin and pour it in carefully. For this, we used Gedeo Crystal Resin. A quick calculation revealed that we needed 600ml of resin in order to make the water 1,5-2mm deep. Carefully we mixed the two part resin (mixing ratio is 2:1 vol which makes it easy to work with). Once the mixture was fully mixed I added a couple of drops of Pebeo Vitrail Sky Blue colour. Be careful when mixing, because you can easily overdo it and be left with too dark a resin.

After a drying period of about 24 hours, the board was done and we could present it to the guys from the club!

Latest articles

Making of MUMMY dioramas

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I recently was approached by the Historical Museum of Oslo to make three miniature dioramas for their exhibition MUMMY - a display of ancient Egyptian artefacts and mummies. Their requirements were that each of the three dioramas would portray a part of the life of one of the mummies from the exhibition, Dismut, a temple guardian’s daughter. Her Life, her Death and her Afterlife. In addition, they gave the maximum size of the display. This left me a lot of freedom for interpretation and to make the dioramas in my own way and style. In this article I’ll take you through part of my process for developing the three concepts. For a more detailed breakdown of the steps it took to complete the dioramas, see the videos.

My first focus was on the miniatures required. I searched online 3D-file shops to see what was already available. I knew this would be one of my limitations as there was no time or budget to 3D design all objects and characters required for all three dioramas. I found a pack of ancient Egyptian field workers, and so the Life diorama was created with this pack in mind - a tranquil scene by the Nile River, with workers harvesting wheat as Dismut observes from a higher vantage point. This diorama was also an opportunity to include some of the animals featured in the exhibition, so I found a cat and a mouse STL (and later a crocodile as well). As Dismut is not a famous pharaoh, there were obviously no STLs available of her, so I commissioned two 3D sculpts of her, giving me the chance to have her in the exact positions I needed for Life and Afterlife. In Death she would only appear as a mummified figure, easily available online.

I wanted the diorama to read from left to right, as the three dioramas would be displayed one next to the other, so as well as reading the specific Life diorama from left to right, I also wanted the entire display of all three dioramas to lead from left to right. I decided that from left to right the dioramas would also go from light to dark, Life being the lightest in tone and colour and Afterlife the darkest, reflecting the dioramas’ subjects. I decided on the scale for the entire display, around 50mm for humans, as this would be small enough to fit all the elements I needed, but large enough to fill up the dioramas with the amount of elements I found as STL’s and save me some time on not having to paint too many tiny details. I adjusted all STL’s to this scale, and found some realistic wheat plants online at the correct scale as well. And so the concept sketch for the Life diorama came together.

I knew that the Death diorama would be a burial ritual underground. I found a STL pack of several of the objects found in Tutankhamun’s grave, a burial ritual STL pack with two workers carrying a mummy and an ancient Egyptian priest. This would give me the scene. As the dioramas were going to have to be made as cubes, closed on all sides with walls, except for the front, as opposed to the open dioramas on display bases that we are used to, a part of planning each scene was also figuring out how to make the two sides and back panel a natural part of the dioramas. In Life this was an impossible task as no outdoor area is a cube, but I decided on making each side a rocky cliff and hoping the illusion of the scene would make the unaturally geometrical shape of the landscape become less visible. For Death my solution was a roller with Egyptian hieroglyphs. With this I could fill out each wall with historically accurate symbols and this way create interest in the surroundings of the scene as well. And for Afterlife, as this is already a “supernatural” scene, the walls would be bricks, extending the typical art found in Egyptian tombs portraying the Egyptian afterlife of Duat, into a 3D space. Generally I found a lot of inspiration and direction for this entire project from ancient Egyptian art and wall paintings.

The Afterlife diorama would have to have an Osiris character, the Egyptian God of the Dead, overseeing Dismut’s journey to Duat. As all STLs I could find of him had warrior poses, I instead commissioned a seated Osiris figure, as well as the scale that would measure Dismut’s heart against a feather, and thus if she is worthy of the Afterlife. I found a STL of Thoth, taking notes, and thought it suitable for the God judging the dead - in this case Dismut.

After the concepts were approved by the museum, so started a several months long process of getting the MDF walls for the cubes, cutting, carving and gluing XPS foam at the correct angles, sizes and shapes, painting around 40 miniature characters and objects, with airbrush and brush, creating and painting the landscapes, pouring epoxy resin for the Nile River as well as many other smaller and larger tasks. Of the many ideas that came during the making of the dioramas (not reflected in the concept sketches), one that I think especially contributed to the overall look of the final display, was the fact that I decided that each diorama would have its own main colour. Yellow for Life, sun and desert, Red for Death, underground an earthy, and Blue for Afterlife, cold and melancholic. This would differentiate the dioramas from each other even when being viewed from a distance, as well as give a natural progression from warm to cold, another way to add contrast and make the dioramas read in my preferred direction, from left to right. This was achieved most obviously through the choice of oil colours used to shade the three dioramas. Apart from that, the acrylic paints chosen are the same for all three dioramas, giving a cohesion of colour as well as being based on the available pigments they would have had at the time in Ancient Egypt - mineral pigments like lapis lazuli, red and ochre, soot for black, copper compounds for blue and green and synthetic pigments like Egyptian blue.

