Thoughts on judging

Whenever we go to a modelling competition, one aspect that always gets a lot of attention is the judging. It seems as though everyone has an opinion on the judging, and rarely is it the case that those with the most vocal opinions think that the judging was fine.

Now, I’m not going to get into the controversy over whether Jimbo’s P-69 Thundercat should have beaten Cletus’ Blackburn Bastard for best in show at the East Westington IPMS show three years ago, but I do think it is worthwhile to explain the difference between different judging systems and the pros and cons of each, if only to help out new people. IPMS USA is currently discussing switching from 1-2-3 to open system at their nationals, and the style of judging (if you even plan to make it a competitive thing) is one important decision for anyone looking at starting up a local show.

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This guy gets it

There are a couple important caveats to this article that I would like to address up front. This article should not be taken as me being salty over any decision at a recent show, or upset that any show doesn’t use my favourite judging system. That is not the case, and I’ve intentionally saved this for publication at an appropriate time in between shows so it doesn’t read like sour grapes or criticizing any particular show organizers.

Second, I think at the end of the day, it is important to keep things in perspective. Everyone who is proud enough of their work to show it off is a winner, and the true prizes are the friends you make along the way. While competitions can be fun, getting too competitive about your hobby is a surefire road to misery and frustration (see: why I don’t do competitive Warmachine anymore).

Judging systems

The first, and probably the most established, judging system is IPMS style 1-2-3 judging. Here, there are multiple categories and a team of judges simply chooses the best, 2nd best, and 3rd best model on the table. While this may sound subjective, judges are trained to judge models according to standards laid out in the judging document. In these standards, craftsmanship is king. They have wisely chosen to avoid judging historical accuracy to prevent fistfights over the proper shade of RLM 69 or the number of rivets on the glacis plate on the real thing. And since they’re focused mainly on craftsmanship, they tend to be fairly objective – a missed seam line is a missed seam line, regardless of a judge’s level of affinity for the subject.

We also have the open system which is common in figure shows. Instead of competing against each other, modellers are competing against a set of objective criteria. There are generally Gold, Silver, and Bronze medals, and each entrant simply gets what the judges think their work deserves. This means that there can be any number of people winning any colour of medal – and zero is still a valid number.

Next, we have systems that are based on rubrics. This is common for Gunpla builders, and I believe it is often used for AMPS shows and paint scores in 40K tournaments, but I’ve never been to either of those. Here, there are a number of categories representing various aspects of a build – construction, painting, modifications, etc. Points are deducted for mistakes and added for things that are particularly well done, and at the end of the day, points are added up across all the categories and all the judges, generating a total score. This score can be then used either to rank the models most points to least, or give out awards to anyone who scores a certain number of point.

Finally, we have a simple people’s choice award, where attendees vote on their favourites and he who gets the most votes wins. The voter base can either be fellow entrants or the general public.

Of course, the differences between these systems aren’t always set in stone. Figure contests regularly feature best in show awards in addition to the gold-silver-bronze system. IPMS shows may use the open system for junior categories, so as not to crush the dreams of any young modeller. An open system can judge every model individually, or a modeller’s work as a whole, only giving out one award per category for his best work. And any show may incorporate a “people’s choice” award in addition to the judged criteria. Further, there are variations in these – IPMS contests can have “no sweeps” rules to prevent one person from taking home all the prizes in the categories, GSB style contests can judge and award every single model or an artist’s work as a whole, and rubrics can be either extremely detailed or very basic and can weigh different aspects of a build.

My thoughts

All of these systems have their pros and cons, and they are all heavily ingrained in the culture of the communities that have adopted them.

The IPMS style is nice and simple, and you can get a lot of judging done quickly. A simple glance over the table can greatly narrow down the number of models that are in contention and that a judge really needs to examine closely. However as anyone who has tried to organize a model show can attest, when you have very diverse builds, the sheer number of categories required to ensure that you have like competing against like, that there are not too many or too few entries per category, and that every possible thing that can show up has a category, ends up becoming a bit of a nightmare. Not to mention when the number of entries in each category is invariably much different than what you planned, judges often have to split or merge categories for there to be any semblance of fair competition. And then how the judges tweaked the categories on the day of the contest can be a bone of contention for those who didn’t win.

Further, there will always be some categories that end up being more hotly contested than others, so in some ways it is less of an objective measure. You can win first place in your category either by doing an amazing model and beating the other couple dozen amazing 1:48 aircraft, or you could be the only entrant in an obscure category and take home first place with a mediocre entry. I know that personally, the amount of hardware that I bring home at an IPMS show within driving distance depends about as much on who else shows up as it does on my quality of work.

There is also a risk of disappointment for those who don’t place. Anyone from 4th to last has no idea how well they did. As one example, I judged a competition a few months ago where we narrowed it down to the final four, figured out the winner and runner-up fairly easily, and then spend a lot of time deliberating over who gets the bronze and who goes home with nothing. If I hadn’t talked to the guy who was in 4th place afterwards, he may have been discouraged simply because he would have no way of knowing how close he was to placing.

Finally, because the IPMS style is comparing the models to each other, there are some logistical challenges. You need to have all the models on the table before you start judging, whereas with points systems and open systems, if the judges know they are going to have their work cut out of them, they can simply judge models as they arrive or get a head start before the entry deadline.

Open System

The open system has a lot of advantages. The main one is that you aren’t competing against each other, you are competing against yourself. How you do on the day doesn’t depend on who else shows up. This gives you a more accurate representation of where your skills are at, and it can help you set realistic goals, such as if you won Bronze one year, to go for Silver the next.

The open system also doesn’t require as many categories as the 1-2-3 system, which makes things a lot simpler. However, the judges tend to have a bit more work cut out for them as under a 1-2-3 system, a quick glance can often knock out a majority of the entrants who are uncompetitive and cut down on the number of models that need a serious look. The open system requires the judges to look at every model on the table (or, at least, everyone’s best work in a category) and give it its appropriate award.

I also think the prevalence of the open system contributes to the friendliness and mostly drama-free nature of the miniature painting community. When you are very rarely directly competing against each other, you are more invested in helping each other build their skills. When your friend wins a gold medal, it’s not bittersweet because he beat you to get it.

Rubrics and points

As for rubrics, to be honest, I’m not a big fan for a few reasons. First, I feel like they are popular because they have the appearance of objectivity, however I’m not sure they are actually that much more objective than something like the IPMS style, where there are no rubrics and the judges just confer and make a call. The theory is that simply choosing the best is open to favouritism, and points systems make things more objective. However, there is nothing preventing a biased judge from simply giving their favourites more points than the rest, either consciously or unconsciously.

Second, rubrics encourage people to build to the rubric if they want to be successful in the competition. Instead of simply approaching the build how they want, people end up having to tick off a number of boxes to get the maximum score or at least a competitive score in the category. For example, competitions that award points for conversions and customization may encourage people to do unnecessary modifications just so they can say that they did a conversion and get the points for that category. If the rubric isn’t well-designed, then you could have situations where it discourages creativity by rewarding certain specific style choices – for example, punishing an automotive modeller who enters a showroom clean car by giving him a big fat zero in the weathering category.

Can the people be trusted?

People’s choice is an interesting one and it makes judging a lot easier by simply removing the need for judges altogether. That said, in model shows as in democracy, the people can’t always be trusted. People tend to be attracted to the biggest, shiniest model with the most blinking lights. However, said model may, on closer inspection, have a ton of seam lines, alignment issues, and problems with the finish which are not apparent to the layman at a quick glance. Good models can get passed over simply because they aren’t the biggest, most eye-catching thing on the table. However, just having a show with a ballot can make for a much more chilled out atmosphere than a judged contest.

Feedback?

While feedback is good, not everyone wants feedback and not all feedback is useful. If you missed a mold line, being told to clean up your mold lines doesn’t really help you as a modeller. You already know you’re supposed to deal with that; that’s not new information for you. However, feedback such as new weathering techniques, suggestions on diorama composition, colour theory and lighting, etc., can actually help bring you to the next level.

I also feel that when it comes to feedback, some people are genuinely interested in improving their skills and progressing as a modeller, and some people just want to be salty that they didn’t win. They don’t want honest critique, they want to know why they lost and use it as ammo to grumble.

Again, I feel like the GSB system lends itself more to honest feedback because judges can tell you what you can do to bring yourself to the next level, rather than comparing your entry to other models and saying “well, Jim over there made something nicer.” Knowing what you can do to go from Bronze to Silver is much more valuable information than knowing which mold line you missed or what tiny flaw in your model caused the other guy to beat you.

If you really want feedback, track down a judge and ask him or her for it. Or, just talk to your friends and fellow competitors and get their feedback. Detailed feedback on a score sheet sounds nice, but it is onerous for the judges and it may not be as useful as simply having a conversation about your work with friends, regardless of whether they have a fancy judge title or not.

Prize Support

This is a tricky subject. I mean, upon initial glance, prize support is good, right? Everyone loves free stuff, and the more expensive free stuff, the better. If we can get hundreds of dollars of stuff and give it to the winner, then that’s great and it will encourage more people to join in, right?

However, there are some issues with large prize pools that may outweigh the draw of free stuff. When you have prizes like free trips to Japan to compete in the GBWC world cup or the $10,000 Crystal Brush, the stakes get higher and competition starts to get more intense. You can see this in things like Magic and Warhammer tournaments with large prize pools; by raising the stakes, you encourage people to be more cutthroat about things and increase the risk of salt and unsportsmanlike behaviour. IPMS deals with this by insisting that the prizes don’t have much if any intrinsic value – instead of wads of cash or expensive uber-kits, you are rewarded with a small medal or trophy, bragging rights, and the warm fuzzy feelings you get from recognition by your peers.

Further, in a smaller community, if you have a small number of people who are winning all the time, it can start to feel a little discouraging for the rest of the modellers. If you have entry fees and the same people winning all the prizes all the time, it can start to feel like same guy is taking your lunch money every day and this can encourage people who don’t have a chance to not show up, not participate, and not learn and grow by competing.

