Category Archives: Tutorials

Colourful Cavalry, Part Two

Horses in colours other than brown!

Armour in colours other than silver!

Dogs and cats living together! Chaos and disorder!

Well, something like that. Horses and armour, at least.

I realized that all twelve horses for my regular ECW cavalry are all brown. Every last one of them. There’s a bunch of variation in tone, mane colour, stuff like that, but they’re all bay, which is horse-speak for brown. Well, some of them might be chestnut, which is horse-speak for “lighter reddish brown”, more or less. For the six horses I needed for the current batch of cuirassier I decided to mix it up a lot. There’s a white horse, two different shades of grey, two different bay, and one black horse.

All six cuirassier horse. Hair, mane, and tail all done. Hooves, tack, and some details still to do. Click for larger.

Unfortunately I totally forgot to write down any of the paint mixes or layers I used for this batch of painting, so I’ll have to re-invent the wheel, or at least the horse paint, next time I do horses!

For the armour, I put pins up into the backsides of all six cuirassier, making them extra-long to make painting easier. Then I used a scrap CD, two lengths of scrap wood, and my hot glue gun to create a very useful little painting stand, seen in the photo below.

All six riders got all their armour basecoated bright silver (Reaper’s True Silver), then various inks and washes were layered over to try for a treated-metal appearance as discussed in my last post on coloured armour.

GW’s washes don’t work as a base layer for this, I discovered right away. They’re not designed to stay on flat surfaces particularly well, although they shade crevices and lower areas of a surface very nicely. I used India ink for the three blacked armour sets, Reaper’s Red Ink for the russeted armour, and FW Artist’s Acrylic Inks for most of the rest of the colour.

The three blacked armour riders were basically done after one coat of thinned India ink, and then I went back in with metallic paint to do some of the edges and highlights, especially on the rider in the foreground of the photo with the hammer and plume.

Armoured riders. Front right blacked with silver edging, rightmost russet, two background guys both blacked, blued armour on the far left, then the second russet armour guy foreground centre. Click for larger.

The two russetted armour guys and the one blued rider (far left) got at least a couple of more layers, including either very, very thin India ink or GW’s Nuln Oil to darken the bright initial ink coat. The blue guy especially looked incredibly bright and weird after his first coat of just blue ink – my girlfriend saw him and said, “Seventeenth Century Power Ranger!” and damned if she wasn’t right…

I’ve also discovered that these guys are nearly impossible to get a decent photo of in their current setup, the above blown out and fairly crap photo is less crap than all the rest. I’ll try for better pictures once the riders and horses are all attached to each other. Still to do is boots, saddles, faces, and weapons.

I’m really pleased with how these guys are turning out so far, and I think they’ll look great on the tabletop once they’re all finished. Ink over silver is definitely a win for doing coloured armour!

Colourful Cavalry: Armour as well as horses!

I’ve posted links to horse painting articles and tutorials before, including the exhaustive “horse of a different colour” series over at Trouble at t’Mill. Mike even gives you some rough math on what colours any given troop/regiment/herd/group of horses should be: “One tip – if you’re batch painting, the maths works out roughly that you should pick out your hero horses that are going to be fancy colours, then split about a quarter of the rest off and earmark them for chestnuts, split a quarter of the leftovers from those off and earmark them as blacks, and paint the rest (which should be a bit over half) bay. The further back in history you go, the fewer chestnuts you’ll probably have.”

But what about the riders? Unarmoured or mostly unarmoured riders provide obvious opportunity for colour, depending on the army or era you’re modelling, but if it’s knights or early 17th Century cuirassier in full plate it’s all going to be silver/grey metal armour, right?

Armour can, in fact, be lots of colours than just “shiny metal”. It probably should be, in fact. Blacking, russeting, or even painting seems to have been fairly common. Keeping armour “white” (shiny) was a lot of work on an ongoing basis so a lot of munition-grade ordinary armour was finished in some way.