The final result is displayed here and will also be on display at Oslo’s Historical Museum for the foreseeable future. If you visit the city, make sure to stop by and have a look at the final display.

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Nedavno me kontaktirao Povijesni muzej u Oslu da izradim tri minijaturne diorame za njihovu izložbu MUMIJA - prikaz drevnih egipatskih artefakata i mumija. Njihovi zahtjevi bili su da svaka od tri diorame prikazuje dio života jedne od mumija s izložbe, Dismut, kćeri čuvara hrama. Njezin život, smrt i zagrobni život. Osim toga, dali su maksimalnu veličinu prikaza. To mi je ostavilo puno slobode za interpretaciju i izradu diorama na moj vlastiti način i stil. U ovom članku provest ću vas kroz dio svog procesa razvoja triju koncepata. Za detaljniji pregled koraka potrebnih za dovršetak diorama pogledajte videozapise.

Moj prvi fokus bio je na potrebnim minijaturama. Pretražio sam online trgovine s 3D datotekama kako bih vidio što je već dostupno. Znao sam da će to biti jedno od mojih ograničenja jer nije bilo vremena ni proračuna za 3D dizajn svih predmeta i likova potrebnih za sve tri diorame. Pronašao sam skupinu drevnih egipatskih poljskih radnika, pa je diorama Život nastala imajući tu skupinu na umu - mirna scena uz rijeku Nil, s radnicima koji žanju pšenicu dok Dismut promatra s više točke. Ova diorama bila je i prilika za uključivanje nekih životinja predstavljenih na izložbi, pa sam pronašao mačku i miša u STL-u (a kasnije i krokodila). Budući da Dismut nije poznati faraon, očito nije bilo dostupnih STL-ova za nju, pa sam naručio dvije 3D skulpture, što mi je dalo priliku da je imam u točnim položajima koji su mi bili potrebni za Život i Zagrobni život. U Smrti bi se pojavila samo kao mumificirana figura, lako dostupna online.

Želio sam da se diorama čita slijeva nadesno, budući da bi se tri diorame prikazale jedna pored druge, pa sam, osim što se specifična diorama Života čita slijeva nadesno, također želio da cijeli prikaz sve tri diorame ide slijeva nadesno. Odlučio sam da će diorame slijeva nadesno ići od svijetlog prema tamnom, pri čemu će Život biti najsvjetliji po tonu i boji, a Zagrobni život najtamniji, odražavajući subjekte diorama. Odlučio sam se za mjerilo za cijeli prikaz, oko 50 mm za ljude, jer bi to bilo dovoljno malo da stanu svi potrebni elementi, ali dovoljno veliko da ispuni diorame količinom elemenata koje sam pronašao kao STL-ove i uštedi mi vrijeme jer ne bih morao slikati previše sitnih detalja. Prilagodio sam sve STL-ove ovom mjerilu i pronašao sam neke realistične biljke pšenice na internetu u ispravnom mjerilu. I tako je nastala konceptualna skica za dioramu Života.

Znao sam da će diorama Smrt biti pogrebni ritual pod zemljom. Pronašao sam STL paket nekoliko predmeta pronađenih u Tutankamonovoj grobnici, STL paket pogrebnog rituala s dva radnika koji nose mumiju i drevnim egipatskim svećenikom. To bi mi dalo scenu. Budući da su diorame morale biti izrađene kao kocke, zatvorene sa svih strana zidovima, osim sprijeda, za razliku od otvorenih diorama na izložbenim postoljima na koje smo navikli, dio planiranja svake scene bio je i smišljanje kako učiniti dvije strane i stražnju ploču prirodnim dijelom diorama. U filmu Život to je bio nemoguć zadatak jer nijedno vanjsko područje nije kocka, ali odlučio sam svaku stranu napraviti kao stjenovitu liticu i nadao se da će iluzija scene učiniti neprirodno geometrijski oblik krajolika manje vidljivim. Za Smrt moje rješenje bio je valjak s egipatskim hijeroglifima. S tim sam mogao ispuniti svaki zid povijesno točnim simbolima i na taj način stvoriti interes i za okolinu scene. A za Zagrobni život, budući da je ovo već „natprirodna“ scena, zidovi bi bili od cigli, proširujući tipičnu umjetnost pronađenu u egipatskim grobnicama koje prikazuju egipatski zagrobni život Duata u 3D prostor. Općenito sam pronašao mnogo inspiracije i smjernica za cijeli ovaj projekt u drevnoj egipatskoj umjetnosti i zidnim slikama.