I’m not saying that prize support isn’t appreciated or that free kits isn’t a nice thing to have, but if people want the prizes badly enough that it starts to negatively affect their sportsmanship and attitude towards the competition, it can be a double-edged sword. How much is too much, and if you do have a generous sponsor, what portion of the prize pool should go to reward performance in the competition versus participation prizes like raffles, silent auctions, and door prizes, is worth some careful consideration.

Conclusion

Unsurprisingly, given my background, I like the open system. However, I feel like at the end of the day, too much competition can be unhealthy and perhaps there is something to be said for doing exhibitions and pageants instead of competitions. Aside from the occasional outburst of drama due to disagreements with a judge’s decision, it is all too easy to fall into a trap of comparing oneself to others in a hobby that should be about relaxation and, if you want to push it, self-improvement. Regardless of the format of the competition, one would be well served to go into it caring more for the friends you make and the inspiration on the tables than the awards you win.

Painting is Good: A Response

So, a thing happened on the Warmachine internet today

While I am loath to start an internet fight, especially with someone who has way more pull in the Warmachine community, it seems as though I have been called out a little with a couple comments in the article that seem to be referring to my articles suggesting the use of painting as a tiebreaker or to grant small in-game bonuses for painted armies is a toxic attitude that has no place in the game.

So, I’m going to lay out my thoughts on the subject and provide, if not a counterpoint, at least a basis for some discussion that is hopefully a little more positive than the last time I talked about this.

Emotions

I will acknowledge here that this is a subject where emotions are running high. People who are trying to get painted but aren’t there yet can feel bad when others talk about how awesome it is to play it painted. Those who try to push for fully painted events or encouraging painting in organized play are occasionally branded “paint-shamers” (protip: don’t google “paint shaming”) and told they don’t belong. Even saying something as innocuous as “fighting the war on the grey hordes” can be cause offense. Some competitive players feel strongly that painting interferes with the purity of the competitive game and that models are and should be nothing more than stats on bases. And those of us who started with Warhammer may have had some traumatic experience arguing with a judge over the three colour rule or chafing at biased paint judging. In this sort of environment, I don’t have particularly high hopes for a non-heated discussion and am pretty sure that this question isn’t going to be resolved anytime soon but… I don’t know, I guess I’m enough of a masochist that I’m ready to wade into this pool once again.

Everyone CAN paint

First, I would argue that the occasional painting requirement isn’t as exclusionary as people say it is, for the simple fact that (just about) everyone can paint.

We live in a golden age of miniature painting. There are tons of products out there, from Army Painter colour matching spray primers to GW Contrast Paints designed to get your army painted up quickly. On top of that, the internet has made a ton of content available for free on how to get your army painted up quickly. Duncan can show you how to paint a space marine in 10 minutes, and if you don’t like the basecoat-wash-drybrush method, you can check out sketch style or just slather the thing in contrast paints.

Incidentally, I would guess that a not-insignificant portion of those who don’t like painting are victims of a bad experience when they were just starting out. Something like trying to paint Army Painter yellow straight over black primer because they don’t know any better, and then having a bad time, getting frustrated, and quitting. These are people who can be shown the light.

Perhaps there are a small number of people out there who have very specific disabilities that mean they legitimately can’t paint but which doesn’t affect their ability to play the game, however the intersection on that Venn diagram is so small that this argument isn’t particularly meaningful, and communities can band together to help those people. If someone I know wants to go to a fully painted tournament but has an issue like severe carpal tunnel, I’ll bust out the airbrush help him at least get to a three colour minimum quickly.

Now, “I can’t paint,” “I don’t want to paint,” “I don’t have time to paint because I have seven kids and work 12 hours a day,” and “I don’t have time to paint because I play six hours of Overwatch a night” are all fundamentally very different arguments, and this is where discussions often go south. However, before we dismiss the very concept of rewarding painting or having a fully painted event out of hand as “not inclusive,” we should recognize that “not having access to a painted army” isn’t some sort of immutable characteristic like the colour of one’s skin.

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Born this way!

Painting makes the game better

This one shouldn’t be controversial, but it probably is. I feel like there is something about seeing two fully painted armies go at it that makes for more of an enjoyable experience for everyone. Privateer Press recognizes this; it is why they strongly encourage people to play it painted in the steamroller packet and put a lot of effort into promoting the hobby aspect of the game.

Further, I would argue that given the importance of target selection in Warmachine, painted armies improve competitive play. It’s a lot easier to pick out which dude is a solo or unit attachment at a distance when the armies are painted. Even if they aren’t well-painted or painted in the studio colours, just blocking in some colour or doing some dry brushing allows your opponent to pick out distinct shapes like the tiny emblem on the shoulder pads that the unit attachment has from across the table much easier than if they are looking at a sea of unpainted plastic or black primer.

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See how much easier it is to distinguish the UA and Leader of the Shocktroopers on the right for both players. Now imagine they were unpainted…

Painting attracts new players

I do think playing it painted does help bring new players into the game. I’ve been spending the past couple months getting a coworker into the game, and one of the first things I did when I embarked on that journey was painting up some Cygnar so I could play the bad guys fully painted against him. My feeling is that this, along with taking some care to make the tables look good, helped get him hooked much more efficiently than if I were to roll up with the blue plastic battlebox and duking it out on a table that looks like the battle of the Wal-Mart parking lot. Now, he’s making his first big purchases and watching both battle reports and painting videos.

Further, if we are playing in a highly public space, such as a large, multi-game convention, then we are competing for people’s eyeballs with games like 40K, Age of Sigmar, Star Wars Legion, and X-Wing. By putting in an effort to make the game look good, we can attract more attention than if we were rocking grey plastic.

What would I like to see?

I’m not saying that you should have your army fed into a wood chipper if you dare show up with unpainted models, or that game stores should scold people who dare show bare plastic in public. However, all too often, it feels as though the hobby aspect is an afterthought in Warmachine, and as someone who appreciates the aesthetic aspect of the game, that’s something that is occasionally frustrating.

I think it would be nice to have something baked into the game or into organized play to encourage painting. The catch is, I’m not sure what that would be. I’ve thrown out a couple suggestions in the past like a small in-game bonus for painted armies or using proportion of models painted as a tiebreaker, but the negative reception that these ideas received in the WMH community (apparently suggesting an alternative method of doing tiebreakers is a “toxic attitude” now?) pretty much renders them a non-starter.

I do think having painting awards at the local level is a good idea. Unlike Jaden, I don’t think they need to necessarily always be raffles. The beauty of a painting award is that, unlike a tournament prize where there aren’t really any alternatives to just giving it to the person who won all her games, there are lots of ways to do a painting award and you can mix it up so everyone has a chance and you keep the competition fresh. Best army, best unit, or best single model. For unit or single model, you could require them to have been painted within a certain period of time so the guy whose Sorscha won Crystal Brush in 2005 doesn’t keep bringing the same model. You could decide by popular vote or, if you have one shark who is winning the painting competition all the time, you could enlist her as a judge and have her choose the winners and offer any desired feedback. Or, yes, you could have a raffle for everyone who has accomplished something like field a fully painted army or finish painting a unit in the last couple months.

I would also point out as an aside that, right now, the problem of having one or two people from the meta winning every time and being a discouragement to other players is a reality for tournament prizes, though it is rarely talked about. One of the guys in my meta won the big tournament at Lock and Load a couple weeks ago, so I have zero chance of winning any tournament that he shows up to (not that I hold it against him or anything). It seems a little unusual that the best player winning the tournament all the time isn’t seen as an issue, while the best painter winning best painted all the time is a reason why we can’t have painting awards. If, at a tournament, the only prizes are given for competitive performance, then you risk harbouring resentment when the newer or less-skilled players just have their lunch money in the form of entry fees taken month-in and month-out.

As for painting requirements at tournaments, I don’t think they should be necessary all the time. However, I would like to see a fully painted, premier-level tournament format officially supported by Privateer Press. Since they not only got rid of all painting requirements in their Masters and Champions format, but worded their packet in such a way that you aren’t allowed to run an officially sanctioned Masters or Champions event with a painting requirement, I haven’t heard of any fully painted event within 1000 km. In effect, the number of fully painted tournaments that I can go to has dropped to essentially zero, and that is kind of a disappointment for me.

I feel like the sort of big conventions that you plan your attendance at six months out are a great venue for a fully painted event. Since the people who want to travel great distances to go to these events are making travel plans months in advance, they have a lot of time to get a couple lists painted. With space and time for multiple tournaments, Iron Arena, and other programming, people who don’t have a fully painted army don’t have to twiddle their thumbs. For people like me, we are more likely to make the trek because a fully painted event is a special experience, and it’s not like we are ever going to qualify for the super top level invitational tournaments that do have painting requirements like WTC or the Iron Gauntlet finals.

Trash Talk: Not just for painting!

The impetus for Jaden to write this article was a meme of someone making a disappointed face that his opponent was unpainted. First, I’m as guilty as anyone of using sarcasm in my writing and having it not be conveyed properly in text, or having a dry sense of humour that doesn’t always come across as intended. I’m sure the offending meme was meant as a humourous, tongue in cheek joke, however it was evidently taken serious enough to spawn now multiple articles in the Warmachine blogosphere.

However, if we are to talk about “paint-shaming,” I feel like that is only one small part of how we treat each other in the Warmachine community. Even if you consider the occasional tongue in cheek reference that I’ve made in the worst possible way, I’ve still taken a lot more crap for playing “easy mode” Khador (while Cryx, not Khador, was dominating the tournament scene, but I digress) or not being good enough at the game than I’ve ever dished out over painting.

There is a line between gentle ribbing, friendly trash talk, and stuff that comes across as disrespectful or bullying. That line can be in different places for everyone; I know for me, there was a time when I was doing more tournament play and I would get very sensitive to comments about how I only won because models like Harkevich or Torch in my army were OP because it was taken as an attack on my abilities at a point in my life when I still cared about being good at the game.

Further, internet meme culture is notoriously harsh, particularly in nerdy, niche communities like Warmachine. There are some forums and facebook groups that I personally try to avoid because they are a cesspool of negativity and they make me not want to play the game, so I can see why there would be a negative reaction to something like this.

