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.


Skin airbrushed over a zenithal highlight


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.


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.


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.


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


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…


Nancy Does NMM

As I mentioned in my last post, my Nancy Steelpunch miniature from Scale75 did well at HeritageCon this year, pulling in a silver in the Fantasy Figures category. In addition to being a cool sculpt with the punkish undercut, goggles, and steampunk robotic arms that she is named for, Nancy represents an important milestone on my hobby journey. She was the first model that I had done using a non-metallic metal (NMM) technique, which was on my list of hobby resolutions for this year.




What is NMM?

Now, while figure painters may know what I’m talking about, I can already hear the scale modellers who read this blog scratching their head, so let’s take a step back hear and talk about shiny things. Take a look at this picture of a hatchet I found online. When our eyes look at it, without even thinking about it, our brain detects the pattern and registers it as a somewhat shiny steel colour. We instinctively know that the surface of this axe head is a more or less uniform, somewhat reflective grey metal. However, if I open up Microsoft Paint and use the eyedropper tool, we can see that the colours that make up the shininess are a little more complex. If I wanted to draw a picture of this axe head, instead of just taking out a silver crayon and running it over the entire shape, I would have to play a little with shadow and highlight colours to represent how the light hits and reflects off of the wavy surface of the axe. As you can see, particularly in the third and fourth colour I’ve picked out, the actual colours that make up this image are not uniform and run the spectrum from almost white to almost black.


The strip on the bottom represents the colour of the pixels at the location at the end of the red line

Another thing you can do is simply take a hobby knife, ideally one with a scalpel blade, hold it under your work lamp, and turn it around in your hand while looking carefully at it. Look at what you see, not what you think you see. Your brain will tell you that the blade is a uniform piece of metal. But depending on how the blade catches the light, you might see a particular part of the blade appear as bright white or almost black or any shade in between, depending on if that particular piece of the blade is reflecting the light into your eye or not. If it helps, take a picture with your phone and look at that, looking carefully at the glints of light bouncing off the blade.


Now, getting back to miniature painting, one of the keys to painting at this scale is that light doesn’t interact with objects quite the same way at these small scales. It’s why so much of miniature painting involves painting in highlights and shadow colours in order to convey how the light would interact with an object at scale. It’s also why just slapping a coat of metallic paints onto the blade of a sword just doesn’t look right.

Non-metallic metal is one way (but not the only way) to address this issue when it comes to models with a lot of metallic pieces. Non-metallic metals allow the painter to take full control of the interaction between light and the object and make it look more appropriate at scale. To do this, instead of relying on shiny paints, you paint the metal piece with flat colours, painting on all the glints and shadows. It’s called non-metallic metal because you are using non-metallic paints to achieve a metal effect, and it is similar to the techniques a 2D artist might use if he were tasked with drawing something shiny.

Sharp Highlights

Just saying “oh yeah, just paint on the glints and reflections” sounds like one of those things that is easier said than done, but if you understand lighting well, you can get a grasp on it. Even moreso than regular miniature painting, non-metallic metals are an exercise in lighting and contrasts. In order to be successful, you need to figure out where you want to place the light and apply some really sharp contrasts. Looking back at our scalpel blade, we can see that it is mostly a fairly dull, dark grey, with some near-white highlights where the light catches it. The green circle represents an area which is reflecting the light towards the viewer, while the red circle represents edges that are just catching a glint of light. By painting on this highlight and these edge highlights, we can convey the reflectiveness of the surface even by using flat paints. Further, the edge highlights also help the viewer pick up on the shape of the blade at a glance, which is good for making details pop.

IMG_2659 - Copy.jpg

See how the circled areas look almost white due to the highlight.

Steel and Brass


Not mine, just something cool I found CMON

One of the other interesting things about non-metallic metal is that you can easily paint metals in any colour using this technique. If you want to paint up, say, a figure of Iron Man from the Marvel universe, you can just use the various shades of red you have kicking around instead of trying to find red metallic paints.

This is something that is useful in the world of steampunk fantasy. One of the things I really like about Steampunk settings is that there is a lot of brass present on machinery and metal parts. This means that when you are choosing a colour scheme, you can add some contrast to your metallics by “alternating” between silver and brass colours. You can do steel parts with brass trim, brass parts with silver trim, brass rivets on steel plates, and so on. This allows you to really make details pop, and is something that I chose to take advantage of for Nancy’s mechano-fists. The steampunk mechanical arms are a key distinctive element on this model, and they are filled with plenty of little mechanical details that I wanted to be apparent even at a glance.


