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Tips for Contest Entries – Part 1

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In person conventions are back on the calendar, and with them many opportunities to enter painted figures in contests and shows. Online contest opportunities will continue for those unable to attend an event in person. I’ve been entering figures into online and offline contests and shows for years, and have also acted as a judge at several. I want to share some suggestions to help you show off your work to best advantage. Even if you’re not interested in contests, many of these tips are relevant to anyone looking to improve their work.

I also have an article that explains the different formats and terminology used in miniature contests. It includes links to upcoming events with miniature contests.

Beckley displayElizabeth Beckley’s contest entries at the Atlanta Model Figure Show.

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1. Build a Solid Foundation

Judges assess entries not just for painting quality, but also overall craftsmanship. Minor issues can make or break your chances in a top three contest. Imagine that the judges are considering two figures for third place. The pieces are fairly equal in painting skill, effectiveness of colour scheme, etc. The judges have to look for small things done better or worse. If they spot noticeable mould lines, a gap in a join, or some other kind of workmanship issue, that makes the choice for them. If the situation were choosing between a piece that was slightly better painted but has construction problems versus one that is well constructed but slightly less inspired in paint, the latter might win.

The importance of this varies some with category as well as with each contest, but the point I want to make is that if you’re looking to be competitive in contests, you need to practice your hobby skills as well as your pure paint skills. In an open show like the MSP Open this aspect is a smaller part of what is considered in the Painter category, but basic or egregious issues could still affect your top medal placement potential. It is a larger part of what is considered in the Open category, and is important for placing in the top three in the manufacturer categories.

Areas to consider:

Mould Lines
We all hate ‘em. They’re a pain to deal with in every material. At a minimum you should remove pronounced mould lines or those that travel over prominent areas viewers will easily see. This would include on the face and areas of skin in general, and large smooth expanses like a cloak or robe. For the MSP Open, mould lines would not affect your ability to place Bronze, but start to be more of an issue for being awarded Silver or Gold.

MouldlinesMould lines on a plastic figure coated with a layer of paint (left) and bare metal figure (right).

Assembly Gaps
When you glue an arm or a head on a multipart figure, sometimes there is a gap at the join. So instead of the appearance of smooth flesh, you have a crevice at the shoulder or the elbow. These are best addressed prior to painting. Modelling paste works well for small gaps. You may need to use a two part putty like Greenstuff or Milliput to fill large gaps. Putties also add to the structural integrity of joins. You can use these same materials to fill gaps on pre-assembled figures. If you have a pre-assembled figure that has excess glue in the join areas, you can carefully chip it off with a hobby knife.

GapAn assembly gap on a plastic figure. Metal figures can be even more problematic since different pieces may experience different levels of mould compression in casting.

I recommend using pins when you glue parts together, particularly on metal miniatures, and particularly for gaming miniatures. This increases the strength of the join and reduces the chances that the join will break during transit or handling. This is less of an issue for lighter weight plastic or resin miniatures. 

It’s easiest and most efficient to complete all gap filling and assembly prior to beginning to paint, but sometimes that is not possible. When it is not, try to dry fit all the pieces to check that they go together as well as possible. Paint what you need to paint to be able to assemble. Be prepared to have to do a little gap filling and paint touchup after assembly.

Floating Feet
It’s fairly common to attach a figure to a base via a pin in one or both feet (or its cloak or whatever part is touching the ground.) It’s also fairly common for this attachment to not be 100% flush, even if it looked like a tight fit when you did your dry fit test. This is another gap that needs to be addressed. If the feet or clothes that are supposed to be touching the floor appear to be floating above the earth, it breaks the illusion of the scene, as well as being a craftsmanship issue. You can use the same gap fillers as with figure assembly. It is worth filling the gap and doing a little repainting even if this occurs when gluing a fully painted figure to a fully painted base in the end stages.

Floating feet crI learned to plant the figure on solid ground early on, so I don’t have a lot of examples at hand. The figure in the above photo is pinned via the opposite foot. This foot was glued down, but has broken free of the glue and is floating. A photo of the solid footing version is included in the Category Divisions section below so you can compare.

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2. Paint the Base!

Most basing materials need to be painted. Even if the sand or gravel you used on your base is a suitable colour of dirt or rock for your scene, you should paint it. The reason we add washes/shadows and drybrushing/highlights to figures is because they don’t really look three dimensional under standard lighting. We are simulating the effect that in-scale lighting would have on the figure. We need to paint the basing material for the same reason – so it looks in scale with the figure. Painting both the figure and the base also helps join them together as being a part of the same world. It gives you the opportunity to use some of the same colours and unify your colour scheme. Like if you used a dark blue or brown on your figure’s cloak, you could use the same colour as a wash on your stones or earth. I often use lighter colours I used in painting the flesh or leather for the lightest highlights when drybrushing stone or dirt.

(I learned this tip soon after I started painting so I don’t have a convenient example, but will try to add one as time permits.)

Materials like static grass, undergrowth, and leaves may not need to be completely painted, but they often still benefit from a little paintwork. For example, applying a wash on the grass with a shadow colour from your figure can help unify the scene or dull down bright grass that might compete for attention with your figure’s gritty colour scheme. Drybrushing the tips of the grass/vegetation can also contribute to your scene. You can use a light greenish-yellow if you want the grass to look healthy, or a brown or tan if you want it to look like it’s dying. Adding some paint to your basing materials helps you tell more of a story as well as looking more realistic. I recommend doing some tests on adding paint to your materials prior to assembling your contest entries. I’ve had some grasses and vegetation that resisted the paint a little and caused spatters. With these I paint them off of the piece and then glue them on once the paint has dried.

At the MSP Open, unpainted basing materials are a very common issue that we see with first-time entries. It’s not a deal breaker for placement at Certificate or Bronze, but it does affect consideration for Silver and Gold.

3. Clean up Your Act

Quick and even slapdash may be the order of the day in getting a figure to the game table quickly, but entries with a high degree of finish tend to place better in contests. This is particularly important in top three style contests where the discovery of an unpainted area or unplanned paint spatter or streaks can make the decision for a judge who is torn between two figures for a placement.

During the construction phase, check for excess glue, basing gravel drifting onto the base rim, and similar types of things that might look a little sloppy, and tidy these up as best you can. After the painting phase, carefully check the figure for stray streaks of the wrong colour paint, bits of primer showing through, or a small item you completely forgot to paint. (It happens. A lot!) Taking a photo of your figure from a few different angles can be very helpful to spotting those things.

Paint streak

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4. Consistency Counts

People often think that use of a ‘flashy’ technique is required to do well in a miniature painting contest – something like freehand, source lighting, texturing, weathering, non-metallic metal (NMM). Those techniques can be good ways to demonstrate brush skills, creativity, and an understanding of light. And since so many people think of those as difficult or advanced techniques, they can certainly attract votes in popular vote contests. 

In contests and shows judged by experienced painters, however, it isn’t always the case that you ‘need’ to use a technique like that. If you do try a flashy technique, the judges will assess how well you executed that technique/effect in addition to considering the overall painting skill you demonstrate on the piece. It’s also important to remember that the judges are looking at the figure as a whole. If you painted some jaw-dropping NMM on the metals but just a basecoat and a wash on the leather, both are factored into the judges’ assessment. Many competition painters have been in a situation of having spent hours and hours on the main parts of their piece only to run out of time and have to phone in a few areas, and it has made the difference in where they placed, or if they placed at all.

Another way to think of it is this – your figure isn’t being judged only on the single best part of it, or the single worst part of it. The judges are looking at it as a whole, both in terms of how well you convey the story and character of the figure(s), and kind of calculating an ‘average’ of your hobby and painting skills.

Brefore after new frontI entered the version on the left in a contest. I ran out of time before I could add wood grain texture to the staff. When I went back later to paint that in, I also realized that some areas did not have enough contrast, and I adjusted those, too. These were some sections of the non-metallic metal, and increasing the texture on the leather parts, which is most noticeable on the staff. The level of detail and finish on the staff does not match the rest of the figure. There is a close-up below. (Any differences in colour, as on the hair, is due to the photographs.)

Before after staff cu crIn this close up of the staff you can see that I added both texture and also more contrast. Compare the shadows in the crevices and under downward facing curves in the before and after versions. The after fits better with the levels of contrast and detail on the rest of the figure. In MSP terms, the original version of this figure would probably have been awarded Gold level, but it’s possible that one or more of the judges might have judged it Silver quality based on the weaker areas.

In the MSP Open (and other show style contests), people are often surprised at which figure from their display that we choose to judge. Usually they expect us to judge a piece where they used a difficult technique that they struggled over. Sometimes we chose another figure than expected because we feel it comes together as a whole better, or that it displays your overall skills to better advantage. The fact that something felt simpler to paint doesn’t necessarily make of lower quality than something that felt really challenging. It may have felt simpler because you were using skills that you have more mastery over.

Note that painting a figure to completion or consistently throughout doesn’t mean that you should paint every area with the same amount of contrast, the same number of layers, etc. If you read the Focus section in my Mistletoe Goblin post, it gives some examples of making decisions to emphasize some sections of the figure and deemphasize others to create areas of focus. The basic idea is that you need to paint the boots or the belt pouches so they look finished and like real items that are part of the scene, but you only need to paint them enough for that. Then focus the bulk of effort and bright colours/contrast/interesting effects and so on in the key areas of attention, like the face.