A lot of the armour in museums that’s shiny these days probably shouldn’t be. As the Wallace Collection says on their website about one partial suit of 17th C armour, “Like the others of its group, this one originally had a ‘black-from-the-hammer’ finish, but was polished bright comparatively recently, almost certainly in the 19th century.” Another thing we can blame the Victorian era for!

Russeting, blacking, and other forms of surface finish are done with various oils, acids, and other chemicals along with heat to seal the surface of the metal and protect it from rust and other corrosion. An interesting and informative thread over on My Armory (an arms/armour collector and creator forum) talks about various historic and modern treatments and the various shades that can be achieved. One essay on russeting I found uses modern Clorox bleach and baby oil!

There’s a great essay on the Met about decoration and surface treatment of armour. From that essay:

Heating metal produces a coloration of the surface, which changes from yellow to purple to deep blue as the heat increases. When taken out of the fire at a particular temperature, the metal retains this color. Considerable skill is required to achieve a consistent and even heat-patination of large areas (e.g., a breastplate) or groups of objects (e.g., a complete armor, 32.130.6
). The favored color for armor, edged weapons, and firearm barrels was a deep blue, in a process is referred to as “bluing.” A range of colors could also be produced chemically, using a variety of different recipes, such as a rich brown color that was popular on firearm barrels in the late eighteenth and nineteenth century. Besides being attractive, patination and painting also inhibit rust on metal surfaces.

This gorget is contemporary with the English Civil War (c. 1640) and is blued with gilt edging. Image off the Wallace Collection website. Click image to see the listing there.

The entire Wallace Collection website is well worth looking through, by the way. It includes a huge collection of arms and armour through the ages, and a really well organized Advanced Search function to make things (slightly!) easier to find.

Also from the Wallace Collection is a “black and white” set of cavalry armour, almost certainly from an officer, with distinctive polished/silver bands around the edges of otherwise blackened armour. The Wallace writeup say, “Most military armours worn by lower-ranking troopers or infantrymen were left ‘black from the hammer’, that is, the metal was worked only up to the point when the armour would function as required. The surface finish was left black and hammer-marked. Bodies of cavalry wearing such armour were therefore often described as ‘Schwarze Reiter’- black riders. The armours of officers commanding groups of men armed in this way often had the bands and borders of their armour polished bright, producing the distinctive visual effect characteristic of ‘black and white’ armours.

For a straight-up painted helmet, this one is 15th C, much earlier than the period I’m currently concerned with, but had red and white (now discoloured almost to yellow) paint that is still colourful and must have been spectacular when it was new. I don’t think, from what I’ve seen, that full on painted armour was still current by the mid-17th C, but blacked, blued, russeted, and even gilded surface treatments were certainly in regular use.

When it comes to miniature painting and armour, I’m thinking that the best way to represent coloured armour would be a metallic base coat and then inks or washes over that. I’m going to do some experimenting on the six cuirassier current on my painting bench and will report back!

Incidentally, if someone managed to save a copy of the Games Workshop article from back in 2011 I once linked to here I’d love to have it. I recall it opened with joking about how the author just painted all horses brown until his daughter told him his horses were boring, or similar!

Modular River, Part Seven: Resin Complete!

Hope everyone had a good Labour Day long weekend, if that’s a thing for you, and a good return to school, if that’s a thing for you and your family!

My hobby time has been really minimal the last while, both because the weather has been awesome, and because of whole piles of family stuff going on, both good and bad.

I’ve nevertheless managed to get the last of the resin water poured into the river modules, and touch up some of the earlier pieces done with epoxy glue with a skim of pourable resin to improve and harmonize all the water on all the segments. The two corner pieces done with epoxy had gone quite matte when the glue cured fully, not like the full gloss the resin retained.

A ten segments (and the pond test piece) laid out on my floor. Click for larger.
Another mediocre picture of my floor, but the only passable shot I have so far of all ten segments all at once. Click for larger.

