UMS "Agram" : Building a Gaming Board – pt 2. < Articles < Hobby

Building a Gaming Board – pt 2.

Marko Paunović, 27th September 2020

In the previous asrticle, I've started work on my winter themed Frostgrave board. So far, I've covered the cutting of the plywood, making a frame, building volume with HD styrofoam, adding cliffs and river banks and I've finished the article with texture application.

I'm at about the half way mark with the building of this board and the main idea of this build is to have a single board for my Malifaux games which means I would require a 90x90cm (3'x3') board. I decided to go with a frozen river, with a couple of crossings. I'd also wanted at least one road and several paths that wouldn't have been (entirely) covered with snow. I'd also wanted to add some levels to my board so it wouldn't be just flat. Two or three levels would have been perfect. Since this wouldn't be a fixed terrain board, I'd still needed plenty of flat areas to place the scenery before my games. In this issue, I'll be painting the board's three separate kinds of surfaces (ground, cliffs and river), followed by adding the river which will be the most tricky and most time consuming part of the build. After the river sets, I'll add vegetation, roots, grass tufts and alike. I'll also add a couple of fir/pine trees. In the end, I'll add ice surfaces (ice and icicles) as well as cover the entire board with snow.

Planning

Most of the planning was done in the last issue. The main needs and wants were decided and all that was left was to micro-manage some issues like when to paint, when to pour the resin and how to add the snow. During the build last issue, as always no matter how good you plan things, there were some things that weren't accounted for that might pose some troubles and problems later during the build. First of those were how to gather all the loose texturing material without simply chucking it all away in the yard. Also, pouring in the resin and adding the snow needed careful planning in order not to accidentally mess and ruin previous work. For instance, if I opted to put static grass, I'd need to put it before pouring in the resin to prevent stray static fibres from getting accidentally stuck in the resin while it cured. Also, protection of details (like river, cliffs and tufts/static grass) would be crucial before adding the snow to prevent snow from completely covering them.

After a short think, I came up with this list of tools and materials that I would need to finish this board:
- glues - PVA 1kg, 1x10g Superglue
- paints and spreys - 6 Pebeo Deco Paints (Black, White, Grey, Brown, Ochre and Ash), one black, ash, off white and pure white matt acrylic spreys and one clear matt acrylic sprey
- large brushes No 90, No 40
- airbrush
- brush size 16
- several roots
- static grass tufts and scatter (three to four sorts)
- Clear Water gel by Ammo by Mig Jimenez
- Resin (Gedeo Crystal Resin)
- Pebeo Vitrail Sky Blue paint
- 20-ish pine trees
- NOCH icicles
- NOCH snow products (2 packages)
- NOCH ice crystals
- snow foam in a sprey can
- scalpel blade
- scissors
- masking tape
- thin card (several pieces)
- portable hand-held vacuum cleaner

Preparation work

As mentioned before, last issue I left the entire table covered with texture material – sand and gravel. As I didn't make a mixture of water, PVA glue and sand/gravel, opting to first put PVA glue and sprinkle the texture over it, it was now necessary to remove the excess sand, gravel and pebbles from the board. Normally, when doing terrain, I would suggest usine a large cardboard lid and simply turn over the terrain over it. However, my board is 90 x 90 cm with well over 5kg now and I didn't have a large enough receptical to gather all the leftover texturing material. Simply turning it over the floor of my garage was also out of the question. To gather all (or most) of the texturing material, I used a small hand held battery powered vacuum cleaner that housekeepers use for collecting breadcrums in the kitchen. A couple of minutes of vacuuming, removed most of the excess material. Rest was lost alas when I turned the board over in my back yard. But I did manage to salvage almost an entire jar worth of basing material.

Undercoat

When the excess texture material was removed, I could proceed with the painting. First step as always was to undercoat the board. This time, I would use four different spreys to do the undercoating. All the main textures (apart from the cliffs and the river) were undercoated black. Rest of the surfaces, notably: cliffs, boulders and river) was first undercoated white followed by a layer of off white and ash spreys. When these were dry, I then overspreyed those surfaces lightly with pure white sprey again. In the end, I turned back to black sprey to repair the sloppy spreying in places.

Airbrushing the washes

The next step in painting was to airbrush some washes to the riverbed and all the stone parts (cliffs, river banks and boulders). I used these washes: • Coelia Greenshade • Athonian Camoshade • Druchii Violet • Nuln Oil • Seraphim Sepia • Agrax Earthshade

For the riverbed, I used only the Coelia Greenshade, Athonian Camoshade and Nuln Oil. On the stone parts, I used all of them with repeats of Nuln Oil and Coelia Greenshade. As these colours were washes, the drying period between the layers was long. To shorten this period, I used an old hair dryer to speed up the drying process. Remember to always airbrush (and sprey from sprey cans) in a well ventilated areas!

