Thursday, 14 May 2020

Creating a colour scheme. Part 2 of 3.

In Part One I wrote about colour theory, first taking a look at the values, or characteristics, of Hue, Saturation, Tone and Temperature. An understanding of this is key to building a successful colour scheme using colour contrast.

This time I’m taking a look at colour schemes and colour palettes and how, from my point of view, they differ from each other. Then I will describe the different roles colour can play within a palette.

What is a colour scheme?

When I talk about a colour scheme I’m referring to the overall visual impression created by the colours on a model. There is no limit to how many, or how few, colours can feature in a scheme; but you should be able to understand a colour scheme at a glance. An effective colour scheme can be described in fairly simple terms.

If a colour scheme is complex you should still be able to understand its overall nature at a glance with the nuances becoming apparent when you study it more closely.

Let’s look at some examples.

My Abyssal Warlord has a desaturated blue and yellow colour scheme.

Although not directly opposite one another on the colour wheel, blue and yellow are hues with a strong degree of contrast. I have lessened that contrast by desaturating the hues. I further adjusted the nuances by using a relatively cool yellow as it has a slight green tint. Similarly, where I’ve used a more saturated blue it has a greener hue and a darker tone.

By adjusting the characteristics of Hue, Saturation, Tone and Temperature, I’ve controlled the colour contrast between the blue and yellow and balanced my colour scheme.

Gutrot Spume has a saturated green and red colour scheme.

This is a bold complementary colour scheme. As I showed in Part 1, I’ve adjusted the saturation and temperature of my colours to bring balance.

Another vital element of my scheme are the neutral colours. These help by providing a low contrast backdrop for the reds and greens.

My Isharan Tidecaster has a scheme of dark, saturated blue/green with contrasting yellow details.

The (analogous) blue and green are the main or primary colours of this scheme. The dark, desaturated, yellow is a secondary colour.

My Sloppity Bile Piper has a yellow and purple colour scheme.

Yellow and purple are complementary colours. Again, by making adjustments to their characteristics, I’ve controlled the nature of their contrast. In addition, yellow is clearly the primary colour in this scheme. Creating a hierarchy of primary, secondary and (sometimes) tertiary colours is another way to bring balance to a scheme.

In all the examples above you can clearly see that I’ve used additional colours to those I’ve mentioned but, although they all have a part to play, they are not dominant colours in the scheme, and they are less apparent in the overall visual impression.

Colour hierarchy.

In Part 1 I described how having hues of equal saturation and tone will create a clashing effect. Similarly having equal quantities of different colours in a scheme may make it visually confusing.

By creating a hierarchy of colours that features a main, or primary colour, in contrast with secondary and tertiary colours, you will create a visually clearer scheme.

Your choice of these colours will greatly affect the nature of your scheme. Colour contrast is dependent on context, so the same primary colour may look very different against different combinations of secondary and tertiary colours. Understanding the characteristics of a colour will greatly help in your choice and use of it.

Deciding how the colours in a scheme fall in the hierarchy will also alter the final result. In the following illustrations I’ve used the same red, blue and green colour scheme but, in each example, I’ve switched their positions in the hierarchy.

Used in equal quantities the three colours are rather garish and clashing.
Red (primary) with blue (secondary) and green (tertiary)
Blue (primary) with green (secondary) and red (tertiary)
Green (primary) with red (secondary) and blue (tertiary)
Although it wasn’t my intention, taken together, the three illustrations feature schemes that could be used for Khorne, Tzeentch and Nurgle themed models, even though they all use the same three colours! This shows just how much colour hierarchy can change the overall appearance of a model.

What is a colour palette?

When I talk about a colour palette I’m referring to the actual colour of the paints I use on a model. The colour palette for a model will be closely related to its colour scheme but they are not the same thing! A colour palette is the physical medium I use to create a colour scheme.

A palette usually contains more colours than a scheme many of which may not be apparent at a glance. This is because the colours in a palette often have a specific role and may be hidden in the mix of colours or, in the case of a base coat, underneath other colours. Even though they are not always immediately obvious, the colours in a palette should all contribute to the final look in one way or another.

Building a colour palette.

The combination of roles within your palette can vary from model to model, but the examples below are those I use most often in my own work:
  • Base colour,
  • Shade,
  • Highlight,
  • Mid-tones,
  • Spot colours,
  • Nuance colours,
  • Metallic colours,
  • Neutrals.
There are no rules about how many, or how few, colours you can have in a palette, however, it’s easier to create a clearer and more cohesive colour scheme if you try to limit the number of colours. To achieve this, it’s helpful to remember that many of the colours in a palette will be suitable for more than one role.