Not quite done with these river segments yet, though. The ends of each segment needs cleanup. There’s bits of blu-tak that have bonded to the resin and will need to be scrapped off, a little bit of overflow resin to carve off, and most of the segments have little ridges at each end where the resin has crept up the tape-and-craft-stick dams at the ends of the segments. I’ll need to carve those off carefully with a sharp knife, and might need to mix a tiny batch of resin to patch a few bits.

After that the flocking on the banks all needs to be re-done; I’ll just cover over the existing flock with a new layer after the thinned matte medium went all milky.

Looking forward to getting this project done and onto the table during an actual game, it should look pretty damn good and I’m happy to finally have a high quality set of river segments at long last!

Some of the segments laid out on my desk for inspection. You can see some of the bits of blu-tak on the ends, and the milky stains on the flocking. The water looks great, though! Click for larger.

Modular River, Part Five: Resin Water Effects

I had used basic hardware store 5-minute epoxy glue for the swampy pond test piece, and had more or less intended to just keep doing that for all ten river segments. I did the two smaller corner/curve river segments as a further test, and was really irritated when one of them came out all lumpy and matte instead of glossy.

Two corner segments done with 5-minute epoxy glue. Click for larger.

I also realized that given the price of 5-minute epoxy, actual casting epoxy resin was actually going to work out cheaper for this whole project, especially given that 40% off coupons for large chains of craft stores are a thing! I picked up some EnviroTex Light Pour-on Epoxy from the aforementioned large craft store, for a total cost of about three more tubes of 5-minute epoxy after that useful discount coupon.

First resin pour on one of the full-sized river segments! Click for larger.

One US fluid ounce of resin nicely fills one of the full size 12″ long river segments; I could probably cut the quantity down just a bit, even. I did the resin pouring in an old cafeteria tray I use to help contain potentially messy projects. The dams at either end of the river segment are hardwood craft sticks (tongue depressors) wrapped in packing tape, secured with more packing tape from underneath the river segment and then further secured with blobs of blu-tak. I also pushed more blu-tak in along the edges of the river banks to block up possible gaps there.

As far as I can tell everything has gone smoothly with this first pour; I did it last night in bad light, working on our back patio to keep from stinking the apartment up. The Pour-On product is much less volatile and stinking than 5-minute epoxy glue, though! I didn’t see any leaks onto the tray and everything seemed to be cured up OK when I checked this morning before work, too, although the material info does warn this stuff takes up to 72 hours to full cure.

I’ve got seven river segments still to do water on – five more long straight pieces, the bridge, and the ford (both 6″ long) – so at one piece a day it’s going to be sometime next week before I can put the epoxy away.

The resin is much, much more aggressively self-levelling than the epoxy glue. I might go back and do a few ripples with gloss medium just so the river water doesn’t look completely still and stagnant. The one curved river segment that went all lumpy is going to get a very thin skim of resin to fix that and get a proper wet glossy look, as well.

At that point, once all the epoxy has cured hard, I need to go back and fix the flocking along the river banks. If you look at both photos above you can see some white staining on the banks. I put a coat of dilute matte medium over the flock, which I’ve used before many many times to properly secure flock and foliage on terrain pieces, and this time it left a distinct milky residue behind. I painted over that where it had stained the river bottom, and once the resin water is properly hardened I’ll re-do all the flocking to fix the discolouration there.

I’ve never had a matte medium and water (or white glue and water) mix do this to me before, in years of using it to secure terrain material of all types. Any readers have any good ideas about what the heck happened here?

Swampy Pond Resin Water Test

I started a pond as a test piece just before starting the whole river section project, and it’s been progressing one or two steps ahead of the rest of piece all along. Like the river pieces, the base is sheet plastic styrene with air drying clay for banks, and it was then covered in fine sand before being primed black.

It got painted and decorated with various foliage bits, and after letting all of that dry for a bit I tried out a new-to-me water effect with cheap resin 5-minute epoxy glue.

Pond all painted and foliage’d with flock, static grass, and tufts from various sources. Click for larger.