Bugbear before crNote that consistency is relevant to all levels of entries. The skin, pouches, and shield of this bugbear are painted with good contrast. Some other areas are painted decently but not quite to the same standard. The face isn’t all defined or interesting to look at, and there are a few other sections that are just flat basecoats. In MSP Open terms, the pouch and shield might be Silver level painting, but the face is Certificate level, and other areas are Bronze level. This would be awarded Bronze at best. (Award levels cited are for example purposes only.)

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5. Read the Rules!

I know it sounds obvious. But ask just about anyone who’s entered contests for a while and they’ll have a story of how they or someone they know was disqualified from consideration for rules-related reasons. Misreading the rules can also result in entries being shifted into a different category than you expected. Read the rules before you begin working, and then read them again while you’re working. I’d go ahead and read them again just before the event, as well. It’s easy to misread something or confuse it with how the rules work in another contest.

Many contests tweak their rules from year to year, so even if you’ve entered that contest previously, it’s best to read this year’s rules to be certain you’re familiar with them. Unfortunately It is not uncommon for contests to take a while to upload the rules each year. All of these efforts are organized by volunteers and can take much more coordination with other entities than you might imagine, so delays are often unavoidable. If you need to make an early start on an entry, you may need to proceed as if the rules will be similar to the preceding year, and hope you can shift gears a little if something does change.

I’ve made rules-related goofs myself. Long ago Reaper ran a monthly contest on their forum. The rule at the time was that you could show multiple views of the figure, but each photo had to be uploaded individually; you should not combine them into one large picture. I combined, and I was disqualified. On another occasion, I entered a unit into the contest at Gen Con. I assumed the rules were the same as the previous year. When I arrived at the event I discovered the rules had been updated to require that units be submitted on a movement tray, and I found myself scrambling to buy something from the vender hall and paint it flat black with paper towels in order to be able to submit my entry.

Crew frontPaper towel and black paint to the rescue!

Areas to look out for particularly in the rules are:

Size
There may be a size limit for entries based on the available display space. Sometimes people with larger entries are asked to contact contest management in advance to check if there is room or reserve space for their entry. Remember that the size applies to all three dimensions. Sometimes the limitation is in place because of the height or width of display case shelves.

Category Divisions
Many contests divide entries into different categories. These may be based on subject, size, number of figures, or other criteria. Make sure you understand the guidelines for a category you plan to enter as well as possible. One contest might consider a piece that depicts a victor with a subjugated victim at their feet a single figure and the victim is just scenery. Another contest might rule that the piece is composed of two figures so it can’t be entered in single figure. Be aware that most contests reserve the right to shift entries to more suitable categories or combine categories if   fewer people enter a category.

Minx front closeAre the skeletons on the base scenery or characters? One contest might allow this in single figure, another might require it to be entered in diorama.

People are sometimes confused about which category to enter in the MSP Open at ReaperCon. The following includes some guidelines to consider when choosing your category. If the team judging your piece feels it is likely that would receive a higher level award if your entry is shifted to another category, they will shift it. (If you already have entries in the other category, they will not shift it.) You can see the entries from previous years by category and how they placed by looking through the galleries in the Painting Contest dropdown menu on the ReaperCon site.

There is an index of MSP Open questions, including specifics on categories and expanded information on the judging process, thoughts from judges, etc. on the Reaper forums.

Painter: The majority of the consideration is paint based – colour choices, success of paint application techniques, success of paint related effects, etc. Basing, conversion, and sculpting are considered in terms of presentation, workmanship, and creativity. 70% of the consideration is paint alone. However, it is certainly the case that adding some scenic elements to your piece gives you additional opportunities to show us your paint skill and make your piece much more creative! Creative and well-done basing and scenic efforts can also improve your chances to be considered for the manufacturer awards and special prizes. 

Open: This category is for pieces that have been heavily converted and/or scratch sculpted. The gold plus standard here is a figure sculpted completely from scratch that is also expertly painted. A figure with a simple weapon or head swap on a basic base is not likely to place higher than bronze, regardless of how well painted. An elaborately constructed base is also unlikely to achieve high placement if the figure(s) on it are stock or only lightly converted. In Open, paint related elements are only 30% of the consideration. Workmanship, difficulty, and presentation are highly valued here.

Diorama: The focus here is on story. A simple piece with two figures telling a clear and evocative story may place higher than a complex scene with multiple figures if the interaction and story between them isn’t very clear. Basing, conversion, and overall workmanship are valued here, but if you can tell a great story with stock figures and scenic elements, that is great too!

Ordinance: Workmanship and painting skill are weighted fairly equally here. Weathering and evoking the appropriate environment for the vehicle are helpful to demonstrate these. Any figures that may be present are considered in the same way that as scenic items would be on a figure’s base in another category. The focus is on the painting, staging, and presentation of the vehicle itself.

Basing Guidelines
Some contests have rules related to basing. Contests by gaming miniature companies may require bases of a particular size and shape for certain figures. Units may need to be entered on a movement tray. Plinths may or may not be allowed. In all cases there may also be guidelines of whether or not additional basing like trays and plinths is or is not considered in judging. 

There was at least one year at Gen Con where several units were entered on paper plates. The contest required a movement tray so judges could safely transport the figures to and from the case for judging, but the tray itself was not considered in the judging. I heard about another contest where painters who customized their plinths who were disappointed to find that the plinth was not photographed or considered in the judging of the entry.

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6. Don’t Forget Manufacturer and Special Awards!

Many convention contests and shows have a central structure for awards, but also have one or more supplemental awards. The supplemental awards are often sponsored by manufacturers, but some may be awarded for particular subjects or other factors. It’s always worth looking out for a manufacturer whose products you like. You’ll help them by showing off their figures, and you’ll have a chance at winning some prizes and recognition. I’ve been at many a competition where manufacturer contests were lightly entered, even when the manufacturers were offering generous prize support and/or cool trophies! That said, it is generally the case that higher value cash prizes attract more entries, particularly if it’s from a company that’s already established and many people may own some of their figures.

Msp prizes 2019 2The medals at the front are the general awards for the MSP Open in 2019. All of the other trophies and items are special awards and prizes!

At ReaperCon, the main MSP Open is a show that is open to figures from all manufacturers. Reaper also sponsors top three trophies in several categories, including special awards for entries of Mouslings and awards for giant sized monsters, and there are additional manufacturer awards as well. The Atlanta figure show includes awards for best flat, best Napoleonic era, and best fantasy, among several others. Gen Con’s contest usually includes several manufacturer awards. 

AwardsThe special awards table at the Atlanta Model Figure Show.

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Figures in this Post

Savage Beauty by Black Sun Miniatures
Beorogg Black Rime Frost Giant Jarl is available in plastic or metal.
I don’t know the dwarf and chibi figures
Torlan the alligator man
Blacksmith is available in plastic or metal.
Frost Giant Queen
The Bugbear is available in plastic or metal.
The Heresy Inspectors
The sorceress is out of production.

How to Transport Miniatures

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Whether you’re going to a local game store to play or traveling hundreds of miles to enter a handful of display figures into a contest, the best way to transport the miniatures you want to use is an issue that can take some thought, effort, and money to resolve. I’m going to share my ideas and experiences, and also ideas that other people have shared with me. I’ll include links to some commercially available options at the end of this article. Many thanks to the people who shared their experiences and suggestions!

Video of a stream I did about transporting miniatures is also available.

Foam compA foam compartment tray is one travel option.

What Types of Miniatures, and How Many?

Before you begin buying or making transport containers, it is helpful to have as thorough an understanding as you can of what you need. It is also helpful to think about this well in advance of a trip, so that you have time to work out the best solutions. I have more than once put a lot of effort into creating and painting an ambitious contest entry and only a day or two before the trip realized I also had to figure out how to safely transport it! If you decide you want to order a commercially available option, remember it will take some time to ship to you.

Once you have purchased/created a transportation container, you may want to keep its parameters in mind when in the design phase for new pieces. For example, you will need to be able to put the piece on its side or use another container if you design a piece taller than your transportation container.

Too tallThis figure is too tall for lowest shelf position in my carrying case, and the base protruded over the plinth on all sides so I couldn’t put it on its side. I had to affix it (and any other figures I wanted to transport at the same time) to the bottom of my case, which has damaged the material coating the interior.

Some questions to consider:

Number
How many miniatures are you likely to want to transport? Is it a handful or an army of hundreds? This will heavily influence the size and nature of the storage solution you need.

Nature of the Miniatures
What size(s) are the figures? Are they sturdy metal or plastic, or fragile resin or 3D prints? Remember to consider everything that is part of the figure, not just the figure itself. A lot of basing material used on display figures is pretty fragile. Your transport system needs to accommodate not only the size of the figure, but also the base or plinth you attach it to.

Method of Transport
How will you be traveling? You can consider a much wider array of options if you’re traveling in your own car than if you’re traveling via plane, train, or bus. Flying introduces a number of constraints to the size and other requirements of your transport system. If you choose a stand-alone case, remember that it will count as one of the two items you’re allowed to carry with you on the plane.

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Secure and Protect

As I was putting this information together, I realized that transport and shipping is made up of two components. One is the inner method used to secure and/or protect the figures. The other is the outer container. These work in tandem, and the choice you make for one may limit or dictate the choices for the other.

The inner methods break down into two main options. One method is to cushion the miniatures in a protective layer like foam or bubblewrap. The other is to securely attach the base of the miniature to a flat surface. The figure is freestanding, with nothing touching it on the sides.