So, are memes making fun of unpainted armies wrong? Maybe – after all, a little trash talk between close friends who know where each other’s line is is a lot different than going up to a random new player and bullying him – but is it any more wrong than memes portraying Khador players as unskilled mouth-breathers who just derp derp charge and win despite their lack of intelligence, or Cygnar players as whiny losers who don’t know what to do if they can’t crutch on Haley2, or Legion players as whiners who complain whenever they are told that there is a rule in the game that applies to them?

Conclusions

No, no one has to paint. However, Warmachine kind of has a reputation as the worst looking miniature game on the market and that’s not because the model sculpts are bad. I think finding ways to encourage painting that, while they are not judgemental, reinforce the idea that painting is a part of this hobby and is not a distant second fiddle to competitive play, is important. I’d like to see everyone encouraged to at the very least set having a fully painted army as an aspirational goal, because even in this golden age it does take time and sometimes you can’t get all your dudes painted before the big game. The more painted armies out there, the better it is for everyone.

Oh, and also don’t tell people who like painting or don’t absolutely hate painting requirements to go play 40K instead. That’s not helping grow the Warmachine community either.

Initial thoughts: GSW Colorshift and Scale75 Metallics

As part of my hoarding of paints and tools, I’ve been trying out some new products lately, and figured I would share some thoughts on them. One caveat before I get into the reviews — I will include photos, but because of the nature of metallics and especially color shift paints, it’s going to be difficult to capture the effect on film.

Green Stuff World Colorshift

These paints are a little unusual. I’ve gotten all three sets, because every time I would see a new set at a show, I would jump at it, only for it to collect dust because I couldn’t figure out what to do with it. Where I kept getting hung up was on shading and highlighting. When I do my metallics, I don’t like to just paint something silver and call it done. It has to be shaded and highlighted, just like the rest of the model. Shade and highlight colours are dictated by colour theory, which brings up an obvious issue. If I’m painting with paints that change colour depending on the viewing angle, just what colour am I supposed to use to shade and highlight something that is green some of the time and purple others?

Anyways, I had somehow manage to mangle the assembly of a Bandai HG ball gundam (no small feat, given how idiot-proof Bandai kits are), so I figured I woudl clean it up as best I could and use it as a testbed.

The instructions say that you are supposed to apply them over a gloss black primer for the best effect, which seemed a little odd to me. After all, the point of primer is to adhere to the model and provide a surface for the paint to adhere to, and a smooth, shiny surface is by nature going to have less tooth than a matte surface.

However, I did spot some gloss black Stynylrez at a hobby shop, so I figured I would give it a go. I’m not sure if it was the product or something I was doing wrong, but I found this to be a little tricky, with the application being nowhere near as idiot-proof as the regular matte Stynylrez. I eventually found priming with regular black Stynylrez then going over it with the gloss to be a better approach than trying to spray the gloss straight onto the model.

The first issue I had, which is immediately obvious as soon as you take the paints out of the box, is that the colour(s) of paint in the bottle has little to no relationship with the colour of a surface painted with colorshift paints. So, you will have to paint the lids of the bottles with the corresponding paint if you have any hope of knowing what colour is which, which is something that I do to all my paints anyways.

The biggest issue, however, has to do with coverage and consistency. Coverage is pretty poor, and isn’t helped by the fact that the instructions dictate that it is to be applied over black primer. Further, it has to be applied in very thin coats, otherwise the medium ends up drying in a sort of thick, milky consistency. Doing all this over a gloss black primer can be extremely difficult with a brush, and even with an airbrush it is very easy to flood the surface and ruin the finish. As for touching up mistakes, forget about it.

I will give them this though, they go through the airbrush pretty nicely.

With the airbrush, the shading and highlighting issue actually turned out to be not much of a problem. Since they need so many coats to build up coverage and are applied over a black primer, simply varying the number of coats between your highlights and your shadows will help give it a shaded effect. Go for full coverage on the first couple coats, and from there, you can transition into just doing a zenithal for your last coat or two.

So, it’s tricky to apply, but how does it look? Well, to be honest, I’m kind of underwhelmed. First, the colour shift effect isn’t as pronounced as I was expecting it to be. Second, there is a bit of an issue with the finish. The pigments are fairly large, so on a close examination, it looks less like smooth, machined metal and more like something that was covered in glitter.

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In spite of all that, I do think it can still have its uses. I think it would look good on something like a Convergence of Cyriss army, and at gaming table distances, large, sparkly pigments are less of an issue.

Scale75 Metallics

When it comes to metallic paints, I find myself agreeing largely with Vince Venturella, who is better than me at both painting and creating content. I like true metallic metals; there is just something about the shine that pops when you’re looking at the miniature in real life. The problem is that most metallic paints designed for miniature painters are basically trash.

The one exception to this rule is Vallejo Metal Color. Not Vallejo Model Air, not Vallejo Game Color, but Vallejo Metal Color. The stuff that comes in the bigger bottles with the black and silver labels. This stuff blows your GW Leadbelcher and your P3 Quick Silver out of the water. However, there is one problem. Since it is designed to cater to the scale model crowd, specifically aircraft modelers, the range isn’t well suited to what we do. Out of their 16 or so colours, they have about five different colours of aluminum but only one copper and one gold — and the gold isn’t even very good, having a weird green tone to it that might be useful if you’re painting the golden scepter of some evil lich lord who just radiates corruption and necrotic energy, but isn’t great otherwise.

So, after hearing a lot of people talk up the Scale75 metallics and seeing them being used on twitch streams, and seeing a local game store get a rack of Scale75, I decided to take the plunge and try it.

Now, before I get into the product, there are a couple things that I would like to address. First, there is the question of availability. It’s still difficult and expensive to get Scale75 in Canada; only a very small number of stores in Canada carry it, and ordering from the Scale75USA website means you get to deal with the joys of currency conversion and customs. Even if you are lucky enough as I am to have a local store that carries it, it is still a little pricey. At the one local store that carries it and which has good prices on most of their products, I’m paying $6.50 a bottle. This is definitely above average for miniature paint, and for me, there is a bit of a psychological leap between being able to get a bottle of paint for a fiver and not.

Second, I feel like Scale75 is one of those brands that there is a lot of hype out on the internet for. They’ve successfully positioned themselves in the market as the serious paint for serious painters. The paint itself might be that good for all I know; I haven’t seriously tried out their non-metallic paints yet. However, I tend to be naturally suspicious of things that look like fads, so there is something that rubs me the wrong way about these paints. I’m not going to run out and get rid of all my paints to go all in on a new brand just because it’s the new hotness, and I’m content with my current paint collection for now, so unless it turns out to be legitimately that good, I’m happy to stick to my assortment of mostly Reaper, with a few P3s, Vallejos, and Citadels for flavour. After all, if Reaper paints are good enough for Kirill, I suppose they’re good enough for me.

Anyways, Scale75 has about ten or twelve different metallic paints, in various shades of silver, gold and copper. The gold and brass colours are my main focus because they fill in a gap that all my other paints have left.

The first thing you will notice when you compare Scale75 to its competitors is the the pigment size. If you look close enough at most metallic paints, you can see that the tiny glitter-like flakes in them, which is simply the nature of metallic pigments. As a result, it’s impossible to get the very smooth finish that you might see on machined metal. Scale75 metallic paints seem to have pigment ground much finer than most of their competitors, which contributes to a better finish than most.

With their finely ground pigments, they also airbrush well. I had no problems with my Xtreme Patriot with the 0.35 mm nozzle. You can airbrush them almost straight from the pot, however a drop or two of flow improver can go a long way.

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The top part of these… things… were airbrushed with Scale75 gold metallics

Playing with the hairy sticks, I was immediately struck by how much smoother they are than most of the metallic paints I’m used to. Consistency is a bit thinner, but not Vallejo Metal Color thin. Coverage is decent, though Duncan’s advice of two thin coats probably applies here as with most metallic paints. You can highlight with them and get decent blends, though I’ve get to do a big, display-level TMM project that has large metallic areas with them.

In fact, I would go as far as to say that they behave in a way which is fairly similar to normal acrylic paint. This doesn’t sound like much, but as anyone who has dealt with metallics can tell you, it’s a big compliment.

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Stabby guy with some brass bits done in Scale75

I think I still prefer the Vallejo Metal Color just because of the sheer coverage and workability of the VMCs, however the VMC has a very thin consistency, closer to an ink than most miniature paints, which can take a little bit of practice to get used to if you’re coming from something like Leadbelcher. This also isn’t always welcome when you’re utilizing techniques that prefer a thick paint like drybrushing. The Scale75 is a little closer in consistency to traditional metallic miniature paints, however it blows them out of the water. I do also have the Badger Metalsmith paints to compare them to, but that is more of a paint system than a paint and I’m too lazy to play alchemist every time I want to lay down some gold paint.

In short, these Scale75 metallics are a great addition to your hobby arsenal. Out of all the gold paints I’ve tried, they’re the best on the market, though they kind of win by default as most gold paints are pretty mediocre. If I was to give someone advice on what metallic paints to start out with, I would probably tell them to buy VMC for the silver metallics and supplement that with Scale75 for the golds.

The most important question

In this review, you will note that I may have left out one of the most important questions as it pertains to any miniature paint: how does it taste?

For the Color Shift paints, since they are best applied with an airbrush in multiple thin coats, and you probably aren’t going to be blending them, it shouldn’t really come up very often. As for the Scale75 metallics, they don’t taste bad right away, but if you keep working with them, licking your brush as you go, you will notice a bad taste in your mouth. However, they are so much better than other gold colours that you might as well grab a beer and wash it down.

The final verdict is that I would probably give the GSW Colorshift paints a C, and the Scale75 paints an A. The GSW Colorshift paints just don’t quite live up to my expectations, though they can still be useful, while the Scale75 metallics are my new favourite gold paints though they haven’t dethroned Vallejo Metal Color for my silvers.