For water I’m trying out ordinary hardware store 5-minute epoxy glue, as shown in one of Luke’s APS YouTube videos on water effects – this link is to the main channel page, as I can’t remember which of his water videos actually talks about epoxy glue for water. Sorry – will update if I find it!

Anyway, I squeezed the 5-minute epoxy right into the pond bottom and mixed it with a scrap stir stick. There was a brief scare when it went all silvery while I was mixing part of it, but that cleared up right away, thankfully.

I wound up using three overlapping small batches of epoxy to fill the pond to the current level, then left that for 24 hours to fully cure.

The pond with the first batch of 5-minute epoxy water curing. Click for larger.

It needs a bit more epoxy around the outer edges as the first pour didn’t get right in under and behind some of the reed bunches, but I’m really happy with how it’s going so far! For the second pour I’m going to try getting the epoxy glue a bit thinner by warming the dispensing syringe with a hot water bath before squeezing it out.

Modular River, Part Two: The Bridge Begun

Realized I forgot to include the photo of the river modules with the air drying clay banks in place, so let’s start off with that! I rolled clay snakes out, mushed them into place, and left everything to dry.

Clay banks in place on some of the river modules. Click for larger.

On to the actual subject of this post, the bridge! This river project is initially intended to go along with my English Civil War pike & shot project I’m painting figures for, so I started with a classic stone arch bridge. The base module is one of the two short river modules, so it’s 6″ long and 6″ wide. I decided to make the roadway portion of the bridge 50mm wide, which will fit at least two foot or cavalry figures side-by-side, or a wagon or vehicle. The whole bridge is roughly 5.5″ long, more or less.

The roadway is three layers of light card (90lbs or so) laminated together with white glue and left to dry under a couple of heavy books. After that dried overnight I cut it to length to form the arch, then glued more small rectangles of light card to it for the flagstone bridge surface. While that was drying I superglued two little strips of card in place on the styrene base to hold the arch in place – you can see them at either end of the roadway in the picture below. These gave the roadway something to be braced against while I superglued it into place.

The inner arch was formed similarly, although I only used a single layer of card as it won’t be exposed in the final model.

For the sides I started with an offcut of one inch thick pink styrofoam insulation. I marked the roadway and inside arches on the side of the piece with a pencil, then carefully cut the curves and the end pillars with a brand-new Xacto blade before slicing the entire piece in half lengthwise to get both sides of the bridge. They were glued into place with white glue – you can’t use superglue on styrofoam, it melts! – and braced with various heavy things overnight so they dried in place.

The bridge with sides held in place while the white glue dries, top-down view. The figure on left is on a 25mm wide base. Click for larger.

After the whole assembly had dried for about six hours or so I started carving the stone sides, using my usual combination of an Xacto knife and a pencil. Cut patterns with the knife, then open up the cuts with the pencil for a nice easy stone effect. I also used a ball of tin foil to add a bit of stone texture to the sytrofoam; I might yet go back and add more to the parts that are still too smooth.

Carving started on the walls of the bridge. Horseman is on a 20mm by 40mm base. Click for larger.

After doing the carving I decided to put a row of capping stones across the tops of the arches and pillars. Making them out of heavier matt board (picture framing card, one of my favourite building materials) means they’ll protect the styrofoam sides of the bridge, much the same way a harder stone like slate is often used to protect a more carveable stone! I cut a strip of matt board then chopped slightly different sizes rectangles from it, to make the result more varied and interesting.

Cap stones in place on the arches and pillars. Click for larger.

To add texture, especially to the card, and to help protect the whole structure a bit more, I put a coat of GW Liquid Greenstuff over most of the bridge and, for now at least, declared construction finished! I still need to do the river banks, obviously, and might yet add some small buttresses to the sides of the end pillars of the bridge. The stonework might need more texture, too, but I’ll wait until I get a primer coat of paint on it before making that decision.

Liquid Greenstuff applied, bridge construction basically done. Click for larger.