ShelfAnother option is to attach the figures to a shelf via magnetization, poster tack, or mounting tape, or a combination of those.

Each of the inner methods has advantages and drawbacks. Foam pockets and magnetization are probably the best options for gaming scenarios where you want to be able to quickly and easily pack and unpack numbers of figures. Bubblewrap, poster tack, and mounting tape are more cumbersome to pack and unpack, but can allow for more customization or transport security. 

Bubblewrap and some foam options are designed to keep figures secure regardless of the orientation or impact to the outer case. Poster tack, mounting tape, and magnetization may work best when when the outer carrying case will be kept largely in an upright position, just tilting somewhat or being bumped or jostled.

Foam

Foam is a common method for cushioning fragile objects, and comes in a variety of forms. All of them mostly or completely enclose the figure. Some kinds of foam are a little abrasive and could damage paint. Sharp pieces like swords or spikes tend to stick into foam. You can use a barrier like sheet plastic (plastic wrap, cut up plastic bags), bubblewrap, or tissue between the miniature and the foam to reduce these issues. You can wrap this around the miniature or fold it into the foam compartment. Contact with foam (or any surface) can be be damaging to fragile base work like dried or paper plants. 

Waffle: Miniatures are secured between foam sheets that are shaped into peaks and depressions. It can accommodate a variety of figures and be fitted into a variety of cases. If miniatures of different widths are stored in the same case/layer, it can cause the foam to not clamp tightly enough to secure the smaller figures. Waffle foam is easy to use, but not the most secure option.

Compartments: Shapes (usually rectangles) are cut into the foam or created by gluing sheets of foam together. One miniature is stored in each compartment. Pre-made commercial compartment foam may not accommodate the exact number or dimension of figures you have to transport. Some cases can store multiple layers of foam sheets so you can purchase sheets with different sizes of compartments. You will need to find foam sheets that match the dimensions of your case (or vice versa). Some companies may offer options for customizing the compartments on foam sheets.

Foam comp comboLeft: Elements of the figure or paint job can be damaged if portions protrude from the compartment, even on plastic figures.
Right: You can add a pocket of bubblewrap for cushioning if the compartment is too big, or to protect the paint from damage caused by rubbing against the foam.

Pluck: Pluck foam is produced as a sheet/layer, but the foam is cut into a grid pattern, and is secured only to the bottom of the sheet. The squares are usually 5mm to a half inch or so in size. You can create exactly the size of compartments you need for the miniatures you will be transporting by pulling out pieces of the foam. This is helpful if you have a war band or similar set of figures that you are transporting to multiple events. You may need to get additional foam sheets if you transport varying sizes and shapes of figures to different events. As with compartment foam, you will need to be able to buy foam layers in the same size as your case, or vice versa.

Solid: The ultimate in customization. This is a block of solid foam of whatever measurement you acquire. You carve into it to create the perfect shape to cradle your figure(s). This is a good method for shipping large figures with protruding parts, like a dragon. 

Foam bwrapOne option to secure miniatures is to individually wrap them in bubblewrap or use various types of foam. 

Bubblewrap

Just as when you pack china, you can wrap bubblewrap around a figure to protect it. Bubblewrap works best on single figures. As the bubblewrap is wrapped around the figure, it may bend thin parts like a staff or sword which are held away from the main body of the miniature. Most metal miniatures can withstand a trip or two with some bending or compression, but you may risk stress fractures if you travel with them often. The pressure of the bubblewrap cocoon may be too much for small fragile resin pieces and similar. 

To use bubblewrap, you also need to use tape, and you should plan to have some available to you at both ends of the trip. I find that shiny style tape sticks to the bubblewrap, which bursts the bubbles so you only get one or two trips out of the bubble wrap. I instead use a medical tape that has a different glue. Magic tape also works, though not quite as well. I can reuse tape and bubblewrap for multiple trips. I can also cut out strips of medical tape and put them on the inside of my carrier so I don’t have to bring a whole roll or scissors. Whichever kind of tape I use, if I’m carrying multiple figures I often write an identifier on the tape so I can find the figure I’m looking for without having to unwrap all of them.

3M Durapore Surgical Cloth Tape 2x10 yds 72849 1604007132This is the kind of medical tape I use with bubblewrap.

Bubblewrap is also a feasible option to transport numbers of plastic figures. All you need to do to preserve paint jobs on light weight plastic figures is keep them from rubbing against one another. You can lay down a layer of bubble wrap, space figures out on it, then add another layer, and so on. You can do this in any size container, from a smaller food storage container to a small bin. It’s more cumbersome to pack and unpack than foam or magnets, but probably the least expensive option.

Poster Tack

Poster tack is a malleable putty. Its original use was to attach posters to walls without damaging the paint. You knead the tack with your fingers to warm it up and get it a little more sticky, and then apply it. When you remove it, it peels easily away from solid materials. If some sticks on the surface, you can usually pull it up by dabbing the remainder with a ball of the tack. Blu Tack is a very popular brand, but there are lots of options. I recommend testing the one you try before travel, as some work much better than others. You can test it by attaching an unpainted heavy miniature to a surface, turning it upside down, and shaking it. You could also knock your hand lightly against the figure. If the figure falls off, try another brand.

People use poster tack to attach figures to a flat shelf that slides into a carrying case, or to the bottom of a bin or similar. Poster tack is not strong or sticky enough to attach a miniature with a bottom that is flat to a flat surface. However, you can instead pile it up along the edges of the base/plinth to hold a piece in place. It will generally attach something like a slotta base to a flat surface well, but I would still recommend using additional tack on the base edges. I tend to like to be extra secure and use mounting tape or magnets to secure the base to the shelf surface, and then also put tack around the edges of the base.

JarsI’ve also used poster tack and mounting tape to secure single fragile figures into ad hoc transport systems like the above.

Mounting Tape

Mounting tape is a strong double-sided tape with a thin layer of foam in the middle. My experience is with the 3M brand, which I have found widely available in anything from pharmacies to hardware stores. It comes in a few different widths. It is intended for attaching pictures to walls and similar. It adheres much more firmly than poster tack. In fact, it adheres so firmly that I usually pack a dull blade tool when I use it so I can pry the miniature up off of the surface. It is much more likely to damage a surface than poster tack, so should only be applied to unpainted areas like the bottoms of figure bases. It works best when adhering a flat surface to a flat surface, so it’s not a great option for slotta bases. When I transport particularly fragile or heavy pieces I use a combination of mounting tape and poster tack. Mounting tape is single use so you will need to bring some along, and scissors or a hobby knife to cut new pieces for the return trip.

A00e35e4 7085 4d97 9d00 4553d97dc86c 8074cfc3e670a4e34319cd2cf51f0cf8The mounting tape I use.

Magnetization

Magnetization is an increasingly popular option. People use a metal sheet in their case and attach a tiny rare earth magnet to the bottom of the base of each figure. The magnets are generally small enough to fit in the open areas of a slotta base. If you have a plinth or flat base you’ll need to drill or carve out space to glue the magnet. Options vary from commercially available carrying cases to homemade solutions that use storage bins and cookie sheets. The magnet system is very handy for armies as you can just pull off figures as you need them and then drop them back on. Many people transporting display miniatures also use magnets, but usually reinforce them by securing poster tack around the edges of bases. I’m told by some who use the system that the small powerful magnets are strong enough to work even if the shelf is turned upside down. I would very thoroughly test that for myself with unpainted figures over a cushion before I felt comfortable to do it with painted figures, however.

Hardware

If you’re handy and willing to take a little time, using hardware is a very secure option. With this method you put a screw through your shelf. You have a wing nut or stop nut in the bottom of the base or plinth, and then screw the base of the miniature onto the screw in your shelf. 

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Outer Case Options

There are a myriad of options for the outer case, from homemade to commercially available. Often your choice of outer case commits you to using a particular inner method for securing the miniatures. You may not be able to easily switch between foam compartment sheets and metal trays with magnets, for example.

Small Plastic Box
This is a great option for transporting small numbers of miniatures secured in plastic wrap. I like to use hard plastic pencil boxes. I place these at the bottom of my carryon knapsack. Plastic containers are light weight and available in an array of sizes.

Larger Plastic Box – Stackable
Larger plastic containers are a good option for game players transporting locally or by car. You can attach a metal sheet to the bottom of a bin and use magnets on your figures. Stackable style boxes allow you to bring only the figures you need to each event.

Small Briefcase or Portable Tool Case
Hard sided cases are an option to transport a moderate amount of figures. You can fill them with bubble wrapped figures, or customize them with foam. If you’re handy, you can build in compartments.

Briefcase comboExample of a small metal case customized with compartments.

Jar
On a few occasions where I have been transporting one fragile miniature by car, I’ve secured it to the top of a jar lid and then screwed the jar shut. I pack it into the car in such a way that it can’t get tipped over. If a miniature is well secured it’s possible this method could work in carry-on luggage, but you’d need to feel confident that the miniature would stay secured if tipped over or turned upside down.

Dedicated Miniature Case
There are a lot of options available, including quite a few that on Amazon. The most common seem to use foam trays or metal shelves, but there are also cases that use waffle or pluck foam. These cases come in a variety of sizes, to suit the needs of game players and display painters alike. If you are purchasing one to use in plane flight, ensure that the measurements do not exceed those permitted on planes. In particular, if you are at all likely to travel in a regional jet, the Tablewar small size is about the largest case that will fit under the seat or in the overhead compartment. You would be required to plane-side check anything larger and it would get literally tossed into the luggage compartment. At the bottom of this article you will find links to some of the commercially available options. The biggest downside to these is that they can be pretty expensive. I have found the clear front window of the Tablewar case I use to be very helpful at the airport. A surprising number of security agents know what miniatures are or at least recognize that these are fragile works of art. 