Painting the texture

When I was done with applying the washes to the cliffs and the river, it was time to paint the rest of the surfaces on my board. Apart from the river and the cliffs, there were two distinct surfaces to paint. One was the normal ground, the other road and paths. I decided to paint all those surfaces with an initial layer of drybrushed Pebeo Brown. To apply it, I used the biggest brush I could find – size 90. Once the layer was dry, I applied a layer of Pebeo Ochre to the road and paths only. Again, when this layer was dry, I painted the entire surface with a drybrushed layer of Pebeo Ash. The difference in the layers due to the Ochre colouration on the paths and road is still visible. At this point, I would normally stop painting. Maybe adding a final highlight of pure Pebeo Antique White to the most raised surfaces only. However, most of this board would be covered with snow, so I decided to push the colour even whiter. I added two more layers to all the surfaces. First was with the afore mentioned Pebeo Antique White and the latter was done with pure Pebeo White. Note that the difference between the normal ground texture and the paths/road surface is still visible. Also, you may notice that the paintjob was not as tidy as it could have been. The reason behind this was two-fold. First, I was rushing the job a little. Second, I didn't go back as I would normally, only because I was aware that most of the surfaces would be covered with snow in the end. A careful reader/viewer may notice some white-ish marks in the road that mark the spots where some pebbles were glued that got knocked of during painting. These I also did not go back to repair. I would simply cover those places with either snow or grass tufts to save time.

Painting the cliffs

Painting the cliffs was relatively simple. I just drybrushed some Pebeo Grey followed by Pebeo White. I then realised, that these layers covered almost the entire airbrushed washes effects. So I decided to turn back to my airbrush and re-apply those layers, using Coelia Greenshade, Athonian Camoshade, Druchii Violet and Nuln Oil. This time, I did not wait for the layers to dry. Instead I opted for the washes to mix freely due to the pressure applied from the airbrush.

Making the river

After the paintjob, it was time to make the river. Most of the river had river banks made from schist in the last issue. However, there was a part that had a low crossing which didn't have any elevation from the rest of the riverbank. To make the river bed one whole, I needed to model some sort of an embankment to prevent the resin from spreading to the road. The job fell on Clear Water gel by Ammo by MIG. It is a white paste that dries clear. Using a small brush, I made a small embankment that was 2-3mm high and I left it to dry over night.

Unfortunately, that night the rain started to fall and the temperature dropped down significantly. This caused the effect not to dry completely. It still remained white. As I was chasing a deadline, I decided to proceed with the resin pouring despite it not being clear. I could always cover this part with snow at a later point.

For the river, I opted to use Gedeo Crystal Resin. A quick calculation based on rough estimations of the river being 5cm wide and 90cm long coupled with my wish for the river to be 1-2mm deep, produced the result that I needed 45-90ml of resin. The Gedeo Crystal Resin is my resin of choice, mostly because it is a two component resin that is mixed in 2:1 volume ratio. This makes it really easy to use in almost all volumes neccessary. During the airbrushing, I spent all of my Nuln Oil. Fortunately, I saved the 24ml bottle. Using two fills of resin (48ml) and one fill of hardener (24ml) ensured that I hade 72ml of resin. Almost perfect for my river. To slightly tint the resin, I used Pebeo Vitrail Sky Blue colour. Remember to add the colour after you mixed the resin and the hardener to ensure the resin sets properly.

Also, the resin mixture is quite volatile and can even produce some heat as the curing is an exothermic reaction so the use of protective gloves is recommended.

Adding pigments

At this point I still was not satisfied with the look of my cliffs so I decided to add some pigments to it. Using rust and ochre pigments applied randomly throughout the cliffs, I added some subtle tones. In places those were not so subtle. I fixed the pigments using AK Interactive Pigment Fixer using a large brush (size 16).

Roots on the cliffs

To add some further variety to the cliffs, I decided to add some roots. If you remember from last issue, I went on a hike to the hills where I gathered some stones I used to make cliffs with. On the same hike, I also gathered some roots from an overturned tree stump. These, when washed, make excellent trees, dried shrubs and even roots in our small scale. Using super glue I fixed them in desired places making sure I glued their both ends. This way, they wouldn't be so easy to dislocate during gaming. Alternatively, you can always pin them using a really thin wire.