Bustin’ a Move with Nancy and Sorscha

To paraphrase the esteemed Sir Mix-A-Lot, I like big busts and I cannot lie. When it comes to painting figures, I think the 1/12 bust is my favourite scale. 1/12 is a big enough scale to incorporate some really nice details and textures, especially on the skin and eyes. However, being a bust, that means I can get the large scale which enables a lot of detail work without having as large or expensive of a model as if it were a full figure. Plus, painting pants and boots can be kind of boring, and a bust focuses on only the interesting parts.

Starting out

I had mentioned them on this blog before, but had done two busts recently: the Sorscha bust from Privateer Press, and Nancy Steelpunch from Scale75. Both were high quality resin pieces, and cleanup was pretty minimal, with a little bit of work required on Sorscha and not much at all on Nancy. Both were assembled and then zenithal primed with Stynylrez white over black, going heavy on the white as is my usual approach.

Next, I laid in some airbrushed base coats on the skin. I started with blue, as that is my deepest shadow and it is generally easier to work from shadow to highlight with the airbrush. From there, I went into skin tones, working up from my deepest shade of Reaper MSP Soft Blue to my highest highlight of a very fair skin tone. The goal here isn’t to get everything perfect, rather, it’s just a quick way to lay in a nice base and get about 80% there, from where I can manually paint and glaze additional layers overtop.

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Skin airbrushed over a zenithal highlight

Sorscha

Here is where the process started to diverge. Nancy had a lot of skin showing, so I figured I was finished with the airbrush on her for the time being. Sorscha, however, was mostly pink armour. So, masking off her face with a bit of silly putty, I worked up from a shadow colour of Reaper MSP Nightshade Purple mixed with Punk Rock Pink, up to neat Punk Rock Pink, then Blush Pink and finally some Braaaaiins Pink for the highest highlight.

Next was some texturing techniques that I picked up in a class I had taken with Aaron Lovejoy a little while ago. I went over the airbrushed base coat with a bunch of stippling, using the base coats to guide me as to where I should stipple what colour. Once it was all stippled and I had the texture laid in, it was time for some airbrush glazing – mix up some very thin paints in your airbrush, and just barely pull the trigger back, depositing a thin glaze over your stippled texture. It will blend all your stippling back together, but so long as you aren’t too heavy and start laying down opaque coats, you will still have some texture from the stippling showing through. I started with some Nightshade Purple shot up from below to reinforce the shadows, then came from above with my pink highlight colours. I may have been a little heavier than intended on the highlight colours as the more pastel pinks have a lot of white in them contributing to more opacity than I anticipated, but the end result was good enough for me and I wasn’t about to spend another few hours re-stippling everything just because things ended up being a little more subtle than intended.

For the white trim, I used a similar but slightly different process. I started with a basecoat of Reaper’s Stormy Grey, then covered it with a wet blend from Stormy Grey up to Misty Grey. From there, I stippled in the texture and brushed on the glazes instead of using an airbrush because there is no way I’m going to do that much masking. I also added texture to the leather straps in a similar manner, adding some fine details then using glazes and washes to blend them all together with the rest of the leather.

The hair was base coated in a deep walnut brown, and highlighted with a series of desaturated blues. However, I also added in a touch of a light, desaturated purple in the highlights. This helps blend the hair into all the pink, and also represents a bit of reflection of light from her pink armour off her hair. For the hat, I did it in two phases. First, to get the general highlights and shadows, I basecoated and wet-blended the grey, ignoring the fur texture and using your wet-blending to roughly highlight and shade it as though it were simple, flat cloth. From there, I used washes and dry-brushing to highlight the actual fur, with a little bit of manual edge highlighting of individual tufts of fur applied afterwards just to kick it up a notch. For my shade colour, I wanted to stick to a cool grey, so I went with primarily GW’s Drakenhof Nightshade, however I also added the slightest hint of various coloured GW washes to give a little colour variation to it because grey is boring.

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Hair — note the blue reflections and the hints of purple in the highest highlights.

I was debating weathering her armour, but at the end, I just couldn’t bring myself to do it. First, I thought it looked nice clean and was a little afraid that weathering would ruin it. Second, I was also concerned that with all the work I did to add texture, painting on a bunch of chipping and scratches on the armour would add just so much contrast that it would just completely overshadow and wipe out the more subtle texturing effects. Finally, I decided to rationalize it by figuring that Sorscha probably isn’t going to be wearing that much makeup to war, and dirty, heavily chipped armour would clash with lipstick and eyeshadow. As such, I figured that I would go with a “parade clean” scheme, where Sorscha is trying to look her best to show off her pride in the Khadoran military (and, perhaps make Vlad feel a few pangs of regret over dumping her and marrying the Empress).

This take on Sorscha doesn’t have a whole lot of colour variation, interesting freehand, or the like, but I think she stands out for two reasons. First, with the pink being such a bright, intense colour and the way I took a little artistic license with the lighting to draw the viewer into the face, it can suck an observer in from several feet away. Second, once you come in closer, you start seeing some of the texture variation across the model. Even without weathering, there are just so many textures on this simple bust – skin, hair/fur, cloth, leather, painted metal, and shiny metal – that there is a lot going on even without the addition of any sort of freehand or the like.

At the end of the day though, Sorscha is my favourite character from the Iron Kingdoms universe, and I think I did her justice here, even if she didn’t place at the last competition I brought her to.

Nancy

As for Nancy, my colour choice was already set. I painted a miniature of her last year, with red and black clothes in a vaguely Harley Quinn inspired theme and blue hair. I tweaked a couple little things from the miniature version because it wasn’t quite working at 1/12, most notably, I changed the necklace from a silver to a gold metal to incorporate a bit better colour balance.

The two challenging things on Nancy were the tattoos and the true metallic metals on the fist. For the tattoos, I wanted to tell a story. The idea was that Nancy here is a steampunk mechanic who lost her hands in an industrial accident thanks to Victorian-era workplace health and safety regulations. Of course, as any steampunk mechanic worth her salt would do, she simply invented a pair of giant mechano-hands.

In order to literally spell it out for the viewer, I decided to tattoo the phrase “What doesn’t kill you…” on her chest. In this case, the phrase is taken quite literally as what doesn’t kill you actually does make you stronger when you replace your hands with giant mechanical fists. I also added tattoos of gears and other mechanical bits on the side of her head to represent her chosen career path, as well as some random tattoos here and there just to balance it all out.

There are a couple tricks to tattoos. First, black tattoo ink often has a bit of blue to it for some reason, so it’s a good idea to use a blue-black like Payne’s Grey inks or Reaper’s Blue Liner paint. Second, unless a tattoo has been just applied, it needs to be blended into the skin as it fades a little as it heals. To do this, I made a glaze in one of my flesh tones and simply applied it over the areas with the tattoo, knocking back the contrast between it and the skin.

Beyond that, it is simply an exercise in fine freehand, so get yourself a good brush in your steady hand, and use thin paints with plenty of flow improver so they flow smoothly and consistently off your brush. I’m not sure I’ve quite mastered it, but I think the tattoos here at least look somewhat realistic.

For the hands, I decided to go with true metallic metals because I appreciate the shine. For the uninitiated, there is a technique called non-metallic metal (NMM) where you paint in highlights, shadows, glints of light and reflections using matte paints in order to portray metal. That is often used on box art and competition pieces because it looks really good in photos. True metallic metals is the use of metallic paints, but instead of just painting the whole thing in the same tone of silver or gold, you apply some of those non-metallic metal techniques of shading and highlights. This way, you get both the intense shadows and highlight of NMM, and a bit of shine from your metallic paints, which, although it is trickier to photograph well, I think helps add some pop to the real life model.

The tricky thing with TMM is that metallic paints are a bastard to blend. Vallejo Metal Color is workable, but even it isn’t as nice as blending with regular paints. As for gold paints, there isn’t much on the market for gold acrylic paints that don’t suck. Not to mention that you can’t use your expensive sable brushes here as metallic paints chew up natural hair brushes very quickly. I used P3 golds, which I find to be decent have a fairly tone on, but the gold paint still leaves a lot to be desired (In fairness, so do just about all of their competitors).

The other challenge was simply deciding where to put the highlights and shadows. With all the big flat surfaces, it was tricky figuring out exactly where to put the glints of light. I’m not sure I completely nailed it – there are a couple places on the fist where I think adding another highlight or adjusting the brightness here and there might help kick the metals up a notch. That said, I am loath to rework a model once I’ve called it finished and put it on a plinth because I don’t want to go down the rabbit hole of trying to fix up all my old models and having nothing ever be truly finished. I may touch it up before the next big show, but it’s good enough for now.

One additional thing — late in the game, something about the colour balance seemed off. I conferred with some of my associates and they recommended that I repaint the poofy shoulder things yellow. I decided to take their advice into account, and promptly ignored it in favour of doing something else. Instead of repainting those poofy arm things, I chose to redo her necklace, swapping the silver metallic for gold, thus balancing out some of the colours on her body and bringing in a bit more of a “callback” on her body to the extensive brass bits on her mechano-fist. This definitely helped, fixing some of the colour balance issues that made it look a little off.

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The finished version above looks so much better with the gold necklace instead of silver

Conclusions

I’ve said it before, but painting busts poses a lot more interesting challenges than 30mm miniatures. The shortcuts you use on small miniatures like washes just don’t work at that scale. On the flip side, the relatively large size means you can incorporate more details than you can on a miniature. I’m sure Nancy and Sorscha won’t be my last busts; in fact, I have one on my bench right now…

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Siege Strider: I hate painting horses

Yep, it’s true. The one thing that annoys me about miniature painting is painting horses. I’m not good at it and I don’t enjoy it. So, last year, when Privateer Press announced that their new releases for Khador would be chariots, I was initially a little disappointed, because that meant I would have to paint up some horses.

Fortunately, the part of my brain that thinks of dumb conversion ideas rescued me from this fate and decided to instead deliver me from the frying pan of painting horses and into the fire of expensive, possibly ill-conceived conversions.

I’m not sure where the inspiration came from, to be honest, but one of my miniature painting weaknesses is that once I get an idea for a conversion in my head, it’s hard to shake it until it’s done. So, Siege Strider it was. And, since I’m a glutton for punishment and a completionist when it comes to my Khador collection, I needed to make two Siege Striders.