Tablewar closedThe clear door allows airport security to see what is inside, and allows you to check up on your figures.

Homemade Wooden Miniature Case
Some of the modern cases like the Tablewar are likely inspired by wooden custom crafted cases that were popular some years back. These were usually made with a front door panel that swung open on hinges, and accommodated one or possibly two removable shelves. Sometimes the shelves were fitted with rare earth magnets so you could attach washers or similar to the bottom of the figures. Similar to the metal sheet shelf system, but the opposite for which object was metal and which was magnetized. I found a few cases of this type in a search, but none were in stock, so I’m not including them in my links below. I mention the option for those who are handy and would like to explore making their own case.

Wood boxIf you’re handy, you could build your own case. The sliding shelf on this is fitted with magnets. It is more common now to use a metal shelf and attach the magnets to the figure. (Apologies for the lower quality photos, we still haven’t unpacked everything after renovations I couldn’t find this case to take new photos.)

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Personal Recommendations and Reviews

Before I list specific products, I want to be very clear. Seeing a product listed here is neither a review nor a recommendation. I have only used a few of these products. It’s also important to note that I only travel with small numbers of display figures, I have not use any army transport method. I strongly encourage you to do additional research before you spend a lot of money on a transport case. There are some review articles online, and probably some YouTube videos, but I would recommend crowd sourcing opinions if you can. Go on a large miniature discussion group related to miniatures or the specific games you play and ask for opinions. You can find these on Facebook, Discord, or sometimes official or fan forums for the games you play. A number of these cases are sold on Amazon, so you can read reviews there, as well.

I do have one piece of advice about reviews and recommendations, however. Don’t just look for a yay/nay or number rating. Actually read reasons why people love or hate something. I have more than once bought something based on negative reviews where the reviewer has detailed their opinions. They might hate X, Y, and Z. I think about their opinions and consider that I won’t be using the product in X fashion, I actually like Y, and maybe Z is just a question of personal taste, like what colour something is. When I read reviews I care less about a rating number than the details of what people do and don’t like about something.

My preferred method to transport figures is to wrap them in bubblewrap and put them into hard plastic pencil boxes. I stash these at the bottom of my carry-on backpack. Since that has many important items in it, I am far less likely to forget it somewhere. I have the smallest size Tablewar case and the wooden case pictured above. These are heavier, and a second item to keep track of. I have a few times left them at a restaurant or similar in the airport only to realize a few minutes later and go rushing back. The Tablewar case has a lot of great features and flexibility and I like the clear plastic window. I can check on the figures more easily and most of the time I find that airport security recognizes the items are fragile. They have wanted to swab the interior of my cases on multiple occasions, but have not touched the actual figures.

Tablewar also makes larger cases for transporting armies. The small case I have is the largest one that will fit in the overhead of a regional jet. The small size case comes with two shelves, so you could use it for units of gaming scale figures.

Foam bwrapI’m including this photo again since I’m discussing my opinion of these specific transport solutions.

I have not used either of my foam container options for travel, I’ve just used them for around the house storage. The compartment style works pretty well, but I have found that I’ve had damage to the paint from contact with the foam. I can also hear some of the figures rattling around when I move the case. If I added bubblewrap pockets it would likely take care of both issues without impacting the ability to access the figures quickly in game play. I’ve been using the bubblewrap pockets for metal figures kept in that case and they’ve been held in place pretty well.

I keep the figures I painted when I wrote the Learn to Paint kits in the waffle foam case. Every time I open it up the smaller and thinner figures have shifted around. It’s not a big deal with these Bones plastic miniatures that are just stored in my home, but I would have qualms about using it for travel.

I encourage people to share their experiences and recommendations in the comments!

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Commercial Transport Options

Below are links to commercially available miniature carrying case options. If you have a recommendation for a site to add to the list, please let me know!

Some of these or other options may be available on Amazon if you prefer to purchase through that. I found plenty of hits on US Amazon with the search term ‘miniature case’.

Tablewar

Felderr

Sabol Designs

A-Case (or Army Case)

The Combat Company

Battle Foam

Casematix

KR Cases

These are some review/suggestion articles related to carrying cases:

Tangible Day – Top 10 Great Miniature Transport Bags and Cases

Miniature Storage – Complete List of Miniature Storage Cases for Every Gamer

Nerd Bear – top 10 Best Miniature Carrying Cases (2021)

Tabletop Bellhop – The Best Ways to Sort, Store, and Protect Gaming Miniatures
– Includes a suggestion of egg crates for cheap and easy local transportation.

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Figures Shown in this Post

There are a lot of figures in the pictures in this post, so it would take me forever to add purchase links for each one as I usually do. If there’s a particular figure you need more information on let me know in the comments and I’ll find you a link.

Miniature Contests at Conventions and Shows

If you like the work I do on this blog, please consider supporting it via my Patreon.

This article provides some general information about miniature painting (and sculpting) contests at conventions and shows. I occasionally write articles with tips for people entering contests, and rather overstuff every contest-related article with general information and definitions, I’ve put it here for easy reference. I also have an article with some general information on why it’s worth attending a convention or showing up to a show.

Msp prizes 2019 2Prizes and awards at the MSP Open in 2019.

At the bottom of this article is a list of all of the conventions and shows with miniature contests that I’m aware of, with dates and links to further information. If you know of a contest that isn’t listed here, please let me know about it so I can include it!

First up is a glossary of common terms related to contests.

Podium or Top Three Contest
Many gaming convention contests and online contests are organized podium style, like the Olympics. Within each category, there are a set number of winners. First, second, and third is pretty common, but some contests award first through fifth place, and a small contest may only award first place. In these contests the entries are ranked by judges or popular vote, and the best three (or designated number) are awarded trophies/prizes. Some contests allow ties. There are usually limits to how many figures you can enter in each category and/or overall. There may also be additional prizes offered by specific manufacturers for the best first through third (more or less) figures painted from their company.

Depending on the size of the contest and the way it is organized, judging may be conducted by a single person or a team. Judges may be miniature painters, guest artists, or representatives of a sponsoring company.

Msp prizes 2019Left: Sophie trophies for the top three Reaper figures in each category at the MSP Open 2019.
Right: Large Monster trophies.

The Reaper MSP Open includes a podium contest element in the manufacturer awards. All entries that include Reaper figures are considered for top three placement in their categories. The winners earn bronze, silver, or gold Sophie trophies. Other manufacturers also sponsor awards at the MSP Open.

Another podium contest many miniature painters are unaware of are the IMPS shows. While awards are first through third place, IMPS shows have some elements in common with shows. Entries are displayed on tables rather than cases. They are judged by teams following established guidelines for standards. Although the focus of these shows is on models, they have categories and prizes for miniature figures, and attending one of their meetings or shows could be a great way to meet local miniature enthusiasts. I really enjoyed attending my local IMPS show, both as an entrant and a viewer. There are IMPS clubs and shows around the world. The USA site has a map and listing of clubs so you can find one near you.

Open Show Contest
The open format began in the military miniature figure community, but in recent years has been adopted by some convention and manufacturer contests. In this format, entrants can enter a number of figures into each category, and even arrange them together in an attractive display that might include risers and a cloth backdrop. Entrants can also include information about the piece with their entry. This might be a description of the inspiration or historical background, and/or work in progress pictures that document steps of sculpting, conversion, and/or painting.

World expo 2017 2The medals at the World Expo in 2017 filled several tables!

Figures are assessed in given criteria against a standard of achievement, and are awarded a placement based on the standard. If 40 people enter gold quality work, 40 golds are awarded. If no one enters gold quality work, no golds are awarded. There are often additional special awards that might be sponsored by the host organization or individual members. The Atlanta awards show includes special awards for best Western themed piece and best Monster, among several others.

In the military shows and those that adopt the same format, there are guidelines for the overall process, category judging, and training of judges –  the International Judging Criteria. The Reaper MSP Open is one of those shows. Open shows at gaming conventions or organized by miniature manufacturers may be conducted in a different fashion. Under the International Judging Criteria, entries are judged by a team to make judging as equitable as possible. Alternate judges are on hand to step in if a judge has a bias for or against an entrant, and judges do not assess their own pieces. The process is overseen by an overall director who is available to review discrepancies in judging and help resolve any technical issues or confusion.

IMG 5822Example of a display area at the Atlanta show in 2019.

Note that there can be a difference in the standard for each medal level between shows. The MSP Open at ReaperCon is a very encouraging show. The World Expo Open is a very stringent show. Many figures awarded gold at an encouraging show might instead earn silver at a tough show, with only the best of the best earning gold. But the idea of judging to a standard and maintaining consistency is the same among all of the shows who use the International Judging Criteria. 

Volunteers Make it Happen
Convention or show, all of these events depend on volunteers. Contest volunteers often work a full workday or more of hours each day of the convention. They provide fun content to attendees at the cost of limiting their own time available to attend events, take classes, shop, or even just socialize. They are not paid for this, at most receiving a free entry badge and hotel accommodation. Respect their efforts by being polite, making yourself aware of the contest rules and schedule, and following them. Events have been reduced in scale or disappeared completely for lack of volunteer interest because volunteers burn out.