Finally, here’s a miniature eye shot (more or less!) of one end of the bridge looking up the roadway. This shows the flagstones of the roadway nicely; I’m really pleased with how they turned out. Individual little rectangles of light card is a painful way to do flagstones, but it does look good! You can also see the card strip I glued down to brace the road arch in place; I’ll eventually cover that in clay or putty to disguise it as flagstones or hide it.

Low level view across the bridge! Click for larger.

The main river modules are also proceeding, all the clay banks are straightened and glued down, so I might be able to get texture on them in the next few days, although we’re going to have a house guest in our spare room (usually my workspace/man cave) for all of this coming week!

Modular River, Part One

A relatively large modular river setup has been on my Things I Want To Build list for years. I went through the excellent set of scenarios that come with Pikeman’s Lament recently with an eye toward what additional scenery I might need to do them properly, and one of the scenarios is a bridge seizing/river crossing that needs a river the long way down the table — suggested table size for Pikeman’s Lament being 4’x6′.

Perfect, a good reason to shunt the river project to the front of the queue as my summer project! It’s also universal scenery that I can use on pretty much any of my tables, possibly with alternate bridge modules eventually to better match, say, my Russian Civil War setup or even Infinity’s cyberpunk future!

To check proportions and the basic idea I fired up Inkscape. You can work in real-world units in Inkscape really easily, so it’s ideal as a super-basic quick layout tool, faster than doing things by hand on graph paper and cheaper than wasting materials! I decided on 6″ wide modules with a 3″ wide river in between 1.5″ banks, which will let me put lots of flocking and foliage along the banks. The bridge is 50mmm wide across the road part, which gives enough width for at least two figures across and will accommodate figures on 40mmm wide multibases as well.

Screenshot of my river planning setup in Inkscape. Top is testing different river widths, bottom is messing with different module layouts. Click for larger.

I started construction by buying a 4′ by 2′ sheet of .040 (~1mmm) styrene plastic sheet from our excellent local plastic store, Industrial Plastic & Paint. The big sheets of bulk styrene are identical to the 8×10 pieces you buy in a hobby store but much, much cheaper! I cut two 12″ by 24″ pieces, enough for six 12″ straight river modules, two 6″ long short modules, and a pair of curve pieces about 3 or 4″ long. That’s enough river to get from one side of a 6′ long table to the other at an angle, and keeping the bridge piece on one of the 6″ short modules makes placing it more flexible.

The long straight sections aren’t perfectly straight, incidentally. I offset each one by about a half inch, so the river will wander back and forth a bit on the table, or angle gradually one way if you align all the long pieces the same way. The long sides are cut slightly irregularly and then sanded down to smooth out any jagged edges from the scissors.

Styrene sheet all cut out for the rivers. Six 12″ straights, 2 6″ straights, and two short curve pieces, over 7 feet of river all told! Click for larger.

There are cheaper material than .040 styrene, even at bulk rates, and there are certainly stronger materials, so why thin styrene? Because it’s thin, strong, and waterproof. I dislike scenery that stands up really high off the table, the styrene is going to be strong enough provided nobody abuses it, especially once all the clay, sand, glue, more glue, etc etc is on it, and I can slop paint, water, and glue around with abandon without anything warping or being destroyed.

For the banks I decided to use air drying clay and picked up a cheap pack at one of our local art stores. I marked the 3″ standard width of the river on the ends of all the styrene pieces, rolled out snakes of clay, and mushed them into place with my fingers. Good old kindergarten-level stuff, nothing fancy. Keep a little pot of water handy to wet your fingers in and smooth the clay.

The best way to use air drying clay is actually to put a layer of white glue down on your base material, and then mush your clay around on top of the glue. They’ll dry together and bond to the base material. I didn’t do this, so now I’m gluing the dried pieces of clay back to the styrene… this does give me a better chance to correct any warping caused by the clay drying, which has happened. Gently bending the clay straight then gluing it down with a weight on top of it – I used figure transport cases – has so far sorted out all the warping issues.