Once again I’m using Gutrot Spume as an example! Although the colour scheme is a simple red/green contrast, the palette is one of the most varied I’ve ever used. There are many colours on Gutrot that add extra nuance and visual interest to the model without altering the overall scheme.

In truth another reason for the huge range of colors is that I was using Scalecolour paints for the first time and was experimenting with unfamiliar colours. Some of the colours above were picked out but hardly used. There was one additional colour that played a major role that isn’t shown, but I will come to that later.

In the picture above you can see the palette of colours I used to paint my Rockgut Troggoth. Like Gutrot’s, this palette may seem quite large but it includes all the colours used on the Troggoth, the base and the Goblin.

The top row shows the colours used for the Trogoth’s flesh tones. The second row shows additional colours used for the rock and dark cloth. The third row is for the metallic colours and washes used on the Goblin’s sickle. The final row shows the colours used for the Goblin’s flesh tones and some of the greenery on the base.

That’s the palette but I would describe the scheme as a red/brown and blue/grey scheme with a green spot colour, featuring an overall warm/cool colour contrast.

Choosing a base colour.

A base colour is quite literally the foundation of your paint job and your choice of base colour will have a massive impact on the final result. If your model features light and/or saturated colours, a lighter base colour may be the best option. If you want a dark moody feel then a dark base colour will help. You approach to painting is also a factor, for example, do you prefer to paint from dark to light of vice versa? Or maybe you prefer to start with a mid-tone and work out to the shadows and highlights at the same time.

I used a light base colour for my frog from Squarg the Frog Rider. I painted the flesh with a series of glazes and the base colour reflects light through these translucent layers. The base is a warm neutral colour (Rakarth Flesh from Games Workshop) which is in harmony with the overall naturalistic colour scheme.

My Farseer has a dark, almost pure black, base colour. I decided to paint the majority of the Farseer by going from dark to light and, in addition, the dark base created a helpful deep shadow in the hard to reach recesses. When I paint a dark base I usually use the same colour as my shadow colour.

The base colour for my Troggoth is a mid-tone but, equally important, it is a warm pink hue. This warmth underlies all the flesh tones and adds greatly to the finished look. I’ve also used the base colour in the mid-tones.

If your model features areas of strong colour contrast you may want to use a different base colour for each area.

Using global highlight and shade colours.

This refers to using one colour for all of your shadows and another for all of your highlights. This doesn’t mean that all the shadows on a model need to be exactly the same colour. Instead it means that they will all have your shade colour in the mix, to a greater or lesser degree. The same principle applies to the highlights.

Using global highlight and shade colours unifies a colour scheme and helps to create a feeling of the wider environment your model is situated in. The model, and all of the colours on it, will be lit by the same light, so all of your shadows and highlights should relate to this. Consider two important points: is your character inside or outside and is the overall lighting warm or cool?

The temperature of your global highlight and shade colours is the main factor to consider. Different combinations of warm and cool will create very different atmospheres.

A common example is a character situated outside with warm highlights from the sunlight and cool shadows reflected from the blue sky.

My earlier models (below) were painted without any global highlight and shade colours. All the reds are shaded with dark red. All the greens are shaded with dark green. And so on. This is a very ‘old school’ approach and can create a less realistic, graphic or even a cartoon-like style. Not that there is anything wrong with that but, if you are going to paint in that style, it should be a conscious choice.


There are no rules about how many colours you can use for your mid-tones and, if you so wish, you could pick a totally different paint colour for each of them.

My own preference is to try and use less paint colours in my palette and mix them to create intermediate tones and hues. I also like to incorporate my highlight, shade and base colours into the mid-tones to unify the overall colour scheme. But be careful to avoid over-mixing because this may result in a dull desaturated colour scheme.

Once I’ve established the overall tonal range on a model I often go back to my mid-tones to restore any saturation that may have be lost during the painting process.

Spot and nuance colours.

A spot colour can be used to add extra drama and contrast by drawing attention the details on a model. In the overall hierarchy, spot colours are tertiary colours as there will be much less of them than the primary and secondary colours.

Nuance colours also add drama and contrast to a palette but are far less obvious than spot colours. I often apply nuance colours as a glaze, or thin layer of paint, giving an extra pop of colour to a shadow or a flesh tone. Very often these nuance colours are in a complimentary hue to the area they are painted on to. I often use them to represent a colour reflected from a nearby surface but, sometimes, they have no obvious source and are simply there to add ‘nuance’ to the scheme!