Reapercon entering 2019The volunteers in any contest area work hard to help you enter and retrieve your entries, organize the judging, and answer a lot of questions.
Volunteers Alison Liu and Debby Lewis (seated) assist entrant David Cecil, while award sponsor Michelle Farnsworth looks on.

Judges
Most contests select experienced painters as judges. Contests with a small judging team may not permit judges to also enter the contest. When judges are permitted to enter, they do not assess their own work or make podium decisions in categories that include their own work. Judging a larger contest takes hours, and is often conducted late at night to minimize disruption to viewers of the contest entries. It is a lot of fun to be able to see all the entries up close and from different angles, but it is also a gruelling process filled with difficult decisions. Judges know how much work goes into an entry, and it is tough to know that you will be disappointing some people. Note that many judges also work as contest volunteers and/or hobby class instructors, which is a lot of additional work that limits their time to enjoy the event as a whole.

Dark sword judging rc 2018Dark Sword has generously supported convention contests for years. Here owner Jim Ludwig is assisted by Mengu Gregor in choosing the Dark Sword winners at the MSP Open in 2018

Contest Rules
Every contest has rules. While there are commonalities, the rules of each contest are unique, and may change from year to year. The onus is on you to be aware of the rules. Entries that don’t conform to the rules may be placed in a different category than you intended, or completely disqualified from consideration. If it is later discovered that someone did not follow the rules, they might be stripped of their award.

Contest rules include guidelines for each category, and maximum size of piece accepted. There may be rules related to the kinds of bases required or permitted.  Most contests require you to be attending the event to enter. Many require that only the entrant have worked on the piece (apart from the use of commercially available figures and components). Others may not have rules forbidding multiple artists to work on an entry, but may only allow one entrant to be named as the creator.

I’ve linked to contest rule information for each convention at the bottom of this page, where I could find it.

Submission and Pick Up
It is very important that you familiarize yourself with the schedule for entering and retrieving entries. Fill out forms in advance if possible. Remember that lots of people try to enter at the last minute. Contest staff reserve the right to stop accepting entries after a certain time even if a line of people remains. Be kind to contest volunteers and make your life easier by entering well before the deadline!

You will not be able to pick up your entry prior to a certain time, and you must retrieve your entry by a certain time. Be familiar with these times and make your event and travel plans accordingly. Venues give the convention or show a strict deadline by which they must be packed up and out of the venue. You may forfeit ownership of your entry if you do not pick it up by the deadline. Events are not under any obligation to mail unclaimed entries or prizes. At conventions, you will be given a receipt during submission that you will need to present when you come to pick up your entries. This ensures that only the owner can pick up miniatures. If you are unable to pick up your entries, you can give your receipt to a friend to retrieve them for you. If you earned an award or prize but were not present to pick it up (or the contest doesn’t have an awards ceremony), you can usually pick it up at the same time as you retrieve your figures.

Award winnersAward ceremonies move fast and can be hard to photograph. It’s often easier to get pictures of award winners with their trophies afterwards.
Left: David Diamondstone accepts a gold Sophie trophy from award presenter (and painter) Michelle Farnsworth.
Right: Michael Proctor poses with his Crystal Brush trophy following the awards ceremony.

Award Ceremonies
Many contests announce winners and award trophies and prizes at a scheduled awards ceremony. Since they know people may be involved in other events, it is generally not required to be present to accept your award. You will be able to pick it up later. (But of course check the rules, some may require you to be present to win!) Whether a contest is larger or modest, it is a lot of fun to be present to receive an award and to see friends be recognized for their work.

First Cut
In podium style contests it’s common for judges to do a first cut. They separate out the most competitive entries, and then rank these to select the final winners. Some contests have a shelf set aside for first cut miniatures so entrants can at least get the feedback of whether they were in the running. Some contests may not have an official first cut area, but you can sometimes get an idea by how figures have been moved around in the display area.

Honourable Mention
Occasionally when there is a very tight race for placement, the piece that didn’t get awarded will be called out as an Honourable Mention. This lets the entrant know that their work was of very high quality and competitive for an award, but they do not receive a trophy or prize.

JudgesA judging team confers at Smoky Mountain Model Convention in 2019.

Judges’ Selection/Mention
Some contests award this regularly, some occasionally, some not at all. This is a piece that the judges loved, but which did not win another award.

Best in Show
Some contests award a Best in Show prize to a single piece or the top three pieces. For some, this might be a judged award. The judges usually consider all of the pieces awarded first place in their category and then select the Best in Show winner(s) from these. In other contests, this might be a popular vote. The Best in Show at the Reaper MSP Open is a modified popular vote contest. Everyone who has entered a piece in the MSP Open can vote for their favourite to win Best in Show. Three total prizes are awarded – overall Best in Show, runner up Reaper, and runner up non-Reaper.

Popular Vote
Some contests or some prizes within a contest are awarded by popular vote. Popular vote via likes is common for online contests conducted on social media platforms like Facebook. In a popular vote contest, viewers or a subset of viewers chose their favourite piece, and the one with the most votes wins. Viewers tend to be drawn to the same kinds of quality as judges, but they are also heavily influenced by other factors. Viewers are more likely than judges to factor in their personal feelings about the sculpt rather than considering only the merits of the workmanship and presentation. Viewers are as strongly drawn to story and character as they are to technical prowess. When considering technique, viewers tend to put a lot of value on techniques that are considered challenging, like freehand or source lighting, but they may not assess these as critically as judges would. They may not recognize the challenge level of more subtle techniques like smooth blending or complex colour use. 

Rc bis ballot box 2018Voting can be serious and thematic!

Manufacturer Awards
Many manufacturers offer awards within the context of a larger contest. For example, Dark Sword Miniatures has offered awards at Gen Con and the MSP Open. The manufacturer decides the number of awards and the prizes, which might range from ribbons, to trophies, to free product, to cash. The manufacturer also determines how their awards are judged. Often it is someone from the company itself, but they may designate or be assisted by one or more seasoned miniature painters.

Manufacturer awards, especially for smaller or newer manufacturers, are often much more lightly entered than the main categories. They are a great opportunity for an up-and-coming painter to get some recognition and win some prizes. It is not uncommon for information on manufacturer awards to be announced some time after the main information for a contest is posted. Keep an eye on the contest information page and follow your favourite companies to keep an ear out for late additions to the awards lineup.

Category Divisions
Many contests divide entries into different categories. These may be based on subject, size, number of figures, or other criteria. Make sure you understand the guidelines for a category you plan to enter as well as possible. Podium contests often divide categories by size and broad type. Examples might include gaming scale Sci-Fi/Modern Single, Monster, Bust, Large, Unit. Open shows group figures regardless of size into Painter (the focus is primarily on painting), Open (the focus includes both sculpting and painting), and Vehicle. The military shows separate Painter and Open by subject – Fantasy Painter/Open includes fantasy, science fiction, and horror. Historical Painter/Open includes figures from any period of history, including modern day. Some open shows may have additional categories, such as diorama/vignette.

Entrance Fees
The cost to enter a contest or show varies considerably. Remember that there is a cost to the event to run a show or contest. They have to rent space from the venue and equipment like display cases or tables, and the cost of these can be considerable. Purchasing awards like trophies, ribbons, and medals is another additional cost. Fee options include:

* There is no fee or the fee is included with your event pass.
* There is a separate fee for exhibitors (entrants), but it covers as many entries as you are permitted under the contest rules.
* There is a fee per piece entered into the contest.

Hatchlings gc 2011Awards and winners in the junior division at Gen Con 2011.

Skill Level Divisions
Many contests have a Youth or Junior division or award system to help encourage young people to try out the hobby and participate in contests. It is rarer, but some contests have a Master category. Entrants who have won in the past or sell painted figures may be confined to this division. While this can seem like an equitable way to spread awards a little further, in practice there are painters who make a living selling miniatures who do not paint at the highest levels, and hobbyists who do, so it doesn’t always work as expected/desired.

Some shows have a grand master or similar system, to which one or two new members are added each year. The criteria for being voted into grand master generally includes not only entering consistently high level work over several years, but also having made contributions to the club or hobby as a whole. The MSP Open has the MSP Medallists. The existing members vote in one new member per year. While this is a great honour, it comes with a few penalties. MSP Medallists are not eligible to win Sophie trophies. If the work they enter into the MSP Open does not merit gold medal level, they do not receive any award. 

Viewing Entries
Contests that are held as part of a gaming convention are usually located in a high traffic area. Entries are placed into glass fronted display cases with shelves from the floor to five to six feet up. Viewing entries can be a crowd jostling experience at busy conventions, and you may have to bend down or stand on tiptoe to see all the pieces. It is common for the largest pieces to be located on the bottom shelves. Others are usually grouped by category. The display cases are locked when the contest staff is not available, and if they are located in a room like a dealer hall, the room is locked as well. At Gen Con the display cases of the main contest are in a busy hall, so they’re still accessible for viewing at odd hours. (And there’s enough traffic to deter thoughts of funny business.)

Adepticon cases 2018The display cases at Crystal Brush 2018 at Adepticon. Display case viewing isn’t always this busy, but it’s not uncommon.

One of the fun features of open style shows is that entries are displayed on tables. Entrants arrange their displays in each category as they wish, which may include risers, backdrops, or other elements. They must do this with the constraints of the room available and the needs of other entrants, however. The display tables are usually raised to approximately chest height. This is convenient for viewing by average height viewers, but may present difficulties to those in wheelchairs or of smaller stature. The tables are typically spread out around an entire room, so viewing tends to be less crowded than around display cases. There is no separation between viewer and entries, which allows you to examine the entries from different angles and without light glare, etc. Volunteer staff are usually on hand to remind viewers not to touch the figures or to ask parents to remove rowdy children who might jostle the tables. Display rooms are open for set hours and locked when closed.