A thicker more heavyweight base material wouldn’t have warped, but see above about disliking scenery that stands too proud of the table surface. Always about the tradeoffs!

With the clay done on all six straight long modules, the two curves, and one of the short straight modules – which I’m doing up as a shallow ford – I started building the bridge on the last short straight module. More on that soon!

Stone Outbuilding Finished

Glued down the towel thatching, slapped a coat of paint over the small stone building, added the door, and declared it done!

The towel got cut into a rough rectangle, big enough to hang an inch or so over the edges of the cardboard roof on all sides. I used a hot glue gun to glue the towel over the cardboard roof, including wrapping it around the edges and underside of the sides of the roof. This gave the roof the nice thick edge you see on a lot of thatch roofs. To fit the roof around the curve at the rear of the building I cut up to the peak of the curved part and layered the towel over itself further down, trimming a bit away so the overlap wasn’t too large.

Adding black paint and glue to the roof. Click for larger.

The first layer of painting was actually a mix of paint and white glue, generously applied with a fairly large brush, with a bit of water to help move the paint around. Towel soaks liquid up like, well, towel, so expect to use more paint and more glue than you first thing you’ll need! After this mix has dried overnight it’s really solid and gamer-proof. One of the reasons I usually use a tan or off-white towel for thatch, even though I always paint over it, is that any bits of towel that don’t get painted still look reasonable, which wouldn’t be the case if I used a colourful towel &mdhas; thatch ain’t usually blue or red…

Basecoat on the thatch, with the farmhouse in the background and a 28mm Warlord pikeman for scale. Click for larger.

After the black paint has dried overnight I drybrushed various shades of brown and tan over the thatch, ending with a fairly bright yellow-tan colour mixed with a bit of white, applied mostly along the ridgeline and edges of the roof, just to make them pop a little. As with the base coat, don’t bother using a small brush for this, I used a 3/4″ wide cheap house painting brush for all of this work!

The stonework had also been based black. I put a few blotches of green and brown down here and there, and then drybrushed a dark grey, a pale grey, and finally a mix of pale grey and white over the stones.

I didn’t get a photo of the door, but it was done on a rectangle of light card with narrow pieces of scrap wood from coffee stir sticks, glued down with hot glue, then hit with a heavy dark wash (mostly GW Nuln Oil) so it looked like heavily weathered wood.

Painting all done, just the door left to install. Click for larger.

Stonework from styrofoam is a lot of fun and fast to do; I might do a few more stone cottages or something eventually. Maybe a ruined abbey or something suitable for pulp/English Civil War crossover gaming? We shall see!

A Quick And Simple Pond

I’ve been wanting do some more area terrain – mostly flat pieces to serve as rough ground, forested areas, and the like – for a while now. With the move back into ECW skirmish and terrain building for same, I’ve decided to start with a set of low profile stream pieces that can be used on practically any table.

As a test piece, I started with a small duck pond, about 3 inches long and 2 inches wide or so.

I started with an offcut of relatively thick styrene sheet (plasticard) that I think is either .030 or .040. I chopped it to roughly the shape I wanted with an Xacto, then sanded the edges smooth and beveled them slightly.

Styrene base for the pond. 28mm Warlord pikeman on a 25mm base for scale. Click for larger.

Styrene sheet isn’t the cheapest material for terrain making, but it has a number of advantages for this type of terrain. It’s sandable, making it easier to smooth down corners and edges. It’s waterproof, so you can slop paint, water, and glue around with abandon and not worry about ruining your base material. It’s also stronger than similarly thin card and more resistant to warping. I’m using an offcut of Evergreen sheet styrene for this particular pond, but for future use I plan to go down to our local plastic supply place and buy a big 2 foot by 4 foot sheet of .030 or .040 styrene; it’s sold in bulk for signmaking and other applications and it’s much, much cheaper to buy it at that scale than in the little Evergreen or Plasticraft packages at a hobby store!