In the examples above you can see how I’ve added red and blue/grey nuances to my flesh tones. Adding nuances to flesh tones can enhance the illusion of life in them.

I’ve added nuances of purple and green to the Tidecaster’s clothing while there is a little blue on the gold armour. The Scourge’s armour and equipment have nuances of orange and blue.


Always consider metallics in the context of your overall scheme. The characteristics of Hue, Saturation, Tone and Temperature apply to metallics as much as to any other colours.


Strictly speaking, in the context of colour schemes, neutral means “lacking or being without colour” or, in other words, unsaturated with colour. But the characteristics of Hue, Saturation, Tone and Temperature can still be applied to neutral colours. Therefore a better description would be something like “a hue that appears to be without colour.”

The neutral colours are black, white and grey. However, there are quite literally many shades (and hues) of grey, and even black and white are more complex than they may at first seem. In reality the term neutral can include a wide range of desaturated colours such as beige, ivory and taupe.

The tone of a neutral colour is the easiest characteristic to see as it applies to how light or dark a neutral colour is. On the other hand, hue and temperature are sometimes quite hard to tell apart because they can be very subtle.

Broadly speaking the more saturated colours are the less neutral they become. However, as is always the case, context is everything and a colour that acts as a neutral within one scheme may not do so in another.

When choosing neutrals for a colour palette make sure that their characteristics of Hue, Saturation, Tone and Temperature relate to your overall colour scheme in exactly the way you want them to. Used successfully neutrals are a great foil for other colours and colour contrasts.

The neutral colours on Gutrot Spume provide a backdrop to the saturated complementary colours.

The black on my Farseer has a cool desaturated blue/green hue that sets off the more saturated colours. The light grey outer robe adds a strong tonal contrast to the scheme without adding to the hues. However, I’ve used a subtle combination of warm and cool grays on the robe to give it more interest than one type of grey alone.

Build your knowledge.

Over time you’ll discover colours that become your favorite ‘go to’ options and that’s no bad thing. Becoming familiar with a colour and understanding it’s characteristics will enable you to use it to good effect.

However, it’s very easy to always use the same familiar colours and get stuck in a creative rut! I think it’s important to experiment and try out new colours in your palettes. Use them alongside your trusted favorites and gradually expand you range of options.

Coming next …

In the final part of this trilogy, I will look at how and why I picked the colour scheme for my Kastelan Robot.

Tuesday, 21 April 2020

Creating a Colour scheme. Part 1 of 3

Having decided to write a series of tutorials on my Kastelan Robot I quickly realized that, before I get to all the fancy stuff, I need to go right back to the beginning. Colour is a fundamental part of miniature painting and a good understanding of how colour works is key to creating and controlling contrast.

No pressure then! 

Please note that our (devilishly handsome) model is not picking his nose.
He is pondering the mysteries of colour theory. Although this might
explain where he get's his snot green from!

Colour Theory.

To be honest this subject could easily fill a book so I’m going to keep things as simple as possible (here’s hoping) and explain my personal approach to colour and colour schemes.

That’s a very important point to stress because I’m not claiming that anything I write about here is the ‘only’ or the ‘best’ way of doing things. In the same vein, I’ll try to be clear, concise and consistent with the terminology I use and explain it where necessary. But you may well encounter different terminology from other sources. So please remember this is my way of doing and saying things, no more and no less.

First of all we need to understand the nature of any given colour if we are going to use it successfully. To help us do that we can describe a colour in terms of four values or characteristics. They are Hue, Saturation, Tone and Temperature.


Red, orange, yellow, green, blue and purple are examples of hues. The order I’ve listed them in relates to their position in the spectrum and on the Colour Wheel. The different hues contrast with one another in various ways depending upon their position on the colour wheel.


This is a term used to describe the intensity of a colour. A saturated colour will be rich and vivid while a desaturated colour will be washed out and pastel.


This refers to how light or dark a colour is.


This refers to whether a colour is warm or cool. This can be quite complicated because the relative temperature a colours will be dependent on context. For example while red is most definitely a warm colour a purple/red is cool next to an orange/red. But the Same purple/red would be warm next to a blue.

It’s important to remember that all aspects of colour contrast should be considered in the context of an overall colour palette.

The Colour Wheel

The colour wheel is a reference tool that can help us to understand the relationships between different hues. You may well find more complex versions elsewhere but the basic example I’m showing here has served me well since I was 14!