Ultra close up of the mechano-fists

The Process

I was a little intimidated when it came to actually doing the NMM, so it was one of the last things that I had done on this model. When it came to choosing colour, as I mentioned above, I knew I wanted to have both brass and steel to pick out the mechanical bits. But for the steel, I decided to go for something with a bit more blue in it than traditional grey metal. This, I felt, would do two things. First, the blue steel would go well with some of the blue in her clothing and the hints of blue in the highlights on the black parts of her clothes. Second, the blue and brass would give me some nice contrast on the fists themselves on a cool/warm dimension.

So, to start off, I laid down some base colours. For the steel, I used a couple coats of Reaper’s Blue Liner, which is a dark blue that is very near black. Reaper’s Liner paints are formulated for blacklining, a technique where you paint thin lines in the cracks on models to separate distinct parts, and tend to have a little more flow to them than regular paints. However, I have found them to be good not only for priming Bones figures, but also as base coats for things that I want to paint near-black. I use their Grey Liner a lot for painting black, for example, as it is close enough to black to read as intended, but not quite black so it allows me to go into the shadows with a darker colour such as pure black.

Anyways, starting with a base coat of that Blue Liner, I next worked up to Gravedigger Denim and Frostbite from P3, two colours which are somewhat desaturated blues, with the denim being a midtone and the frostbite being almost white. I applied the Gravedigger Denim to areas where I wanted it to be lighter, then followed up with some very sharp highlights with the frostbite — mostly just thin lines where the metal is catching a glint of light. Finally, I edge highlighted the figure with frostbite as well, to represent the areas where the light is catching an edge.


Progress on the mechano-hands

For the brass, I did something similar. I did an initial base coat in brown, but didn’t like that so I went back to the drawing board and mixed some Tanned Leather from Reaper with some grey liner to get a dark, desaturated colour that still has some of the yellow-orange that I want to it. From there, I highlighted up to straight Tanned Leather, then Blond Hair (Reaper), and then a Menoth White Highlight (P3) for the highest highlight. As always, these are just the colours I used; you can use whatever you have on hand and mix on your wet palette (you are using a wet palette, right?) to get a similar effect.


Colours used — Blue steel on left, Brass on right

Final thoughts

Non-metallic metal can be an intimidating sounding technique. However, once I got down to it, it actually seemed to be a little easier than I thought it would be. The main lessons I took away from it were:

  1. Understand where the light is coming from
  2. Go all the way from very dark to very light
  3. Use sharp highlights to convey glints of light

It’s also easier when you have something to go off of, so taking a close look at miniatures that have been painted with this technique or even just art of the figure that you are trying to paint can help you understand it better before taking the plunge. Even if you don’t plan on using NMM as a common technique in your repertoire, doing a few pieces in NMM can help you understand how light interacts with reflective surfaces like metals, and in turn help you with painting metallics in general.

As for me, I’ve got the Nancy Steelpunch 1/12 scale bust as well, so that’s going to be an interesting project…


HeritageCon 2018

This past weekend, I made it out to sunny Hamilton, Ontario for HeritageCon, a large scale model show with a category for figures. I had a fun time, learned some stuff, and came home with a full shopping bag and an empty wallet, so I would say it was a successful couple days.

The convention was held at the Canadian Warplane Heritage Museum, which, similar to CapCon, made for a cool experience to look at a 1:72 version of something on a table and turn around to see the 1:1 scale version behind you. The venue was great, though my one little piece of advice is that someone should really make sure to stock up the ATM with cash before opening a venue to a bunch of scale modellers and people selling kits. Lighting was good; perhaps not as great as CapCon, and you could tell by the fact that almost all the figure modellers faced their figures in the same direction that there was definitely one side that had better light, but still pretty darn good.

There were hundreds of models at the convention and it’s impossible to do it justice, but I’ll show off some of the highlights for me — things that either were particularly well-done, or subjects that I found particularly interesting.

IMG_2583.JPGFirst off, in the bantam category for modellers under 10 years old, there was one kid who entered in some scratchbuilt and kitbashed models of imaginary future weapons that were all delightfully Orky. There were a couple tanks made out of random bits and bobs, a mash-up of a MiG 15 and some sort of straight-winged aircraft, and what looked like a Dalek rolling around under propeller power with a couple missiles on stubby little wings. Whoever this kid is, I hope he or she keeps up the level of creativity and passion that encourages him to put a propellor on the back of a Dalek and a radial engine behind that.

IMG_2634.JPGSpeaking of stuff that looks like it’s straight out of the Warhammer universe, the T-35 was a Soviet multi-turreted tank that is probably the closest thing to a Warhammer tank in real life, in that it was boxy, had guns sticking out everywhere, and turned out to be horrendously impractical in actual combat. Still, this five turreted beast makes for an interesting model. There was also a very nicely weathered… some sort of German thing (I believe that is the technical term, though I have no doubt that some armour modeller will correct me) that caught my eye and will be going in the inspiration folder for the next time I do some weathering.