Supplies

Of course, the first thing I needed to do was source the parts. Basically, this a kitbash of two boxes, the Siege Chariot and the Storm Strider. I used the legs and lower body of the Storm Strider, combined with everything but the horses on the Chariots. Also, a random assortment of plasticard sheets and tubes, which are very useful when doing these very mechanical conversions.

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I ended up using a few different glues and putties. I used brown stuff for general filling work, but switched to milliput for areas that I was going to need to sand to make smooth, flat surfaces. Finally, I also used a bit of “sprue goo” — that is, some plastic sprues dissolved in Tamiya Extra Thin — to fill gaps and glue together pieces of plasticard that weren’t quite coming together perfectly.

Finally, I got a pack of rivets and bolt heads from my local hobby shop. These are made by Meng primarily for automotive dioramas and come in various sizes. Simply shave them off the flat plastic piece they come on with a scalpel and glue them to the model. The advantage to this over doing something like dots of glue is that you get a uniform rivet size, which is close enough to what makes sense, especially when you need to add 263 rivets…

The Chariot

While the legs were the most important part of this conversion, there were a few things that needed to be done on the chariot. First, since we aren’t going to need wheels on this thing, I filled in the wheel wells with putty and plasticard and sanded them smooth, after which, I continued the line of rivets along the bottom of the side all the way across where the wheel well was.

I was left with the area where the axles for the wheels go in, and while I could have removed them as well, I decided on a different approach. I scratchbuilt a series of tubes out of plasticard tubes, putty, and those Meng rivets and connected them to the outriggers. The ends of the outriggers were cut off and replaced with some more tube stock, modified to turn them into exhaust pipes. With that done, I removed the attachment for the tow bar and filed that area smooth, and added a thick piece of flat plasticard to the bottom where it attaches to the legs.

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Modifications to the chariot. Note the wheel wells and scratchbuilt exhaust system.

Apart from that, it all went together in a pretty standard fashion, with some cleanup on the resin parts and some pinning. For ease of painting, I left the driver, shield, and gun in separate sub-assemblies to be done later.

The Legs

The legs were from the Storm Strider, but they had to be heavily modified to remove some of the Cygnaran influence. Cygnar models tend to be very rounded and often feature plasma conduits and electrical doodads. Khador has a more utilitarian feel, with more sharp corners and boxy shapes and tends to resort to raw power more than fancy electro-weapons. While most of the legs could have passed for any of the main Warmachine factions, the feet of the Storm Strider were distinctly Cygnar.

So, the first thing I did was shave and file off the little electro-pimples, because those just don’t fit in Khador. With those out of the way, it was time to scratchbuild some armour plate to go overtop of the existing filed-down feet. I started by playing around with some paper and cardboard, cutting and folding until I figured out the shape that I wanted. Once I got that sorted out, I made a template out of cardboard, from which I could cut out pieces of styrene. These were then scored and folded along the edges and roughly glued together using sprue goo.

Once I had the basic shape of the armour, I used plenty of putty and glue to attach it to the legs, covering up what remained of the rounded parts. I also made some covers for the top part, again out of plasticard. All this plastic origami ended up giving me the basic shape if what I wanted, and after backfilling it with milliput, I was able to file and sand down the rough edges to get the shape just right.

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Left, leg after electro-pimples filed off. Right, leg with armour plate overtop, and some sanding and filing done to smooth it out.

From there, I had to add some surface detail. So, I printed off some Khador symbols and traced them onto a piece of plasticard, then cut them to shape. Finally, I festooned the edges with rivets to add that Khador industrial feel.

With the feet done, it was just a matter of pinning and gluing everything together. I also had to scratchbuild some pipes, pistons and tubes in between the center section where all the legs come together and the body of the chariot in order to raise it up so the legs nicely clear the body.

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Ready for the paint booth…

Painting

With all the conversion work done, it was time to paint. For this project, I chose to paint in sub-assemblies, with the legs, body, driver, gun and shield being separate parts to be joined later. I did a zenithal prime with black and white Stynylrez, then sprayed some sections in pink, masked off a couple feet and a couple stripes, then brought out the purple. As usual, highlights and shade colours were applied to accentuate the contours of the model, using the same colours as the rest of my Khador army which I have discussed many times on this blog. From there, it was a matter of brush painting all the rest, adding weathering, and putting it all together.

Conclusions

Did I mention that I don’t like painting horses? Well, I don’t, and thanks to some scratchbuilding and some crazy ideas, I ended up with something unique and cool. And, with some of the spare parts, I was able to make a couple neat terrain pieces that can be used in narrative scenarios or simply to spruce up your battlefield.

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Reporting back from Torcan 2019

This past weekend was Torcan 2019, a large model show held in Brampton by Peel Scale Modelers. In terms of scale model shows, I would consider this to be one of the big three in the region. It’s not quite as big as HeritageCon or CapCon, and doesn’t have the same really cool venue as these other two, but it’s still a large show that is definitely worth the trip.

It was a long drive, and, after consuming more peameal bacon than I have ever seen in one place before in Oshawa, I made it to the show around 10:00. Parking was a challenge at the venue, but I managed to find a spot at a school next door. This proved to be problematic at the end of the day, when I had to run through torrential rain to retrieve my vehicle. Fortunately, I had the foresight to bring one more change of clothes than I thought I would need and I was able to dry myself off a little, so it wasn’t too bad.

The vendor hall was well stocked; it was basically a hockey rink with four rows of tables running the length of the rink. There were plenty of dealers selling models, as well as a few selling tools, shirts, and other modelling accessories. Since it was mostly focused on the traditional stuff and I’m trying to be good, I didn’t buy any models, however I did stop by the vendor that had all the Green Stuff World and Flex-i-file products and picked up the third set of GSW colour shift paints and the Goodman Models super sanding blocks.

I also liked how they did the awards ceremonies. During the show, they snapped photos of the models and quickly put pictures of the winners and a listing of the top three into the powerpoint presentation. While reading the judges’ handwriting was clearly the weak link in this process, it made the awards ceremonies a lot more entertaining when you get that visual reminder of the cool models on the table and get to see the winners again.

One thing that I did really appreciate was the growth in the figures category from last year. Competition was much fiercer, both in terms of the number of models on the table and the quality. There were about 45 entries, with particularly tough competition in busts and sci-fi/fantasy. With somewhere around 430 entries, figures represented 10% of the models on the table, which is actually pretty good as these sorts of shows are traditionally dominated by the three A’s – aircraft, armour, and automotive. Quality was also up there this year, with some very accomplished painters entering and a large portion of the models on the table being what I would consider to be seriously competitive.

I think the simplest way to illustrate my point would be to note that my entries this year were a lot better than my entries last year, but I didn’t take home as many shiny gold medals. While I was debating for a while whether to make the drive or not this year, the increase in participation in the figures category has really pushed this show from a maybe into an annual thing for me.

Things that caught my eye

Of course, there were a number of models in the show that caught my eye and deserve special attention. Starting with the juniors, there was one kid who was clearly a natural at car modelling; according to the sheet, this Chevy Nova with the yellow to black fade was his first model.

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In figures, this Cap’n Sapo bust beat me out for gold in the busts category, and took home best figure. It was a neat mix of texture, with the frog skin, leather, eyeballs, and a little bit of armour plate on the shoulders creating some nice contrast across the model, and all of these textures were rendered masterfully. It also bore an unfortunate resemblance to a certain popular nazi meme, but I’m assuming that was just a coincidence.

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In sci-fi, there was a really neat looking dieselpunk spacecraft thing. It was cool, it was yellow, and according to the sheet, it was all scratchbuilt. Which was awesome.

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The Nuka Cola building was my vote for the people’s choice award. Though it had no figures and no vehicles, it was very detailed and evocative of the world of Fallout. Or what I imagine the world of Fallout to be; my only real experience with Fallout is watching The Final Pam on Monster Factory.

I wasn’t the only person who did a Bf.109B. Someone also did one, using an older kit from a different manufacturer and painting it up in the more traditional colour scheme of the fascist forces in Spain.

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It’s often hard for me to pick out what stands out in the world of armour because tanks tend to be not very colourful and often splattered with the same colours of mud and dirt. But for my money, the little SU-18 assault gun, which looks like a 76mm gun slapped on an FT-17 tank, was just a neat subject and was very well done.

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For the Gundams, I spent a lot of time staring at a fellow club member’s ball. This extensively modified MG ball kit was painted with inspiration from the Watchmen, and was a great illustration of how far you can take a gundam kit with realistic weathering, battle damage, etc.

Finally, in space and sci fi, I saw someone brought one of those Warhammer 40K walkers. I don’t remember how well it did, but I just thought it was nice to see some stuff from the Warhammer universe on the tables, even if 90% of the models from 40K aren’t really my jam.

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Results

I think before I get into this section, it is important to note that these contests aren’t just about who brings home the hardware, and that sort of overly competitive mentality is something that we all need to consciously avoid in order to keep our hobby fun and welcoming.

That said, even though the competition in figures was a lot more intense this year, I still did fairly well. I took Silver and Bronze in the busts category, with Amy Johnson and Nancy Steelpunch, respectively, losing out to the aforementioned Cap’n Sapo and pushing my Sorscha bust out of the top three. In the regular sci-fi/fantasy category, little Sorscha won me a gold, edging out some sort of space marine. Further, I took home the theme award for figures, with Nancy representing the best “Bent, Broken and Wounded” model with her steampunk mechano-hand.

In the non-figure categories, my Spanish Republican captured Bf.109 took home a silver in the Out Of Box category, losing out to a fellow IPMS Ottawa member’s MiG-31. This was actually the entry that I was most interested in because I was curious as to what the reaction would be. It is very much an illustration of what happens when a figure painter tries out aircraft and very much outside of the predominant style for model aircraft.

My two Gundam entries, my Ball and my SD, also won golds in their categories. Again, these aren’t in the traditional style of gunpla builders, being simple, out of the box kits that were competently assembled, but with a lot of effort focused on the interaction of light and shadow and freehand painting, whereas most gunpla competitons heavily weigh modifications, kitbashing, and flashy LED lighting. However, the painting must have impressed the judges, because they both won their categories.