The hues are arranged around the wheel in a specific order that relates to their position in the spectrum. The three primary colours red, yellow and blue are at equidistant points with the intermediate shades between them. We go from red to yellow via orange, from yellow to blue via green and from blue to red via purple.

Adjacent hues are considered to be in harmony with one another. A colour scheme only using hues that sit next to one another on the colour wheel is called an Analogous Color Scheme.

Technically speaking analogous hues are three hues next to one another on the colour wheel. But for my own purposes I consider any adjacent group of between two and five hues to be analogous.

However, as hues get further apart from one another on the wheel they become less harmonious and more contrasting. Hues that are directly opposite each another are considered to possess maximum contrast and impact. A colour scheme using hues that sit opposite each another on the colour wheel is called a Complementary Color Scheme.

While it’s possible to use a solely analogous or complimentary colour scheme it’s also possible to include a combination of hues that features both types of contrast within the same colour scheme.

Analogous and complementary schemes are both built around a contrast between hues. However you will also need to consider the saturation, tone and temperature of those hues. This can greatly alter the nature of the colour contrast.

For example a green and red directly opposite one another on the colour wheel, and of roughly the same saturation and tone, will have an extreme contrast. This may be too strong and visually confusing. That is what’s meant when colours are said to clash!

In the next example I’ve lightened and desaturated the green while the red has been darkened. This has altered the contrast so that, although still very bold, it clashes less.

In the final example I’ve further adjusted the contrast by making both colours slightly cooler. Both the red and green now have a bluer hue making them slightly closer on the colour wheel. They are still complimentary but are now also more harmonious then the previous two examples.

If you are familiar with my work you may recognize that final example was the basis for my Gutrot Spume colour scheme.

The strongest and most obvious colour contrast on Gutrot is that between the complimentary hues of red and green. As shown above I’ve chosen to use relatively cool versions of both colours; but there is more going on with my colour choices than a simple complementary scheme.

In addition to the turquoise blue/green I have used other warmer yellow/green hues and together they make up an analogous grouping of colours within the overall palette. There is a strong temperature contrasts between the warm and cool colours. But a more subtle temperature contrast also occurs between the warm & cool greens. Most of the colours on Gutrot are saturated but they are in contrast to the desaturated brown & greys on his base and equipment. The tonal contrasts between the colours are relatively understated.

By understanding the characteristics of the colours in my palette I’ve been able to balance what might otherwise be an overcomplicated and visually unclear colour scheme.

There are no rules about what type of colour contrast you should or shouldn’t use when painting your models. The important thing is that you understand the characteristics of the colours you are using. You are in control and everything that happens in a colour scheme should be there because you have chosen to feature it.

Coming next...

I'll take a look at colour palettes and how (from my point of view) they differ from colour schemes. Then I will describe how I go about building a colour palette for my projects.

Friday, 3 April 2020

Weathering a Kastelan Robot – Part 1.

I’d planned to keep the details of this project fairly close to my chest because I’m painting it for my next workshop ‘Dirt, damage and decay - weathering a Kastelan Robot‘. However, as the workshop has been postponed (for obvious reasons), I’ve decided to share my progress in more detail. I’ll also be posting a series of tutorials, focused on different aspects of the weathering, over the coming weeks.

Why a Kastelan Robot?

My choice of model for this project has been a long process. The weathering workshop grew out of my previous Abyssal Warlord workshop. That was focused on painting the amour and especially on texture and damage. I’ve been on the lookout for a model that:
  • had lots of armour/hard surfaces;
  • was lighter and easier to handle than the warlord (he’s very heavy!); and
  • was more economical to use as a workshop model.

I very nearly settled on the Easy To Build Primaris Redemptor Dreadnought. But then I took a closer look at the Kastelan Robots and they fit the pill perfectly! In addition to meeting my criteria they had the benefit of being particularly appropriate for a weathering workshop. The model represents a ‘huge ancient robot built ten thousand years ago’ so it’s more than likely to have picked up a scratch or two. On a more personal note, with it’s rounded form and curved surfaces, the aesthetics of the Kastelan appealed to me more than the boxy Dreadnought.

With the model selected it was time to think about how I was going to approach painting it for the workshop. Broadly speaking this meant how much and what type of weathering was I going to demonstrate. Over the years I’ve expanded my repertoire of weathering effects and I wanted to go well beyond what I’d demonstrated in the Abyssal Warlord workshop. Off the top of my head, the Kastelan afforded me the opportunity to explore corrosion in the form of rust and verdigris, dirt, staining, battle damage and general wear and tear. I decided to go all out and maybe even over-the-top with the weathering. This would enable workshop participants to thoroughly explore the subject, it would also be fun!