In the world of aircraft, one of the little games I like to play at model shows is “spot the roundel,” where I look for roundels of aircraft from smaller nations and try to figure out where they come from. In addition to an Irish Hurricane that I remembered from CapCon, I saw roundels from Spain, Colombia, Austria, Thailand, and Czechoslovakia, but I think my favourite was the Iraqi Me-109 from the Anglo-Iraqi war. I am pleased to report that not only was the model nicely done, but a quick google search confirmed that I managed to identify the rather strange looking roundel on the first try.


L-R: Roundels of Spain, Czechoslovakia, Austria, El Salvador, Colombia, and Thailand


Iraqi Me-109 – note the hastily painted over Iron Crosses, which totally make sense in the context of a campaign that only lasted about a month.


Sadly, this model did not survive the show

There was a beautiful P-39 Airacobra at the show. The Airacobra is an interesting aircraft because unlike most fighters of that era, its engine is located behind the cockpit and drives the propeller by way of a long drive shaft. This leaves room in the nose for a 37mm gun shooting through the hub of the propeller as well as nose-wheel landing gear instead of the tailwheel landing gear of its contemporaries. Finally, instead of sliding backwards to open, the cockpit has car-like doors on the side. While it wasn’t the most successful aircraft of the war, it put in some good service, particularly with the Soviets on the Eastern Front. This particular representation was well rendered, with nice weathering and panel line detail, as well as all the doors opened up to reveal details like the engine and the gun. I was lucky to get this photo as unfortunately, in what was probably the biggest tragedy of the show, I saw a dejected-looking builder packing away the model and a ziploc bag full of pieces that had broken off. Clearly, it had taken quite the impact and I just hope that it is fixable, as it is was a wonderful model of a subject that, in my opinion, is much more interesting than some of its contemporaries like the P-51.


In the world of motorcycles, there was one that had what looked like a cool chrome non-metallic metal effect. I think it was a decal, but if you look closely at some of the chrome on that motorcycle, you can see that the reflection is not a result of shiny finish, but is actually drawn on the motorcycle. This is a more advanced version of the non-metallic metal technique, which I hope to master at some point in the future. Also, someone made a couple cool looking motorcycles out of miscellaneous metal bits and bobs, partly from broken electronics, which made for some unique models.



Now, to paraphrase Sir Mix-A-Lot, I like big boats and I can not lie, which is good because there were two very nice large-scale U-boats on display. Submarines are always good to look at because if you look closely, you can see a lot of interesting detail in the weathering, as any vehicle that submerges under salt water and resurfaces many times is going to have some interesting weathering patterns. There was an excellent diorama of a sinking submarine, complete with lifeboats, escaping sailors, and realistic looking wave effects, which won best ship.

The winner of the Arthur Redding trophy was one of the locals, for his representation of U-190, a German submarine that ended up being captured by Canada at the end of the war and impressed into Canadian service. I’ve seen this piece before, but this was my first chance to get a really good look at it in some really good lighting and… damn, that weathering.


That weathing, and all those fiddly bits on the guns and radars… ouch.

Finally, when it comes to science fiction, the gundam guys were out in force, with a lot of gundams done to a pretty high standard when it comes to shading and weathering. There was a red one (I believe that is the technical term) that had some really nice shading and highlights on it, as well as some sort of non-gundam walker thing that was pretty cool. Finally, there was also a robot spider from Johnny Quest which brought back memories of watching cartoons with my sister.




Not a Gundam. Pretty cool though.


Figures & Busts

Now, lets get to the important stuff — the figures and busts. There were six categories: historical, fantasy, busts, mounted, vignette and diorama. This was where I made most my entries, and there were a lot of very diverse figures and vignettes and dioramas. One of my favourites was this… well, I don’t know what it is, but it’s cool.



The competition in the busts category was intense. There were nineteen entries, the majority of which were painted to a very high standard. Almost all were historical, though in addition to my entry, there were one or two other fantasy busts.


Very cool. A+ for composition.


I was recruited to judge some of the historical figures, obviously stepping aside for the fantasy and bust categories that I entered. This was my first time judging, and it was an interesting experience. At IPMS shows, models are judged in direct competition with each other, so instead of an open system with set criteria, we had to pick out a first, second and third place.

It was an interesting experience. Really taking the time to look at other people’s work closely enough to fairly and impartially determine who is the winner was an interesting challenge, and in the process, I learned a lot about what works and what doesn’t, and it sort of demystified some of the cool things I saw on the table. Of course, I also think I may have dodged a bullet in that one of the categories that I had to recuse myself from was the hyper-competitive busts category. With 19 entries, the other two judges had to spend a long time looking at it to narrow it down to a first, second and third.