Adding snow to the pine/fir trees

Next step was to add the trees. I decided I would use NOCH fir/pine trees that come in a bag of 50. I would plant 20 of them to my board. Before gluing them to the board, I decided to paint them white and add some snow. First I spreyed them using a white matt acrylic sprey. This was still not white enough for me, so I used Pebeo White applied with a size 16 brush cut for drybrushing. Be careful, this is a messy procedure and you'll get spreyed white as my T-shirt will attest. When the white colour was dry, I spreyed the trees with snow foam from a sprey can. This added some volume to the snowy effect that I was going for. When the foam was dry, I spreyed the trees with clear acrylic mat sprey to add some strength to the bond between the trees and the snow foam.

Low branches

While the snow was drying on the fir/pine trees I decided to add some more medium to low vegetation to my board. Once again, I turned to the roots gathered on my hike to the hills. I used some cool looking roots that had at least two to three branches to make some low branches that are growing from the cliffs of my board. I glued them arbitrarily around the cliffs, just making sure they do not get in the way of gaming. To glue them in place I used some super glue. If you are worried that the branches might get knocked off, you can always pin them using wire/paperclips to the cliffs.

Ice on the river

With the resin now totally cured, I had to add some ice on the riverbanks. Fortunately, during Iron Painter, I discovered a cool product used by railroad modellers to add ice to their rivers. It is made by a german company called NOCH. Their Ice Crystals comes in a rubbery tube and is some sort of paste that can be applied directly from the tube to a frozen lake, a wintery pond, to the street or to windows and subsequently be easily modelled with a brush. Once dry it gives the shimmering effect of ice. I used a large brush (size 16) to apply it to my river banks. I made sure that the layer wasn't uniform making it narrower and wider, lower and higher and I even placed a couple of pieces inside the river.

Also, once dry, you can add some Clear Water gel from Ammo by Mig to form a stream if you wish. I decided not to as I wanted my river not to be rapids.

Icicles

Another NOCH product I discovered while doing Iron Painter back in 2017 was the NOCH Icicles tube. This is really easy to use product that comes out of the rubber tube as a small worm. It is obviously some sort of resin that dries clear and has quite high a rigidity. Perfect for making icicles. I decided to use them only around the river on the cliffs and low branches. This way, the branches when covered with the NOCH Icicles, not only would they look frozen, but would be more rigid which will prevent breakage during gaming.

Low vegetation

Since the majority of the board would be covered with snow, I decided not to use generic static grass, but opted for a slightly more expenisve tufts. The tufts I used are from Gamer's Grass and they come in a number of colouration, height and size. I used 12mm, 6mm and 4mm long tufts in beige, winter, dry and autumn colouration, as well as spikey variant which added quite some character to the cliffs underneath which I glued them using PVA glue.

Gluing the pines

Depending on the sort of trees you have, you can fix them to your board in several ways. First, and the easiest, is to glue the trees using PVA glue. Since my trees had the roots made in the bottom, I chose this method. Not only do they provide wide enough an area for the glue to work, the fact that the roots were modelled made them realistic enough to use as is. However, some trees come on a circular base (about 2cm in diametre). If you use those, my advice would be to remove the circular base and add a wire pin (using a pin vice or a dremel). This will provide added strenght to the bond. Around the tree, I would then suggest planting some low vegetation (or snow in this case) to hide the fact that there is no root present.

Adding the snow

The last thing to add to this board will be the snow. My initial plan was to cover the entire board (minus the river, most of the cliffs, roads and paths) with several layers of NOCH snow products glued by a thick layer of PVA glue. However, that seemed like a waste of material (both the snow product and PVA glue) so I decided only to use the NOCH snow underneath the trees. I applied a thick layer of PVA glue around the trees and using a large spoon sprinkled the snow product. Also, at this time I used a watered down mixture of PVA glue, water and white paint to cover some of the ice surfaces on the river. Those areas were also covered with snow product.

Rest of the surfaces, I sprinkled with snow foam from a sprey can. In all, I used two sprey cans. Around the sensitive areas like river, cliffs and tufts I used some thin card to protect them from the sprey. Once dry, I spreyed some clear matt sprey to add strenght to the effect. This way, I saved both money and time as this is truly a fast method. Eventually, due to gaming on the board, I expect some of the snow to peel of. However, the snow foam from a sprey can costs less than 2 USD so the cost of repairing isn't high.

The finished product

After a couple of weeks of building on and off, my board was finished. In total, it cost less than 100USD with all the materials used (over half of which is resin and fir/pine trees).

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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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    string(40) "Miniature Painting Workshop - 75mm Dwarf"
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    string(44) "Radionica bojanja minijatura - 75mm patuljak"
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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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    string(14428) "
	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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