The very first thing I did was to sit down and make some notes. These are simply a series of random jottings on my thoughts for things like techniques, materials, colours and the workshop’s structure. As and when I have a relevant idea it will get added to my notebook so that it’s not forgotten. And then it was time for my least favorite part of any project, preparing the model for painting.

Preparing the model.

If there’s one drawback with my choice of model it’s that there are a lot of parts to prepare and assemble! However, I think the model is worth the effort required. The process was a straightforward enough matter of following the instructions. But first I removed the mould lines by using a scalpel to scrape them away and then lightly sanding them with fine grit sandpaper. I like to wet sand a plastic model because I think it gives a smoother finish; it also stops dust getting into the air.

It’s well worth taking some time to study the instructions before you start, because later parts often cover up the mould lines on earlier parts as you assemble the model. This can save a lot of time and it’s most frustrating to carefully clean a part only to discover that it gets covered up! The same principal applies to gap filling. A little bit of planning and test fitting can go a long way towards making the job easier!

It’s also a good idea to think about the model’s pose early in the process. The Kastelan allows some degree of choice in the final pose so you need to consider the situation and setting the model will be in as well as the overall composition. You want to create something interesting and dynamic but you also need to be mindful of how easy (or not) the pose will be to paint. It was at this stage that I decided to leave the arms off and paint them as sub-assemblies. This would enable me to access the side areas of the model. I also considered keeping the legs separate for painting but decided against this. I wanted to establish the pose before I had committed to painting, and the relationship between the legs, hips and torso was crucial. It was more straightforward to assemble these parts unpainted. All in all I found the model quicker and easier to assemble than I’d expected and I’m very pleased with the pose I’ve created.

To prime or not to prime!

It was time to start painting and that meant I had to consider primer and basecoat. I know it still shocks some people that I don’t always prime my models before painting. This is very much my own personal preference not some rampant crusade against priming! I want as few layers of paint between myself and the detail as posible! I make my decisions on a model-by-model basis.

My models will not be handled once finished so I don’t need a primer to help protect them from wear and tear. For me primer is most useful in helping the paint adhere to the surface of a model. This is only really an issue on large surface areas which can be more difficult to cover with a basecoat alone, and may be prone to rubbing during the painting process.

In the case of the Kastelan I decided to go without primer. Although it’s quite a large model (for me) it’s made up of a lot of smaller surfaces and I didn’t anticipate any problems with paint coverage. When I paint a basecoat onto a model I prefer to use Citadel base paints, slightly diluted and applied in three to four thin coats. The first coat will look like a patchy mess but, as long as each coat is thoroughly dry, the coverage gets better with each successive coat.

The ugly truth! These are my basecoating brushes.
I've used them on all my slayer sword winning models!

I apply the paint with a dabbing (dare I say stippling) action. Spreading the paint as far as it will go before I reload my brush. A little dilute paint can go a very long way and this will help to ensure the finished result is smooth and even. The Kastelan posed a particular challenge to this process because the model has a lot of nooks and crannies. Getting paint into all these tricky areas took a lot of concentration and was a little frustrating. Repeatedly checking the model under different lighting and studying it from every angle are the best ways to deal with the issue. It’s very important to spend time and effort getting a good basecoat down. You do not want to be finding any spots of unpainted plastic halfway through a project!

In my next posting I’ll be looking at my choice of a colour palette and how I use that to create an overall color scheme for my Kastelan Robot.

Saturday, 21 March 2020

Rockgut Troggoth Part 10. Making a scenic base for my models.

Like everyone else I’ve been dealing with the changes to daily life made necessary by our efforts to stop the spread of coronavirus. As I have asthma and my partner has a heart condition we’ve been busy getting everything in place to be able to isolate ourselves. That’s been complicated by having to help and support my recently widowed Mum. But we are all in the same boat (even if we are keeping at least two metres apart) so I guess we’ll settle into our new way of life in time.

Life goes on! So it’s time to catch up with my blog posting again! 

The week running up to the Iron Skull Painting competition saw a frenzy of basing activity, partly due to the impending deadline; but mostly due to a burst of energy and enthusiasm. It felt very good to lose myself in my hobby for a few days and even better to see that result is substantial progress.