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For those of you keeping score, Ottawa balls actually did pretty well in the Gundam section, with two balls made by Gunpla Ottawa members winning their categories, and the other one winning best overall in the Gundam division.

Finally, I had some extra room in my case, and remembered someone brought an entire 15mm Roman army last year, so I decided to drag some pieces from my Khador and Cygnar warmachine armies to enter into the collections, and came away with a silver and a bronze, respectively.

I also did fairly well in the raffle department, coming home with a Tamiya motorcycle kit and a couple small ships. Neither of these are the sort of things that I would have actually bought given the option, however I think they will both make for interesting challenges in the future.

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Just so long as I don’t have to buy any 1:700 scale photoetch.

(for another review of the show, check out ModelAirplaneMaker’s report here)

Bonus: random photodump of cool models!

 

Warmachine: State of the Game 2019

So, one of the things they’ve been doing at the Southern Ontario Open for the past few years was getting together all the Warmachine talking heads into one big room for a discussion on the state of the game. This year, I thought I would share my thoughts in a written format, as I’m not cool enough to have a podcast and don’t have the voice for radio anyways.

Evolving Meta or Power Creep?

They started off with a discussion about how the meta seems to be constantly evolving, and how it was great to see people constantly trying out new stuff. However, I would argue that this has less to do with a meta where people are trying interesting stuff to try to counter what other factions are playing, then other players trying to counter the new interesting stuff, then that leading to a state of flux as everyone cycles between rock, paper, scissors, lizard and Spock, trying to stay ahead of everyone else. I think it has more to do with the CID process breaking down a little and causing some power creep. I mean, when one considers all the boogeymen that have reared their head in the meta over the past year, just about all of them save perhaps Nemo3 was a direct result of some new release or rules change that may have been slightly overtuned as a result of clamouring in CID.

I feel like the competitive balance of the game is healthiest when there is no boogeyman. While I’m not necessarily the best player, I think the few months between when Una2 got taken down a notch and someone figured out that Ghost Fleet is good was a great time for Warmachine, where there weren’t really any extreme outliers dominating the tournament scene, and people were doing a lot of experimentation. Since then, the internet chatter feels like it’s been just one boogeyman list after another.

I think the proof is going to be in the pudding in the next few months. With Privateer Press taking a CID break, it will be interesting to see if the meta settles down a little and we start seeing more flux and experimentation or if people are still going to be complaining about Lord of the Feast and Iona until the next new hotness drops.

Cutting models?

A large portion of the cast was devoted to the question of whether Privateer Press should start eliminating models from their range and from the game, and the general consensus seemed to be that it is time to do it. Two rationales were discussed for this – the idea that there are just too many SKUs clogging up the supply chain and making it hard on retailers and distributors, and that the number of models is a barrier to new players.

To be honest, I’m not sold. I’m not sure that SKU bloat is that much of an issue, because I’ve only ever seen one or two stores actually attempt to stock at least one of everything, and both of those stores do online sales as well as in person. Most stores tend to stock a limited number of models and get in some of the new releases, but for the rest, they generally order on demand.

Rather than cut SKUs by eliminating models, if SKU bloat is an issue, then what PP could do is consolidate some SKUs by bundling existing products. The three Man-O-War units could be combined into one multikit with the same bodies and different arms. Units could be bundled with attachments and non-character solos instead of sold separately. And, more importantly, PP could help provide stores with a little more guidance as to what products in their back catalogue are the sort of things that are popular or are starter products and should be stocked, and what you can get away with being special order only. Perhaps just classifying all those SKUs as starter, core, and supplemental would help a retailer with the daunting task of figuring out which of these hundreds of SKUs they should stock. They’ve already made steps in that direction by changing how they did distribution and by doing direct order for new huge based models that tend to sit on shelves for a long time and not move.

Not to mention that if the goal is to help retailers and distributors who are carrying Warmachine and make them more likely to want to carry the game, rendering a portion of the stock that they currently have on the shelves completely useless is likely going to have the opposite effect.

As for the idea that the sheer number of models is hard on new players, I have to counter that with one question: are new players really being turned off from Warmachine because they keep getting their faces kicked in by Assault Kommandos and Kossite Woodsmen? Or is the real negative play experience for new players running up against Iona and Lord of the Feast and not knowing that they need to place all their models exactly 3.2 inches apart and answer a geometry final exam question with shield guards and blocking models to not instantly lose? And, of these, which of the two is a new player more likely to actually run into in the first round of his first tournament?

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Kossites OP, plz nerf

I get that the sheer scale of WMH can be overwhelming, but I don’t think the solution is simply cutting models from the game. Miniature games fundamentally aren’t card games. There is a more intense connection with game elements in a miniatures game than there is in a card game. Hobbyists spend hours lovingly crafting and customizing their models and sometimes even take models in their army based on their visual appeal more than their combat effectiveness; telling them that they can’t use them anymore is going to frustrate a lot of people. There are ways to address this such as through promoting limited formats and lower points games where there aren’t as many models on the table with rules that need remembering that aren’t as drastic as telling people they can’t play with their toys anymore.

Which brings me to Champions.

As for Champions, the main problem is that it has an identity crisis. People think that it is supposed to be a limited format to make it easier for new players, but if you actually read the document and the dev notes in the CID, that’s not what it is. It is supposed to be an alternative format for experienced players to prove their skill; one where the limited roster changes up the meta and allows these players to showcase the skill with all their faction’s casters (including the off-meta ones) as they rotate through ADR, not just stick with the few in their faction that are the most powerful and/or slightly broken.

The problem with that is that the ADR has historically been somewhat difficult to balance; there is often one or two factions that are on top because their restrictions are that they are only allowed to take the best stuff in the faction, while everyone else has to try to counter it with their B-team. Further, removing the painting requirement also took away one point of distinction between it and masters.

However, the fact that people keep saying that Masters is an introductory tournament format indicates to me that there is a recognition that there is a need for this sort of thing. In my opinion, if you want a truly limited format for new players, you need lower points and a more static, more limited roster that only includes the relatively straightforward things in each faction and fewer really obnoxious gear checks. Call it Warmachine: Core and push it as an alternative to no-restriction steamrollers. The catch is that with the current community, at least those who regularly go to events and are loud on the internet, getting them to embrace anything that isn’t standard, 75 point steamrollers is a challenge to say the least.

Bringing in new players

As is par for the course in these “state of the game” podcasts, Evan hit the nail on the head when he identified onboarding new players as the biggest issue with the growth of Warmachine. While part of it has to do with the density and steep learning curve of the game, it is also the fact that the community, while it can be very friendly once you get into it, can also be very intimidating for new players.

Another important point that was made was that people get into WMH because it is fun and because they identify with the cinematics of the game and the badass warcasters that they love. The ones that got hooked had some exciting cinematic moments that brought them to the edge of their seat; for me it was getting my ass handed to me by Haley2 until I figured out how to assassinate people with Sorscha1. From that moment on, I was on Team Sorscha and refused to play Butcher because he was the jerk who killed Sorscha’s dad.

I didn’t get into this game because someone told me that it is the most competitively balanced tournament game and that I should look forward to getting my face kicked in 50 times before I am able to git gud enough that every game isn’t a miserable experience. If I was that masochistic, I would play competitive Starcraft or some other e-sport.

However, as someone who is currently in the process of dragging a coworker into this world, I think the biggest challenge is that to an outsider, competitive Warmachine doesn’t look fun. You generally have two people crouched over a flat table with flat scenery and unpainted models, staring intently at the apps on their phones. As often as not, one of the two players is frustrated and afterwards, they engage in a loud discussion about what is OP and what needs CID and what little things they hate about the game. That’s not conducive to bringing in new players.

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At its finest, wargaming is a social affair. It requires much more agreement and back and forth between opponents as you discuss movement, measurement, terrain, etc. While one of the strengths of Warmachine is that there is a lot of clarity in the rules and it lends itself to competitive play about as well as any wargame can, pure competitive gaming can at times be a little soulless and doesn’t look fun to outsiders.

Conclusions

Perhaps this article ended up being a little more negative than intended, but that wasn’t my intention. I love Warmachine. I love the steampunk aesthetic, the bell curve probability distribution of 2d6, and the resource management and push your luck aspects of the focus/fury system. And I’m not on the doom train; I think this game is going to be around for a while and I’m excited for things like Archons and Oblivion.

But, while I disagree with a few of the points made in the cast, these conversations are important. So much of the growth and longevity of the game is down to the community these days. We can’t just rely on being the system that is the default for castaways ragequitting That Other Game.

Moreso than a lot of other games, a player’s experience in a wargame is directly related to the people they play it with. Even if we aren’t up to the task of being community leaders, it’s up to all of us to make that community and each other’s experiences the best that it can be.

Warhammer School Clubs, Part 5 – Get your paint on!

The following article was written by a friend who works as an Early Child Educator in a before and after school program. It is about his participation in the Warhammer School Clubs program, a program by Games Workshop intended to promote the hobby within schools. This article is part two; see previous parts here.

The Main Event! Basecoats, Washes, and Dry Brushing

Little introduction-by-way-of-housekeeping first: I had a great conversation with the manager of the local GW.  It sounds like the school programs are really taking off in North America, which is great to hear. He also explained why there was no primer in our kit: GW wants to send out the kits as quick as possible, so that educators get them as quick as possible. That means that a lot of being air-shipped to schools, and for that reason they don’t include aerosol cans in the package. Abaddon black was never intended as a primer, and the manager was nice enough to offer to help prime any future pieces for the program at the store. So I apologize for my griping before about the lack of primer; it was only a lack of primer because they were so quick to send us our pack and experiences may be different in other groups.

Anyway, back to the regular show…

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Basecoating

This is the most basic of the lessons the children learned, and at times the ones that needed the most reminders. That’s because this is the stage that most of the children stayed in for a while.  