World expo 2017All of those tables are filled with fantastic entries. And that wasn’t even the whole room! World Expo 2017 in Chicago.

The Safety of Your Miniatures
Entrants assume all risk when they enter pieces into a contest. Contest staff make every effort to treat figures with great care, but accidents do happen. Even at a show where you yourself set up the display of your figure(s), you should assume that your piece may be handled by the contest staff. Judges often pick pieces up to look at them from different angles. Figures may be transferred to a side table to be photographed, or judged for a special category or manufacturer award. If more figures are entered than expected, contest volunteers may rearrange the tables to try to make more room. Assemble your figures sturdily and completely, and attach them securely to whatever base or plinth you use. Judges are trained to pick pieces up by the base or plinth to minimize touching the figure itself. In an open show, you can include a sign with your display that a particular piece is fragile or not well attached and that will generally be respected, but bear in mind that you are still taking a bit of a risk with that. This is not feasible for a contest entry in a traditional display case contest.

Tray gc 2013Many contests use padded trays to transport miniatures to the contest case or photograph booth. These were entries at Gen Con 2013.

All of that said, it is rare for a figure to be damaged in a contest in my experience. It happens, but it’s rare. Transporting your figures to and from the event presents more dangers. You need to secure them against the travel itself, and also bear in mind dangers like a suitcase falling on your figure case or airport security opening your case without warning. Secure figures in position with bubblewrap, poster tack, double-sided tape or other means. Try to stay close to your case as it is examined at the airport so you can advise about the best way to open it if they want to test the interior.  Be leery of packing fragile pieces that need careful wrapping in your checked luggage, as security staff may open your suitcase and any container within it during the screening process.

List of Conventions with Miniature Contests

ReaperCon, Dallas TX: September 2-5 2021
MSP Open contest rules. You can also view past entries and awards by clicking the dropdown menu for each year.
There are numerous hobby class events.

Gen Con, Indianapolis, IN: September 16-19, 2021 (normally summer)
There will not be a miniature contest in 2021, per the Facebook group.
There are hobby class events in 2021.

Origins, Columbus, OH: September 30 – October 3 2021 (normally June)
Event information is incomplete as of writing, but there does not appear to be a contest planned for 2021. Check this page for more information.

Warfaire Weekend, St. Louis, MO: November 5-7, 2021
Information on the painting contest.
Information about hobby events.

Historicon, Lancaster, PA: November 10-14, 2021
Information page for the painting contest.
Information on events, including Hobby University classes.

Las Vegas Open, Las Vegas, NV: January 28-30, 2022
Information on the miniature contests and hobby class and workshop events is available here.

Adepticon, Schaumburg, IL: March 23-27, 2022
Adepticon 2022 is hosting the first US Games Workshop Golden Demons in years. There will likely also be several other manufacturer contests.
Information, rules, and entry forms for Golden Demon are available.
Hobby events have not yet been finalized and posted.

Nova Open, Arlington VA: 2022 date pending

KublaCon, San Francisco, CA: 2022 date pending

List of Shows

Military Miniature Society of Illinois, Chicago, IL: October 22-23, 2021

Miniature Figure Collectors of America Show, ?: 2022 date pending

Atlanta Military Figure Society Show, Atlanta, GA: February 2022 (usually around Valentine’s Day)

Historical Miniatures Society of Northeastern Oklahoma, Tulsa, OK: 2022 date pending
The webpage does not seem to be updated. Check their Facebook page for more current info.

Euro Miniature Expo (Euro Militaire), Folkstone, United Kingdom: 2022 date pending
Additional information available on their Facebook page.

World Model Expo 2022, Veldhoven, The Netherlands: 2022 date pending

If you know of other contests or shows than these, please let me know so I can update this page and encourage others to attend!

Many thanks to Jen Greenwald and Michael Proctor for fact checking and suggestions for additions.

Saturated Wash Colour Experiments

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Recently I have been experimenting with washes. With my skeleton bone wash experiment, I learned that different colours of washes could be used to quickly add a little individuality to batch painted figures without too much extra time or effort. The experiments also suggested that variations in shade colour choices could help tie colour/light schemes together, or be a useful tool to convey different effects or moods, if some of the other colours were adjusted a little.  

Btk1 figsThe skeleton bone has different wash colours, but the same basecoat and drybrush colours. The bases were painted Naga Green in preparation for today’s experiment.

In the case of the skeletons, I applied washes of somewhat saturated colour over an fairly neutral ivory basecoat colour. I didn’t have time in the initial wash testing stream, but I also wanted to study the effect of applying saturated colours on top of a saturated colour. In a follow-up stream, I used the bases of the skeletons for this experiment. Each was painted with the steps outlined in the Core Skills Learn to Paint Kit, other than changing up the wash colours. The starting basecoat for the bases was Naga Green.

You can also watch the video version of this if you prefer.

I picked out a selection of colours to use for the washes. Since the Naga Green was a darker starting point than the Desert Sand of the skeleton bone, I chose darker value colours for the washes than I had on the skeletons. Regardless of colour, the washes still need to function as shades that shadow the recesses.

Base wash paintsThe paint colours used for the washes.

As with the skeletons, I had some ideas of how these paints might or might not work. Some of my ideas are based on years of study and practice with colour. I know colour is a confusing and scary prospect for a lot of people, but I think that some elements of colour use are areas of art well suited to more left brain thinking painters. There is colour theory you can study, and practical experiments like this that you can perform. You don’t have to have an innate sense of colour to be able to paint with it successfully! You just have to accept that you might not be successful with colour every time. (And I don’t think those with a more innate sense of colour use get it right every time, either!)

Pine Green: This seemed like a pretty safe wash choice. Similar green to the basecoat, just darker. Not too exciting, but very unlikely to ‘fail’.

Rotting Wood: I thought this less saturated green would dull down the base a little, and fit the atmosphere of a skeletal figure better.

Ritterlich Blue: Blue can be a very effective shade colour for more saturated greens, so I expected this to work as a shade, but I wasn’t sure if it would look like convincing grass.

Coal Black: With its touches of teal, I thought this would strike a nice balance between creating good contrast and adding a little colour variation.

Gothic Crimson: Green and red are contrasting colours. (Magenta/pink is considered red in colour theory.) Mixed together they create brown. I expected this to dull down the green to the point where it might not even look grasslike anymore.

Styx Purple:  Purples work well to shade a surprising number of colours, including green, so I thought this could be interesting.

Mahogany Brown: Mahogany is a red-brown. Since it’s less saturated than the Gothic Crimson, I thought it would work better as a wash colour for green, dulling it down a little but not turning everything brown.

Basic Dirt: This is more of a true brown. I expected it to dull the bright green to more of a muddy grass type of look.

Base wash paletteThe washes (and drybrushing colours) on my palette at the end of the stream.

I had three additional skeletons at hand, but these were posed on rock bases. They are sculpts that used to be used as a substitute for the other skeleton figure in the Learn to Paint kits when it ran out of stock. Now the kit skeletons are manufactured at the Reaper facility using the Bones USA material and should always be in stock for kits, but those of you who bought kits in the past may have received this different Skeleton Warrior Archer instead. I painted the rocks as described in the Core Skills kit, starting with a basecoat of Mountain Stone. Then I used these washes:

Goggler Green + touch of Pure Black (Rock): I thought this might create a moss or algae covered rock look.

Coal Black (Rock): I thought this would make a nice shade colour for cool grey rock.

Ritterlich Blue (Rock): While touches of blue might simulate some kinds of coloured rock, I thought a blue this saturated would look ridiculous.

Below you can see pictures of what the bases look like after completing the drybrushing steps. The drybrushing steps started with the original Naga Green, and then a couple of steps of lighter greens achieved by mixing in Candlelight Yellow, as outlined in the Core Skills learn to paint kit. Below each figure is a swatch of the wash colour I painted on its base during the stream. The figure on the far left of each picture is painted according to the kit directions, using thinned Pure Black for a wash, and is there for comparison purposes. The stone bases were highlighted with mixes of Mountain Stone and Dragon White.

Base washes1 cr

Base washes2 cr

Drybrushing with the original green (or grey for the stone) altered the appearance of the washes. Brushing on additional highlights of the green mixed with yellow further altered the appearance by introducing touches of a third colour, yellow. The difference in impression between the green with just a wash and the green with both wash and drybrush steps complete was significant, as you’ll see in an example photo below. These are my impressions of each base to compare with my guesses for what might happen with the colours.

Pine Green: The general effect is harmonious, though possibly a bit bland. The green I chose wasn’t quite dark enough and/or I added too much water. The crevices need a bit more shading.

Rotting Wood: The effect is more natural than the black wash, and the slightly duller green fits the skeleton figure better.

Ritterlich Blue: This is a gorgeous shade on a saturated green highlighted with a yellow-green. This colour mix might not be well-suited for simulating grass, but I definitely want to keep it in mind for other types of materials like cloth.

Coal Black: I mixed too much water into this wash, so it didn’t effectively shade the recesses and provide enough contrast. I think the colour works well, I just would have applied a second coat if I’d been painting in my own time.