I usually find painting a base to be a quicker, less intense, sort of painting but the base for this project was not insubstantial and it incorporated a face, albeit a stone face. To get things started I decided to use Zenithal priming. That’s not something I’m overly fond of as I think it’s a rather imprecise way of representing the fall of light on a subject. But in this case it was a great way of quickly establishing the initial placement of highlight and shade areas. Before I did that, however, I took reference photos for the intended lighting and these were enormously helpful in achieving the subtlety and nuance that the priming lacked.

I often use photos for lighting reference and it’s something I recommend in my workshops. I think reference photos should always be used for guidance rather than something you must slavishly copy. The big difference they have made to my painting is that the placement of highlights and shadows on my models is now a matter of informed choice.

I said ‘frenzy’ earlier and so it was because I completed
all the painting for the stone in a single day
after nine hours of solid painting!

I often heavily dry brush my bases but in this case I painted all the stone using a combination of layering, glazes and stippling. This gave me a lot of control over my textures and in a few places the Zenithal priming still shows through, creating a soft speckled texture that works nicely for the stone. My colour palette is the same as I used on the Troggoth’s rocks. This was always a part of my plan and it helps to tie the models in to their environment.

It’s important to remember that all the colours on a base should be considered as a part of an overall colour scheme. My Troggoth and the Goblin both feature a dominant warm red/brown with cooler green/grey shades to contrast and complement. Those same green/grey shades are the dominant colour on my base. However I have still used the same dark brown as a global shade colour on the base as I used on the Troggoth.

These are the colours I used to create the green/grey tone for my rocks.

I’m not going into much detail about how I added the plants to my base because most of it was covered in my earlier post: ‘Adding plant effects to a model. Or, the grass is always greener on the other side of the Troggoth!’

However I will stress that the plants should work within the overall colour palette and contribute to texture contrast, so be mindful when you pick which grass tufts to use! Something I tried out for the first time was clump foliage. It’s a mixture of ground up foam particles and fine fibers and it worked wonders for the overall look of my plants. I found mine in a model railway shop where there was a wide range of colours and sizes.

A few examples of the clump foliage on my base.

The final step was to fix the models to the base and this is where special care should be taken. I’d planned well ahead for this so I was ready when the time came. It’s vital that your models look like they are properly situated in the environment you are creating. They should make proper and appropriate contact with the surface they are standing on. They should also affect and be affected by their immediate environment, for example putting dirt on a model’s feet and footprints on the ground.

The big challenge for this project was to make sure that both models were in full contact with the base. Both the Troggoth and the Goblin have perfectly flat surfaces underneath where they contact their bases. Because I’d decided not to have any plants on the upper surface of the rock base there would be no way of hiding any gaps. This is the reason I mounted the models onto a flat slab of stone. But the surface texture of that stone created a few gaps between the models and the ground surface!

My solution was to fill these gaps with dilute PVA woodworking glue. Surface tension drew this mix into the gaps. Over the course of several applications the gaps were filled and camouflaged. Dilute PVA is great for filling fine gaps on painted models but it’s very important to allow each application to dry thoroughly before applying the next due to shrinkage.

Basing models is something I really enjoy. It can be tricky and has the potential to go wrong. But if you plan ahead and take a little care it can be the finishing touch that brings that something extra to a model.

Sunday, 1 March 2020

Rockgut Troggoth Part 9. “Lob it, don’t drop it!”

Rather than writing a great long post I’m going to keep things fairly brief and make this a photo-focused piece.

It’s been a whole year since I actually finished a project! Not that I haven’t been busy since but a combination of workshops, long term projects and life in general has kept me on the go without actually getting to the end of a project. Until now that is because my Troggoth/Goblin project, now titled “Lob it, don’t drop it!” is finished!

If your not already sick to death of seeing my Troggoth here are a few close-up pics showing the detais (and brush marks).

I’m going to talk about how I brought the all elements together and finished the project in my next posting.

But in the mean time I have cause for celebration. I’d been looking forward to the Iron Skull painting competition for some time but, until the end of last week, it was looking like I wouldn’t have anything to bring along. With everything that happened at the start of the year my thoughts were not on painting or competitions.

Then when my Troggoth project came together, in what I can only describe as a super productive painting frenzy (again more on that next time), I suddenly found myself with an entry. Not that that prevented my usual pre-show nerves and jitters but they were rewarded with a major success!

The Iron Skull Trophy for 'Best in Show'
Gold Trophy for Scene/Duel/Diorama

I’m so very pleased and proud that my Troggoth won gold in it’s category Scene/Duel/Diorama. Then, to make an already great day even better, it went on to win Best in Show!