First we went through how to use paint brushes properly. Although art is in all of our programming, the children have never really shown how to “properly” use a paintbrush when you’re trying to keep the paintbrushes in good working order.  So I explained that we need to just use the tip of the brush, and make sure never get paint anywhere close to the ferrule (ie, “that gold metal thing at the top of the brush bristles”).

For the most part, that lesson was taken easily.  The hardest to internalize was “thin your paints.” For kids, they’ve been trained to just dip a paint brush and splash it, so it’s going to take a while for them to unlearn those behaviors.  There were some thick paint jobs in some places, but luckily not too many details were lost.

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Children learn at different speeds, so we did base coats over quite a few weeks, not just one session.  The first time there was the most enthusiasm from the children, but that slowly waned, and some kids took a week off here and there (particularly, although not only, the boys when some other group not involved would organized more sporty games between themselves.)  

The first session one young man had a bunch of difficulty involving comparing himself to others. “It doesn’t look good, I hate it,” he kept saying. His base coat wasn’t even bad, it’s just other children felt more confident in what they were doing, using more colours and doing smaller details. He wanted to quit, and I went a little harder on him than I should, saying that if he quit he wouldn’t be welcomed to continue and his model would have to go to someone else who wanted to join the club. I admit that this was the wrong tactic, and we (the other teachers in the room and myself) talked to him afterwards to reassure him and invite him back. I gave him some extra attention the next couple of sessions and he became more comfortable in the club setting.

Washes

We did the washes in two groups –  it wasn’t really planned, but a group of boys took some Wednesdays to play, while a group of primarily girls wanted to focus on painting. This meant that we had the girls finish with their washing and dry brushing first and then we fished the group of boys second.

The first thing that I did wrong was that I tried to split up a bottle of Nuln Oil that I bought for the group into smaller containers. This would allow more than one child to have some wash at a time. Well, those smaller containers seals were not as good as they could be, and one tipped over and spilled all over the bottom of our painting box. The others started to dry out and make a weird rubbery rim around the containers. I poured what was left back into the original Nuln Oil bottle, losing a third in the process.

The second mistake that we made was using the new Nighthaunt Gloom like a wash or a glaze.  The paint wasn’t as translucent as I had thought, since although its as liquid as wash/glaze, it has a lot more pigment. This meant using it straight out of the bottle covered up more than I expected. The first couple ghosts were a little darker then we planned, but we figured that we needed to water it down a little to make it look good.

Still, the children found it pretty straightforward when it came to splashing wash all over their models. Our young man who was discouraged when it came to basecoating really took to washes. He did his Stormcast Eternal all in Leadbelcher (a dark silver) and the wash really made the details come out.

The best part was that the young ladies who volunteered to be the “Master Artificer’s” role went to help the other children after being shown how to do it. Up to that point, we really hadn’t utilized any of the child-led roles, and it was great to see the excitement of the girls in helping their peers.

Dry Brushing

The biggest thing the children had difficulty learning was that “less is more” when it comes to dry brushing.  A few didn’t work the paint off the brushes enough when it came to applying it, thus putting but brush strokes back on their figures.

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For most of the children, that was fine – especially the children who did one or two colours only for their base coat.  But one young lady got very frustrated when her dry brushing covered the shaded areas that she worked hard to finish, to the point of walking away from her figure and not coming back to finish it.  

At this point, we had run four or five weeks into just painting, and some children were getting pretty tired of it and were looking to move on to something else. It was time to put some finishing touches on our figures and start something new.

Still, I think the majority of the children really got something out of the process. The process of painting a miniature is much different then the kind of painting that they are used to. Adding a third dimension changes the equation. Allowing them to come and pick up the different techniques at their own pace helps in developing those skills in a way that is in tune to how the individual child learns.

Southern Ontario Open 2019 recap

So, I went to the Southern Ontario Open for the third year in a row this past weekend. The SOO, which takes place in Hamilton every year around the beginning of May, is undoubtedly Canada’s premiere Warmachine event. Drawing 100-plus players in their Masters tournament, having a six or seven round Masters, as well as featuring Iron Arena, IKRPG, MonPoc, and hobby content over three full days, it’s kind of a big deal.

Champions

I chose to participate in Champions this year and forgo Masters as I did the previous year. I knew that going to both tournaments would be just too much Warmachine for me, and I wanted to focus on hobby lounge and iron arena. I ended up choosing Champions because I really didn’t want to pack three lists, and I thought it would be nice to get all the hardcore gaming out of the way early on then just chill the rest of the con.

My biggest apprehension about Champions, aside from the distinct possibility that I would be getting my face kicked in by Iona all day, was the lack of a painting requirement. Since I’m not a hardcore competitive player and there is about a zero chance of me qualifying for either the WTC or the Iron Gauntlet finals, the SOO for the past few years has been my one opportunity to attend a fully painted event. As someone who appreciates the aesthetic aspect of wargaming, that made it a particular highlight for my year in Warmachine and made whichever tournament had the painting requirement a can’t-miss event.

I know a lot of people disagree with me and have a serious problem with the above opinion, so if you are one of those, please direct all your hate mail to podcast@chain-attack.com.

Anyways, that all changed this year, with PP changing their official tournament packet in such a way that if a tournament organizer wants to have an official Masters or Champions event that counts towards their Iron Gauntlet qualifiers, they can’t have a painting requirement. As those Iron Gauntlet points are a big deal for top-tier competitive players and Warmachine celebrities, that basically precluded the organizers from doing a fully painted event, whether they wanted to or not.

However, it turned out to actually be less of an issue than I was anticipating. I was worried that with no painting requirements, it would open the door to a swarm of grey hordes. But when I walked around the tables, I was pleasantly surprised to see that at least half of the armies were fully painted and a lot of the others were clearly on their way there. Three of my four games were against fully painted opponents, so that was actually a pleasant surprise.

Regarding my army lists, I knew I wanted to do Sorscha3 with plenty of Man-O-War models, and I had those painted up and ready to go. Due to the ADR restrictions, the other list had to be in Wolves of Winter, which meant a few things. First, it meant that Vlad2, which is the only model in my collection painted by my sister and not by me, would be the ideal choice. Second, it meant I had to get a lot of models painted to make a coherent list. Third, my list wouldn’t be very good because I didn’t have enough Doom Reavers painted up to really swarm my opponent with them. Finally, it meant that since I hadn’t ever actually played Wolves of Winter and trying to follow the CID made my brain hurt, my plan was to put the Vlad2 army on my tray and make a show of thinking about which list to play, but actually just play Sorscha3 every game.

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I went 1-3 in the tournament, losing to Old Witch 2, Zaal2, and Ossyan. My one victory came against someone playing Deneghra in Slaughter Fleet Raiders. He had little opportunity to take advantage of drag, as my Shocktroopers were granted Sturdy from the unit attachment and I had a shield guard in the list just in case. I ended up catching Ragman with a spray from a Suppression Tanker early on, and from there on out, I pretty much just watched his army bounce off the heavy armour of my Man-O-Wars, smacking them around with retaliatory strike as they came in. I actually started feeling a little bad for him because once Ragman was dead and his alpha strike was denied by my clouds, he just didn’t have the armour cracking to effectively deal with my army.

Now, I’m not one of those people who loses one game in a tournament and drops out because there is no point to playing unless you’re winning. I typically stay in throughout the whole thing, outside of extreme circumstances. However, I hadn’t been to a tournament in a while and after four games, my brain was hurting and I had done enough Warmachine for a weekend, never mind a day.

However, in spite of going 1-3 and dropping, I still managed to win Champions, or at least the most important part, the best painted army award.

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Painting

While the main attractions for most people are the competitive tournaments and the Iron Arena, the SOO does have some excellent hobby programming, and I feel like everyone who attends the SOO should at the very least pop into the hobby lounge for a few minutes and check out the contest entries or see what they can pick up from their fellow hobbyists.

I managed to squeeze in a couple classes. I took one on polychromatic shading with Ben at Primal Poodle, where I learned some more about colour theory. While I may have been a slightly difficult student by asking questions like “is grey a colour” when told to basecoat a part of a model in a colour that interested me, I did take a lot away from the class. I also got the chance to show off some of my work with Ben and Faust and get some valuable feedback on what I’m doing right and where I can improve.

But even outside of formal classes, you can pick up a lot from just getting the chance to talk shop with your fellow painters. There was a fellow hobbyist who was having difficulty with a resin pour, and I was able to offer up a couple pointers on doing the formwork as I had gone through that pain a little while ago. And I did have to chuckle a little when someone said that she should look up some guy who did a Swamp Siren and read up how he did it.

I ended up spending an inordinate amount of time in the hobby lounge. Part of this was because I didn’t have a huge based model completed before the event, and was inspired to finish painting my Siege Chariot conversion and get it into the contest. Which meant that I stayed up until 6 am on Friday night working on it, then got up again at 9 and got back to work, eventually getting it banged out with a few hours to spare.

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Why did I leave this until the last minute?

However, my valiant effort was all for naught when a very nicely done Sea King, which is one of the coolest models in PP’s entire range, edged me out in that particular category. That said, I came away with victories in two of the four categories – small and medium model – with Sorscha0 and my Sorscha bust, respectively. And the Sorscha bust also won the best in show award, not to mention that it was Sorscha3 running my best painted army, so… Sorscha OP, plz nerf?

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Patrick Miller’s Sea King

In some ways, this was coming full circle. My first year at the SOO, I entered into the painting competition but came away empty-handed, and to be honest, I felt a few pangs of disappointment. By the time the next year rolled around, I had improved my painting skills and had some display only models to enter, and while I did win one category, the top prize remained elusive. Now, I know it’s unhealthy to compare yourself to others as a painter and get too competitive about it, but I decided I would make it a goal to win the painting competition this year. I upped my game with the skills I picked up over the past year and the classes I attended, and focused on getting that Sorscha bust looking good, and it really paid off. And, since Sorscha was my first warcaster and is my favourite character from the Iron Kingdoms, the fact that I was able to do so with her was a little poetic.