Diorama zagrobnog života morala bi imati lik Ozirisa, egipatskog boga mrtvih, koji nadgleda Dismutovo putovanje u Duat. Budući da su svi STL-ovi koje sam mogao pronaći o njemu imali ratničke poze, umjesto toga sam naručio sjedeću figuru Ozirisa, kao i vagu koja bi mjerila Dismutovo srce u odnosu na pero, te time utvrdila je li dostojna zagrobnog života. Pronašao sam STL Thotha, bilježio i smatrao sam da je prikladan za Boga koji sudi mrtvima - u ovom slučaju Dismuta.

Nakon što je muzej odobrio koncepte, započeo je višemjesečni proces nabave MDF zidova za kocke, rezanja, rezbarenja i lijepljenja XPS pjene pod ispravnim kutovima, veličinama i oblicima, oslikavanja oko 40 minijaturnih likova i predmeta airbrushom i kistom, stvaranja i oslikavanja pejzaža, izlijevanja epoksidne smole za rijeku Nil, kao i mnogih drugih manjih i većih zadataka. Od mnogih ideja koje su se pojavile tijekom izrade diorama (koje nisu odražene u skicama koncepta), jedna za koju mislim da je posebno doprinijela ukupnom izgledu konačnog prikaza bila je činjenica da sam odlučio da će svaka diorama imati svoju glavnu boju. Žuta za život, sunce i pustinju, crvena za smrt, podzemlje i zemljanost, a plava za zagrobni život, hladnu i melankoličnu. To bi razlikovalo diorame jednu od druge čak i kada se gledaju iz daljine, kao i dalo prirodan prijelaz od toplog prema hladnom, još jedan način dodavanja kontrasta i da se diorame čitaju u mom željenom smjeru, slijeva nadesno. To je najočitije postignuto odabirom uljanih boja korištenih za sjenčanje triju diorama. Osim toga, akrilne boje odabrane su iste za sve tri diorame, što daje koheziju boja, a ujedno se temelji na dostupnim pigmentima koje su imali u to vrijeme u drevnom Egiptu - mineralni pigmenti poput lapis lazulija, crvene i oker boje, čađa za crnu, spojevi bakra za plavu i zelenu te sintetički pigmenti poput egipatske plave.

Konačni rezultat je ovdje izložen i bit će izložen u Povijesnom muzeju u Oslu u doglednoj budućnosti. Ako posjetite grad, svakako navratite i pogledajte konačni postav.

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Sebastian Søgård, 17th June 2026

Miniature Painting Workshop - 75mm Dwarf

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	On 09-10.05.2026. we held a new weekend miniature painting workshop. This time it was the turn of a dwarf in 75mm scale.

	

	




The workshop was held over two days (a whole weekend) and the participants painted a 75mm miniature dwarf. The focus of these lectures was painting various textures - metal, human skin, textiles and leather. Water-based acrylic paints were used in the workshop. For this purpose, the workshop leader, Ivan Knezović, chose a 75mm miniature dwarf from Durgin Paint Forge, sculpted by Carlos Perez Bugedo. The lectures were adapted so that the leader devotes equal time to all participants and can be adapted to all categories of miniaturists (from beginners to slightly more advanced).



	

	

	

	


The workshop took place as follows:

	First, the lecturer sits at his desk and explains and demonstrates each step in painting a miniature/model on his specimen. His work is displayed on a screen via a camera and projector, which the participants listen to, watch, and ask questions about.

	Then, the participants sit at their desks and apply the knowledge they have gained. The facilitator circulates among the participants and checks how each participant is doing. This way, he or she can adapt to each participant individually.




	

	

	

	The workshop will include the following thematic units:

	1. NMM (Non metallic metal)

2. Reflections of ambient colors on metal

3. Steel / gold

4. Face painting (male)

5. Adding vibrancy to the face (filters)

6. Extracting textures from fabric, metal and leather

	

	

	POWERED BY: Carta Magica, Fireball Figurines, Durgin Paint Forge, Playsupport
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	09-10.05.2026. smo održali novu vikend Radionicu bojanja minijatura. Ovoga puta na redu je bio patuljak u 75mm mjerilu.

	

	Radionica se provodila kroz dva dana (cijeli vikend) i polaznici su bojali 75mm minijaturu patuljka. Fokus ovih predavanja bilo je bojenje raznih tekstura – od metala, ljudske kože, tekstila i kože (leather). U sklopu radionice korištene su akrilne boje na bazi vode. U tu svrhu, voditelj radionice, Ivan Knezović, izabrao je 75 mm minijaturu patuljka tvrtke Durgin Paint Forge, koju je sculptao Carlos Perez Bugedo. Predavanja su prilagođena tako da voditelj posveti jednako vrijeme svim polaznicima i može se prilagoditi svim kategorijama minijaturista (od početnika do malo naprednijih).