For the shoreline of the pond I used a long thin “snake” of Milliput, rolled out to about 2 or 3mm across. I mashed it down with my fingers, keeping my fingertips damp while working to prevent the Milliput from sticking to my hands. I tapered the outer edge down to the edge of the styrene sheet and kept the inner edge fairly vertical but only a couple of millimetres tall. Pushing your thumbnail up against the inner edge of the Milliput is an easy way to achieve this, although you could use sculpting tools too!

Shoreline in place with Milliput. Click for larger.
After letting the Milliput dry overnight I painted the whole thing brown. The outer edge got a couple of different shades of brown scrubbed on to look appropriately muddy, and the pond water is a greeny-blue with some brown added to the centre to make it look slightly deeper.

With all the paint thoroughly dry, I added several layers of white glue over the pond to give it the appropriate wet look. You could easily use gloss varnish or even a thin pour of clear or tinted resin here, but the white glue I’ve currently got dries to a high gloss and looks good as water so that’s what I used. I did one coat of white glue mixed with little bit of GW sepia wash to tone down the blue-green paint a bit.

Basic painting done and first layer or two of gloss glue in place. Click for larger.

When layering gloss varnish, glue, resin, or whatever water-representing material you choose, it’s important to let each layer – and any paint that will wind up underneath it – dry completely before adding the next layer! Forgetting this will get you frosting and/or bubbles and other inclusions in your layering and could really screw the look of your water up. Paint that isn’t dry properly can also crack or craze under a sealant layer and really screw things up.

I’ve got a set of 28mm ducks coming from Warbases soon that I’ll be added to this pond for some extra character. I added some flocking and tufts along the banks after the last coat of gloss had dried.

Half-Timber Dovecote, Dampfpanzerwagon Style: Part One

As I mentioned in my last post about the things I brought home from Trumpeter Salute, one of them was a copy of Issue #87 of Wargames, Soldiers, and Strategy, their ECW special. One of the articles in there was by Tony Harwood, also known as Dampfpanzerwagon around the internet, including on the Lead Adventure Forum.

Wanting more buildings suitable for an English Civil War game (and possibly for early 20th C pulp games set in the English countryside!) I decided to build my own version of Tony’s dovecote. It’s a great building for wargaming, having a minimal footprint but nice presence because of it’s height.

My version of Tony’s dovecote has walls 60mm wide and a total footprint, including minimal base, of about 65mm by 65mm. It’s 120mm (12cm) to the tops of the walls. I haven’t actually measured to the top of the roof, but it’s somewhere around 20cm or so total height.

Dovecote started, with the finally-completed barn on the left! Click for larger.

The walls and base are 1/16th” matt board (picture framing card). The stone foundation is thin (about 1/8th” or so) styrofoam insulation, carved with an Xacto blade and pencil. The half-timbering is all wooden coffee stir sticks, most of them split lengthwise to make narrower beams.

The half-timbering took a couple of hours all told, done in bits and pieces in between household chores on a Saturday. Do the big vertical corner beams first, then the horizontals, then the infill verticals or diagonals. The pattern of the half timbering is slightly different on all four walls, which seems pretty typical of this sort of Medieval/Renaissance building!

Roof structure installed, half timbering done. Click for larger.

The central “tower” on the roof is more 1/16th matt board, 20mm a side. The sloping pieces of the main roof are lighter card, cut to fit by trial and error. The tower roof is a scrap of styrofoam insulation, cut with a fresh Xacto blade into a four-side pyramid. All eight roof surfaces will get “slate” tiles from medium weight card, and the top of the tower will get some basic detailing from card as well.

For texture in the panels between the timbers, Tony uses air drying clay in his original dovecote. Lacking air drying clay, I’m trying out stippling a fairly heavy coat of white glue over the card. I’ll slap some paint over it soon and see how it looks; the white glue I’m using currently dries very glossy which makes it hard to see how much texture I’m actually getting.

The dovecote at the far end of the table during our first games of Pikeman’s Lament. Good game, look for a proper review here sometime soon! Click for larger.

On to roof tiling and paint!