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In the categories I didn’t win, I got some good feedback from the judges, and to be honest, I can’t really argue with what they said. For the Siege Strider, they liked the conversion and a lot of the painting, however the main issue was that I had overweathered the upper half of it, which wasn’t super realistic and worked against the highlights I put in. This probably had a little to do with the fact that instead of putting it all together and then painting it, I painted and weathered the model in sub-assemblies, starting with the legs and working up to the gun and the driver. As such, instead of following a logical weathering progression tapering the weathering off as I went up which would have been much more effective, I just did a default amount of weathering on each part. While I did add some additional dirt and mud stains on the feet afterwards, it wasn’t enough to truly get across the story behind the weathering – that of a big walker stomping around the battlefield, with its legs getting beaten up as it grinds the filthy Cygnarans to dust beneath its feet.

Also, having stayed up until 6 am the night before working on the model probably didn’t help much with my ability to pull off a coherent weathering scheme while running on three hours sleep and three cups of coffee.

As for the group category, I debated whether to enter my Man-O-Wars or my Cygnar. I went with Cygnar because it was some more recent work, but then I ended up getting too hung up on what made a tournament-legal list, and included some models which were from when I was still working out the finer details of the scheme. This meant that Maddox, who was my first Cygnar infantry model, kind of brought the entry as a whole down a little with her mediocrity, as did my first Cygnar jack or two. And since consistency is important in group categories, that knocked me down a few notches. Had I not included Maddox in my entry and perhaps thrown in a couple of my more recent stormdudes instead, I think I would have been a little more competitive.

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Group winner – Vincent Beaulieu’s Dreamer

I also want to give a big shout-out to the competition. There were some real top-shelf entries this year, and in particular, I want to recognize Vincent Beaulieu’s Captain Ahab bust from Scale75. It was pretty awesome and I feel like it really gave my Sorscha bust a run for her money; in fact, I would say there are some aspects where it outshone my entry. However the nature of winner-take-all or ranked judging systems means that sometimes, amazing models that get edged out by other amazing models don’t quite get the recognition they deserve.

The Final Word

The SOO is always a great show, and is kind of a highlight of my year in Warmachine. Even as someone who isn’t a hardcore competitive player, you have to appreciate the passion for the game we all love that is on display in that room. This year in particular, I was feeling some frustration with the game and the community and the SOO kind of reinvigorated my love for this game. If you are a Warmachine player and can possibly make it to the SOO, circle the calendar and make sure you go. And, while you’re there, pop by the hobby lounge for a few minutes and say hi.

I’ll be the one still painting at 3 am.

Painting Cygnar – because someone has to play the bad guys

Lately, I have been dabbling in what might be considered heresy. I’ve been painting up a Cygnar army for Warmachine. Don’t worry, fellow Khadorans, I’m not betraying the motherland. It’s just that I’ve been introducing new players to the game lately, and someone has to play the bad guys. As such, I now have to paint up a Cygnar army so I can do that.

Starting out

To begin my army, I decided to combine the Mk.III Cygnar battlebox with the Cygnar half of the Company of Iron box, then supplement that with whatever I either had in my stash or could pick up to build up this force. This also pushed me in the direction of Storm Divison, which, while it isn’t the most competitive theme force, is probably good for playing intro games. Plus, I do like Maddox, the Cygnar battlebox caster, and she works well with Stormdudes.

Of course, the downside to this was that most of the models in these starter products are the rather mediocre PVC models in the starter kit. These are notoriously difficult to work with due to the difficulty of cleaning up mold lines; quite frankly, I might actually prefer metal models to this crummy plastic. On the other hand, Gwen Keller, the one resin Cygnar model in the box, was quite crisply detailed and only required the slightest amount of cleanup.

So, after much cleanup, I was able to get started with the battlebox contents, a unit of Stormblades and Storm Gunners, Gwen Keller, and a few accoutrements such as a Squire and Gorman di Wulfe, borrowed from my existing collection of mercenaries who work for Khador. The goal here is not to make the most powerful or complicated list; it’s to make a list that is decent and which is good to use as an opposing force to introduce new players to the game or in journeyman league scenarios.

Deciding on a colour scheme

It’s not every day that you start a whole new army, so when you do, it’s a good idea to put a lot of thought into your colour scheme. You want something that will look good on the table and won’t be too hard to paint. Of course, you could always just go with the studio scheme, but I like to be a little more creative.

I had a few ideas. First, I was thinking of doing a Cygnar Red Army, but as I looked at pictures I saw online, I got less and less interested in that scheme. I just didn’t feel like red Cygnar looked good in any of the pictures that I saw, plus the idea of a #southKhador army has been done already. Next, I considered a few bright colours such as yellow, orange, and white, but I realized that with all the electro-stuff on Cygnar models, it would make sense to go with a darker scheme as the OSL would have more contrast and look better against a dark background.

Now, I had a few choices for dark colours. Purple was out because that was the scheme for my Khador army, and blue was the studio scheme which I wanted to avoid. I considered a dark green, but I had done enough of that with some of my recent gundam projects and thought it might not provide enough contrast with the terrain on most tables. So, I eventually decided on a blue-black with light grey and yellow as secondary colours, figuring that would be different enough from the studio scheme to satisfy my rebellious tendencies.

The project

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Battlebox contents, cleaned and hit with a zenithal prime

After fighting through some of the mediocre plastics that is classic Privateer Press from before their resin started getting good, I started with a zenithal prime of white stynylrez over black. The plan was to airbrush the main colour, then pick out all the rest of the details by brush. For my main colour, I worked up from black, to Reaper’s Blue Liner, to P3 Gravedigger Denim, then P3 Frostbite. Readers of this blog will recognize this colour recipe from previous projects where I experimented with highlighting black. However, in this case, I went a little heavier on the blues than before, making it more of a desaturated blue than a black.

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Airbrushed and ready for brush painting

From there, I added some grey, yellow, and silver and brass metallics, using a lot of familiar recipes. White with purple shading and yellow ink overtop for the yellow, various Reaper greys for the grey, and my usual true metallic metal techniques for the metals.

Since most of these models are Cygnar stormdudes and since the whole reason for this colour scheme was to accentute the glow effects, it was time for OSL. Here, I would start out by undercoating the source of the light in white, then spraying on the glow with my airbrush and some sky blue. Add some touchups to make the source pop a little more, and you have a perfectly serviceable tabletop quality OSL.

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Glowy Stormdudes

Basing

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Some sandbags on the base to go with the trench warfare scheme

Basing is an important part of tying the whole thing together. A coherent basing scheme can really make your army look good. Since this is Cygnar, I decided to go with a trench warfare scheme. As such, there is basically no vegetation because the no-man’s-land has been chewed up by repeated artillery barrages that not much is growing. I also went with a little lighter dirt colour than I used on my Khador, as that looks more like some of the pictures of trench warfare that I’ve seen. It wasn’t that hard; just a simple matter of adding textured mediums mixed with craft paints for texture, and washing and dry-brushing to taste. Some simple green stuff sandbags and bits of barbed wire completed the theme, and some models have bits of debris that reflect their story – Maddox has Menoth bits on her base, while Gwen Keller has a pig’s head and a butcher knife on her base – and I did try to make the base a little lighter towards the front center of the models, just to focus the eye on the front of the model.

Also, I wanted to make the arc marks visible, but not too powerful that they draw the eye away from the model, which can be one of the most annoying things about painting Warmachine. As such, I went with a black base rim, with a sky blue hash line and grey lines next to it. This isn’t too bright, but it is still visible.

Acosta

Savio Monteiro Acosta is a bit of a unique model in this theme force. Technically, he’s not a Cygnar model, but he counts as such in this theme force. His lore is something about him being a roaming duelist and not an actual member of the Cygnaran military. As such, I wanted to do something different.

First, I figured it would be good to do a headswap. Stormblades fall into the category of people who are wearing such heavy armour that their gender is obscured if they’re wearing a helmet, so I figured I could get away with making a female version with just a simple headswap. So, I reached into my collection of Statuesque Miniatures heads and found one that would work and boom, it’s Sophia Maria Acosta now. I also wanted to give her darker skin, just because that’s a skin tone I haven’t painted as much.

Second, I figured it would be good to do a different colour scheme than the rest of my stormdudes. Instead of the usual blue-black, I decided to go with a camo green, with a burgundy cape and yellow highlights. The actual painting wasn’t too much different than the rest. I started with a coal black and worked up to green and added a bit of yellow in the highest highlights. Then, I masked off the green and did the cape, working from coal black up to P3 Sanguine Base, Sanguine Highlight, and the final shade Sanguine Highlight with a bit of Menoth White Highlight mixed in. I followed up with a bit of brushwork blending overtop to reinforce the shadows and highlights, and added a freehand pattern at the bottom of the cape just to add something to it.

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Since this was partially done for a painting competition, I decided to change up my strategy for varnish and adopt one that Vince Venturella has been advocating. I would save the metallics for the end, and before applying them, I would hit them with a coat of matte varnish. Then, I would paint my metallics and not varnish them.

This seems like heresy; the idea of playing with an unvarnished miniature, especially an unvarnished metal miniature. My gut reaction was that it would get chipped. However, the simple fact of the matter is that it is your primer, not your varnish, which is truly important for chipping resistance, and varnish ruins the finish on metallics. You can kind of save it by going back over the metallics with a gloss varnish, but it’s still not quite as good as leaving it au naturel. Vince claims that metallic paint is resistant enough to handling, so I’m hoping to test this and prove him right for myself.

Next Steps

So far, I’ve finished painting the battlebox, the Cygnar half of the Company of Iron box, a squire and a unit attachment for the Stormblades. This is enough to take me up to about 35 point games, including theme forces, and really introduce the fundamentals to new players. I have a few models assembled and with quick airbrush base coats applied to expand my force with, including a Stormblade Captain, a Journeyman Warcaster, a few support models, Brickhouse, and the Mk.II battlebox. I also have a few models yet to assemble, and am eyeing a box of Stormlances on the shelf of my FLGS. That should take me up to 75 points and beyond, and I’m thinking if I go for a second list, I might look at Kraye with a combined arms force in Sons of the Tempest.

Now, it’s just too bad Storm Division isn’t on the current Active Duty Roster…