	

	

	

	Radionica se odvijala na sljedeći način:

	Prvo, predavač sjedi za svojim stolom te objašnjava i demonstrira pojedini korak u bojanju minijature/makete na svojem primjerku. Njegov rad se preko kamere i projektora prikazuje na platnu što polaznici slušaju, gledaju, ali i postavljaju pitanja.

	Potom, polaznici sjedaju za svoje stolove i primjenjuju stečeno znanje. Voditelj kruži između polaznika i provjerava kako svakom polazniku ide. Na taj način, može se prilagoditi svakom polazniku ponaosob.

	

	

	

	Radionica će uključivati sljedeće tematske cjeline:

	1. NMM (Non metallic metal)

	2. Refleksije boja iz okoline na metalu

	3. Čelik / zlato

	4. Bojanje lica (muškog)

	5. Dodavanje živosti na lice (filteri)

	6. Izvlačenje tekstura tkanine, metala i kože (leather)

	

	

	POWERED BY: Carta Magica, Fireball Figurines, Durgin Paint Forge, Playsupport
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Ivan Knezović, 26th May 2026

We visited: Festival Svet v Malem 2026, Pivka, Slovenia

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	On May 23, 2026, we participated in the international plastic model making competition Festival Svet v Malem 2026 in Pivka, Slovenia.

	

	The competition is traditionally held at the Military History Park in Pivka.

	

	

	

	

	

	

	

	

	
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	23. svibnja 2026. sudjelovali smo na međunarodnom natjecanju u plastičnom maketarstvu Festival Svet v Malem 2026 u Pivki u Sloveniji. 

	

	Natjecanje se tradicionalno održava u Parku vojne povijesti u Pivki.

	

	

	

	

	

	

	

	

	
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Krunoslav Belinić, 26th May 2026

We visited: KupKA 2026

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	On May 16, 2026, we participated in the international plastic model making competition KupKA held at the Museum of the Homeland War in Karlovac.

	

	

	

	The competition was organized by the Slavoljub Penkala Modeling Club from Zagreb.

	

	

	

	

	Thanks to the organizer for an interesting competition, to the judges for some medals, and especially to my colleagues from the Maketarski Club Novi Sad - IPMS Serbia for the medal!

	

	

	
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	16. svibnja 2026. sudjelovali smo na međunarodnom natjecanju u plastičnom maketarstvu KupKA održanom u Muzeju domovinskog rata u Karlovcu.

	

	

	

	Natjecanje je organizirao Maketarski klub Slavoljub Penkala iz Zagreba

	

	

	

	

	Hvala organizatoru na zanimljivom natjecanju, sucima na ponešto medalja, a pogotovo kolegama iz Maketarskog Kluba Novi Sad - IPMS Srbija na medalji!

	

	

	
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Marko Paunović, 26th May 2026

Back to Basics Workshops in Gallery VN

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	In May 2026 we held our Back To Basics miniature painting workshops for the youngest in Gallery VN.

	

	The workshops were completely FREE for all participants!

	

	

	

	

	The Back to Basics method is a method of making models and miniatures that focuses on a fun process intended for younger ages, but everyone is welcome! In three separate sessions on Thursdays, participants (aged 7+) painted miniatures of their choice (knight, princess, king, wizard and barbarian). 

	

	

	

	

	

	

	1st session: Painting miniatures of choice, Thursday, 07.05. - from 18:00 to 19:00

	2nd session: Painting a miniature of your choice, Thursday, 14.05. - from 18:00 to 19:00

	3rd session: Painting a miniature of your choice, Thursday, 21.05. - from 18:00 to 19:00

	

	

	

	

	

	
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	U svibnju 2026. održali smo naše Back To Basics radionice za najmlađe u Galeriji i čitaonici VN.

	

	Radionice su bile BESPLATNE za sve polaznike!

	

	

	

	

	Back to Basics metoda je metoda izrade maketa i minijatura kojoj je fokus na zabavnom procesu namjenjenom mlađim uzrastima, ali svi su dobrodošli! U tri zasebna termina četvrtkom, polaznici (od 7+) su bojali minijature po izboru (vitez, princeza, kralj, čarobnjak i barbarin).

	

	

	

	

	

	

	1. termin: Bojenje minijature po izboru, četvrtak, 07.05. - od 18:00 do 19:00

	2. termin: Bojenje minijature po izboru, četvrtak, 14.05. - od 18:00 do 19:00

	3. termin: Bojenje minijature po izboru, četvrtak, 21.05. - od 18:00 do 19:00

	

	

	

	

	

	
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