My main of advice to figure painters who really want to compete is to focus on eyeballs. The main thing that distinguishes figure painting from scale modelling is the flesh tones, particularly on the face. When I go to look at a figure (or even a piece of armour that has a figure sticking out of the hatch), my eyes naturally go straight to the face. Further, if I’m judging a figure, the first thing I will do is kneel down and look him or her in the eyes. If it doesn’t look right, that’s not a good first impression. And if the category has a lot of entries, a bad first impression might mean that your model doesn’t survive the initial cut where the judges narrow down the field to the few that they think are really in contention.

Similarly, if you have a piece that has certain elements that “pop” and draw the eye, make sure those are well done. In one of the categories that I judged, there was one piece that just narrowly missed out on placing in part because of its bayonet. It had a shiny bayonet which was bright enough that it drew the eye, but was also just done up in plain silver paint with no highlighting or definition to it. This, in turn, pulled my eye towards the gun, where I found a couple more little things to nitpick, and long story short, the piece ended up just barely not making the cut to top three. Of course, this also came around to bite me as well, as one of the weak points of my Mary Read bust was the bird, which also drew a lot of attention with its bright colours.

My results

I entered a few figures, my aforementioned Mary Read bust, as well as throwing in my Victor colossal warjack into the Gundam and Mecha category. Between Yephima, The Black Sheep, Laril Silverhand, and Nancy Steelpunch. My main competition in this category was two large-scale female figures and a nicely detailed Sphess Mahreen from 40K.


The competition

Against this backdrop, I thought I would be lucky to even place, especially considering the fact that I was working at such a small scale. At 35mm scale (about 1/48), Nancy was dwarfed by even the space marine, never mind the two large-scale ladies. I have to give some credit to my fellow judges on this one; it can’t be easy to look at a 30mm figure next to something a foot tall and try to determine which is better. In the end, Nancy edged out Mr. Space Marine Guy to come in second, behind one of the big ladies.


More importantly than any ribbon or medal, I talked to one of the judges afterwards and got some good feedback. Basically, I needed to go a little sharper on some of my highlights and get my blends a little smoother, perhaps even trying out oil paints instead of acrylics. On the plus side, the judge told me that my metals are a strong point — which reminds me, I should write that article on TMM Brass that I’ve been talking about for months…

I also have the bust of Nancy in my stash, and I’ve had a lot of ideas rolling around in my head about what to do with her, so hopefully by the next big competition I’ll be able to bring both versions of her. I think she will be done in the same colour scheme as little Nancy, though with a few pink highlights in the hair, and I haven’t decided whether to do the punchy fists in NMM, which worked well for little Nancy, or TMM, which I’m a lot more comfortable with and got some kudos on on Mary Read.

My stuff

Finally, it wouldn’t be a convention if I didn’t spend too much money buying stuff. First, I had an idea for a project for a future contest for a unique take on the Me-109B. I figured it wouldn’t be too hard to find, as one can barely walk around in a hobby shop without tripping over a 109 kit. Boy, was I wrong. Apparently the early marks of the 109 are actually not that popular, and it’s the 109E and 109G that comprise almost all of the kits out there. Fortunately, the staff at Wheels and Wings in Toronto were helpful and hooked me up with the only 109B in the store, a somewhat pricy kit from AMG that includes rubber tires, photoetch, and lots and lots of tiny parts…


Also from Wheels and Wings, I picked up some figures in a box marked Skull Clan – Death Angels, which were just too cool looking to pass up, as well as a book from Angel Giraldez, one of the top miniature painters in the world, on his techniques.

At the show itself, I found some interesting stuff. One of the vendors was selling stuff from Green Stuff World, so I managed to pick myself up a second, smaller leaf punch, some of their colourshift paints, and a couple textured rolling pins for sculpting pavement or cobblestone patterns.


The spoils of war.

However, I think my best find of the day was some flats that I picked up. Flats are, as the name implies, flat versions of figures which seem to blur the line between painting figures and just straight up painting. My research tells me they had their heyday about 100 years ago, before three-dimensional figures became a popular thing, which is a fact that is corroborated by the vendor telling me that the were being sold from the stash of a nonagenarian. These are going to be an interesting challenge as they will really force me to up my game when it comes to painting in light and shadow, as I will have to represent three-dimensional people with a mostly-flat two-dimensional object.

In short, I’m going to have to pretend to be an actual artist on this one, so it’s going to be tricky.

Final Thoughts

HeritageCon was a great event, and I will definitely see if I can attend next year, as well as start looking around for other model shows that I can compete at. I know there is TorCan coming up in Toronto, as well as the painting competition at the Southern Ontario Open that I’m going all-in on, as I think I have a much better chance of doing well at that than actually coming out with a winning record at playing Warmachine. Even for people who have cut their teeth on wargaming figures, if you can make it out to a scale model show, there will be something there for you and a lot of techniques you can learn just by staring closely at the models on display.