Gothic Crimson: At the wash stage this looked very jarring, but once the drybrushing was added what remained was a brown created by the visual mixing of the green and magenta. I think it actually ended up working a little more harmoniously than the red-brown Mahogany Brown version.

Styx Purple:  I chose a somewhat blue-violet purple. It was interesting to see how much more apparent the pink/red component of the purple became when the wash was applied over the green. The purple gives a really nice sense of depth to the crevices, but I think it needs to be just a little darker to bring out the sculpted details well.

Mahogany Brown: The contrast between the complementary colours was very jarring after just the wash phase. In the end it is less contrasted than it initially looked, but the red and green do fight a little. 

Basic Dirt: This gave a look of ground made up of mixed dirt patches and grass patches that fit well with the skeleton figure. The effect is less jarring than with the Mahogany Brown. 

The wash on the rock bases wasn’t dry enough to paint over by the end of the stream, but I finished them up later.

Goggler Green + touch of Pure Black (Rock): The colour works well as a shade, but if I really want to convey the idea of algae or moss, I would need to apply some additional drybrushing or glazing in green colours.

Coal Black (Rock): I used a less transparent mix of this for the wash on the stone, and it works well for shading the recesses and creating a cooler grey look.

Ritterlich Blue (Rock): This has great contrast and ended up being my favourite of the stone versions! I might use a slightly duller and darker blue for stone going forward though.

Since I performed this experiment on a live stream, I don’t have any WIP pictures. I did add a wash to a single base so you could compare the difference between the wash stage and the final result stage though. In the picture below the base on the left and the one in the centre were both painted with the Mahogany Brown wash. The base on the right was painted with the Gothic Crimson wash. The centre and left figures demonstrate the differences between wash stage and final stage on the skeleton bone. Both were painted with a wash of Naga Green.

Base wash demo cr

I think these experiments make a good argument for breaking away from using just black or a darker version of a colour to do a wash. You can get additional depth and richness or add little touches of variation by using more coloured washes.

I was somewhat surprised that the majority of these experiments worked pretty well. I had previously had an experience of combining a more saturated wash with less saturated base and drybrush colours where I did not like the end result at all. Perhaps that might partly be related to the texture and the type of figure? If nothing else, that experience demonstrates that even people who well practiced at doing something can have instances where things don’t turn out as expected. Results we don’t love happen regardless of our skills. They aren’t a reason to beat ourselves up or get down on our hobby pastimes, and often we can learn from them. 

Products Mentioned in this Post

Core Skills Learn to Paint Kit
Skeleton Archer in plastic or in metal
Skeleton Warrior Archer in plastic
Mountain Stone
Pure Black
Naga Green
Pine Green
Rotting Wood
Ritterlich Blue
Styx Purple
Mahogany Brown
Basic Dirt
Gothic Crimson was a special release colour at a convention.
Coal Black has been seasonally available in the Holiday paint set, which is currently on sale for people who don’t like to order paint in the colder weather. This set is being retired after this run sells out. Below is a swatch of all the Holiday paints.

Swatch rm holiday2020The Holiday paint set is on sale right now. Sparkling Snow is a metallic colour.

Before and After Blacksmith Touchup

Patreon supporters receive a PDF copy with high res photos!

Most of us love to get feedback on our miniatures. What did we do that worked well? What could we do to improve? When we get that feedback we are often reluctant to alter the original figure, for a variety of reasons. But without taking that step, many of us find it difficult to visualize what the figure would look like if it were tweaked to adopt some of the suggestions. I did a critique and repaint of a figure to provide a visual example.

Smith ba front crLeft: The before miniature that I critiqued.
Right: The miniature touched up to respond to some of the critique issues.

Conventions and shows are back on the calendar, and people are preparing miniatures to enter at ReaperCon and other events. I want to spend some time over the next few months addressing some common issues that come up in post-contest critiques to give people an opportunity to try to catch and address some of those before they enter their figures into a contest.

On the third episode of my Beyond the Kit Stream on Twitch, I talked about common issues in contest entries, gave critique on a miniature, and then did touchups to that miniature based on the issues mentioned in the critique. I used a blacksmith miniature I had painted for use in our home role-playing games. I’ve written this article as a summary of what I did in the video, and to share the before and after pictures for direct comparison.

My secondary goal with this project is to encourage you to try doing some touchups on your figures. You don’t have to begin experimenting with touchups on your entry or a special figure that you previously received feedback on. You can take the general ideas from that feedback and try them out on an older figure or something you painted quickly for game use to get more comfortable with the idea and the process. If you are working on an entry for a contest, I encourage you to work on it well in advance of the deadline. Once you think you’re finished, put it aside for a few weeks. Then come back and look at it with a critical eye. Is there as much contrast as you thought there was while painting? Do you need to tidy anything up? You will often be able to assess your figure more clearly if you take a break and return to it with fresh eyes.

The ReaperCon MSP Open (and most other contests that are organized under the show system) is open to painters (and sculptors/converters) of all levels and experience, as well as to figures from any manufacturer and in a variety of sizes and scales. Entries are judged against standard established for their category, and awarded Certificate, Bronze, Silver, or Gold accordingly. The number of awards at each level is not limited in any way, and entrants are competing only against the standard and their own previous placements, not against each other. Many of our entrants are newer to the hobby or people who prefer to paint for gaming, and those entrants are as interested in feedback as seasoned competitive painters. This figure was selected to demonstrate some of the issues that are often identified on Certificate and Bronze level entries. I often see these types of issues in online contest entries as well.

Smith ba back crLeft: The before miniature that I critiqued and then repainted.
Right: The miniature touched up to respond to some of the critique issues.

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The Critique

First I gave the figure a critique. I went over the issues that would likely come up if an experienced painter or contest judge were to review this figure. One of the best parts of ReaperCon is that painters and judges are available to give people feedback on their work, although this is certainly not the only venue for feedback!

Note that this is a very thorough review. I had more time to assess and consider the figure than most people offering critique will have. And since it was my own figure, I didn’t mind tearing into it a little! I wanted to try to cover as many of the more common feedback notes as I could so people who have received that note on their work in the past can get a better understanding of what it means than they might have been able to in a busy convention setting or a short comment on an Facebook/Instagram photo.

Smith before combo crThe before version.

I’m going to run over the main feedback topics here. You may also find it helpful to watch the video to get a view of the figure in the round. In the video you can also see me pointing to the specific parts I’m discussing.

Paint Job Damage
It’s hard to see in the photo, but there are a few chips on the bracer. I can’t speak for all judges, but if I see one or two isolated chips or scratches on a figure entered at a convention, I tend to assume those could have happened in transportation to the event, and I don’t ding entrants at all for that.

Metallic Paint on Apron
If you look just above the pocket, you can see a light line of paint. It’s actually metallic paint, so it’s even more noticeable when you’re moving the figure around because it looks shiny. Judges do prefer to see a clean and finished paint job where the painter has gone back and corrected and tidied up issues like this.

Visual Impact/Colour Scheme
These issues are more obvious if you look at the figure from a distance or scale down the size of the photographs. And if you think about it, scaled down is how a lot of people will first encounter your miniature – on a shelf or table at a distance, or in a thumbnail on a webpage. You need to catch their eye there to make them want to look closer and see all the detail work you’ve done. This figure reads decently from the back due to the red-green colour contrast and better alteration of lighter – darker areas on the figure. In the front view the apron and skin kind of blend together. The face doesn’t stand out much. The viewer’s eye is more likely to go to the higher contrast, saturation, and texture detail of the anvil and/or stump area. This is partly related to shadow/highlight contrast, but is more affected by colour and value choices for the main areas of the figure.

Smith before combo crI scaled the figure down to simulate seeing it from a distance or as a thumbnail.

You can review the Catalog of Contrast for an overview of the different kinds of contrast we can use to make our figures easier to ‘read’ and draw attention where we want it.

Head Poorly Defined
The face and head area do not command the attention they should. People are drawn to look at faces, so painters need to make them clear and interesting to look at. 

Contrast
Of course it doesn’t have enough contrast! It’s the eternal struggle for all of us.

Generic not Specific
The apron and anvil on the figure are probably the best painted areas in terms of paint application technique. At the same time, they are also kind of generic and dull. We think we know what a lot of things look like, such as leather. But our mental images for objects are often amalgamations of all the individual examples we’ve seen, which tends to make them generic or symbolic. When you think of an apple, you probably think of something like a Red Delicious apple – uniformly red, fairly symmetrical in shape, etc. If you look at some individual apples next time you’re at the grocery store, you’ll find very few of them actually look like that! They’re all kinds of weird shapes and a mix of colours. When I looked up images of working blacksmiths to see what their aprons and tools looked like, they had details of texture and wear that my painted blacksmith did not.

Blacksmith working on the anvil 2000Look at that cool texture on the apron! And the anvil has some light rust with brown and orange in it. Photo from goodfreephotos.com.

Reality versus Exaggeration
This is a thorny issue for many miniature painters. We want to paint something that looks realistic. One issue is that we often don’t check in on reality before we make painting decisions. Like with the blacksmith’s apron. Rough and damaged is how a working blacksmith’s apron looks in reality, not the nice smooth blends I originally painted. The second issue is that we tend to be restrained in our depictions of textures and effects to try to be more realistic. I’ll come back to this in future articles, but during the stream we talked about the idea of going big and exaggerating effects – make OSL so bright viewers will need shades, contrast so extreme no one could ever say you need more, wet t-shirt rather than slightly transparent cloth etc. Partly I suggest this because the small size of miniatures means we need to exaggerate for people to see and understand the effect at all, and this is more important than super strict realism. I also suggest going to the extreme because even when it feels like you’re doing that, you probably aren’t. But you’re more likely to get to where you need to be more quickly if you push for the extreme than if you hesitantly increment up your level of contrast.

The Base
Entries in the Painters category at the MSP Open at ReaperCon are judged primarily on painting. Basing work and general construction and prep are a smaller part of what is considered. So the base on this figure would be judged for how it is painted, but would not be penalized for being an integral base glued on top of a round base without any additional groundwork. If I were entering this in a different style of contest I would definitely want to flesh out the base, however.

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Prepping the Figure

I did this part prior to the stream. I dusted the figure off with canned air and brushed it with a large brush. Then I mixed a solution of water with 91% isopropyl alcohol and brushed that over the figure. My goal was to remove any dust and also skin oils that might be on it from handling in game play. Acrylic paint adheres well to acrylic paint, but not as well to grease floating on top of acrylic paint. Painting over dusty miniatures could result in a rough bumpy looking surface.

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The Touchups

One of the things I wanted to demonstrate in the stream is that doing touchups might be less scary than you think. I was hesitant to do them for a long time in my earlier days of painting, and I regret that. I encourage you to learn from my mistakes and give it a try! You don’t have to try it on a cherished contest miniature, you can start to experiment on an older or speed painted figure that you don’t have a strong emotional attachment to.

It is less important to match exact colours than you would think. When I did contrast touchups on the figure below, I did not correctly remember the colours I had used on the dress. While I prefer the purples I originally used to the pinks of the revised version, the slight shift in colour did not ruin the underlying paint blending and the contrast is definitely much more effective in the revised version.

Vic1 combo face cr

The key to making this work is to concentrate on value. Value is how light or dark something is. So if you get a skin tone that is kinda sorta similar to your original one and you paint a shadow mix into the shadow area and the value of those shadows is pretty close, it should work fine. Then you add in some darker shadows and increase the contrast from there. 

If you put some paint down and the value is way off (it’s much lighter or darker than the area where you placed it), just grab a damp brush and scrub it off. Then tweak your mix and try again. Doing this value matching will get easier the more you practice like this, and practicing it will help your overall painting considerably, it’s not just useful for doing touchups. 

Vic1 wip combo back cr

If you study the teal areas in the above photo, I think you can get an idea of the process. If you look at the side of her hood to the right side of her head, it’s the same before and after. That was essentially the midtone, and I didn’t touch that area with new paint. I added darker shadows under the fold of the hood, and lighter highlights on the peaks of the folds and the top of the hood.

To prove the courage of my convictions about not needing to match colour, I used brand new paint colours to touch up the blacksmith. These colours had not been released when I first painted the figure. These included colours from the swag boxes for the upcoming ReaperCon 2021 (currently on preorder) and colours that are releasing as part of the Bones 5 Kickstarter fulfillment. I was sent preview copies of these. I’ll list the exact colours I used to touch up the blacksmith and include scans of swatches at the end of this post.

Contrast
I added more contrast to the blacksmith in a similar way as to that Victorian lady above. I took the shadows of areas down a step or three darker than they started, and applied highlights a step or three lighter than where those started. So when working on the highlights, I started with a value pretty similar to what was there and applied that. Then I mixed a lighter value and applied that on top in a smaller area, and then a lighter value again in a smaller area on top of that. The areas I applied contrast with standard layering include the skin, the pants, the leather (boots and bracer) and the hair. With the hair and beard I used the side of the brush held perpendicular to the texture to keep paint out of the recesses between the strands.

Note that I did not push the contrast on the blacksmith to the extreme of what I personally would paint at this point in my hobby journey. I was trying to simulate what someone at an earlier stage of their painting journey might do if attempting to push to what they would feel is extreme contrast.

Texture
I wanted to add both contrast and texture to the apron and anvil. I used brushes designed for stippling to do this. These have stiffer bristles. One was cut flat, the other was more of a teardrop shape. As with drybrushing I used more opaque paint to keep the stipple texture visible.

Based on my reference photos I added stronger texture to the apron and more subtle texture and colour variation to the anvil. Adding texture to the anvil at all goes back to the point about exaggeration versus realism that I discussed above. If you scaled my blacksmith reference photos down to the size of a miniature, you probably would not detect much texture or even colour variation on the anvil. We had a couple of people with smithing experience on the stream who pointed out that a good smith would take good enough care of their tools to not have much visible rust. Adding a bit more visible rust to the miniature anyway makes the miniature more specific, more interesting, and more readable, and it doesn’t stretch reality to a ridiculous point.

Kovář při práci Velikonoční trhy na Václavském náměstí 055 2000This photo of a blacksmith shows a different colour of apron with similar wear, and more of the subtle variation of colours on an anvil. Photo by Matěj “Dědek” Baťha from Wikipedia Creative Commons.

Colour Variation and Unity
It is helpful to add some colour variation to miniatures to add visual interest so people enjoy looking at them more. Among other things, this mimics the effect of reflected light and colour casts in light that happens in reality. Using the same couple of colours to mix the deepest shadows and lightest highlights is another way to trying to create some colour unity and give the impression that everything is being lit by the same light source.

For the blacksmith, I thinned down Carnival Purple and added it into the shadows of most of the items on the figure. Even a little bit in his hair! I applied it to the darker areas of the apron, and the shadow areas of the skin and pants. Purple often works well applied over the shadows of many colours, or even mixed into your shadow colours. Adding some hints of rust colours on the anvil is another example of adding colour variation. I applied a thin glaze of red to the blacksmith’s cheeks and the tip of his nose.

Definition: Lining and Edging
There was a bit of definition on this miniature, but I added more. Definition is an issue that comes up a lot in ReaperCon critiques, and just in general critique. Techniques like lining and edging help define the different surfaces that make up a miniature and allow the viewer to more easily see what is what on the figure. It helps it stand out and get noticed on the table/shelf/thumbnail. I applied lining in several areas of the figure, and did edging around the edges of the apron.

Adding lining is probably the number one tip I would give a newer painter to improve their work. People often feel like it is unrealistic. And again I would say look at reality. You will often see a shadow line where one part of the body or an item of clothing overhangs another. Lining is based on that principle. So it’s not just something from cartoons and comics, it’s something from real life. Edging involves applying a lighter colour to the edge of a surface, like the hem of a cloak. These areas often do catch the eye a little more or look lighter due to greater wear and tear. 

For a more extensive discussion of the importance of definition and lining and for another before and after example, see this article.

Details
I was not able to work on them on stream (they’re very small and inset), but after the stream I did try to improve the eyes over what I had originally painted. I also tried to add some additional shadows and highlights on the metallic areas after the stream, but I don’t feel like these made a lot of difference. 

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Arm’s Length View and Black and White Study

Compare the scaled down images of the before and after pictures. You can see more information in the small view of the touched up figure than you could on the original. That is due to having increased the contrast and adding definition through lining and edging. You can’t really see all  the sculpted texture of the stump and hair, or the painted texture on the apron from a distance. Nor can you see all of the subtle colour variations. The same is true of freehand or other details we often add to figures. But you need the effect of contrast and definition to make a figure readable at a distance and draw the viewer in to take a closer look at all of the details and subtlety you’ve added.

Smith ba front cr small

Smith ba back cr small

If you are viewing this on a mobile device, try to scale the above pictures down to the size of a miniature viewed at arm’s length to better compare the before and after. Areas where you can most strongly see the effect of contrast are the muscles of the back, the hair and beard, and the folds on the pants.

The last time I posted a before and after like this, some people commented that they couldn’t see much difference between the before and after. It can take some time and effort to develop our critical/artistic eye, just like it does to develop our brush handling dexterity. It may help to view the image converted to black and white so you can concentrate solely on the contrast and definition differences. Another trick you can try is comparing one small area at a time. Compare just the before left boot to the after right boot, and so on. Think of it like one of those spot the difference picture games.   You can also consider this an argument for why almost all critique includes the comment to increase contrast. The viewer always sees less of it than the painter does!

Smith ba front cr bw

Smith ba back cr bw

If you would like to see another comparison with a different figure (and also a comparison between two similar figures), I wrote an article with a digital repaint of the figure below.

Blibby before after cr

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The Colours

On episode two of Beyond the Kit I did a lot of colour swatching. Depending on the surface you use and the way you apply your swatches, swatching out colour can help you see some important and helpful information about a paint, including opacity, mass tone (the colour at full strength once dried), and undertone (what the colour looks like thinned down or with white added).

I used cheap watercolour paper to paint my example swatches. It’s possible to paint swatches on even printer paper, but thinner paper or paper that isn’t designed for wet media application is likely to curve and buckle a little, and very thin paper might be damaged by paint mixes with a lot of water. I’ve had decent results with index cards and drawing paper as well. I scanned the swatches as I think the colour reproduction of my scanner is pretty good. Though of course actual colours may vary slightly given that you’re seeing this on a different screen and so on!

One set of swatches below are colours included in the various pre-order swag boxes for ReaperCon 2021. There are an additional three colours that will be included in the onsite VIP swag bags. I was sent preview copies of many, though not all, of the ReaperCon preview colours. I’ll be adding the additional colours to my swatch sheets next week and will update these scans after that.

Swatch rm rc2021

The other set of paints that I swatched are the upcoming Kickstarter 5 paints. One pack of these are colours that are already part of the line, but were available at a discount via the Kickstarter. These are the Anne’s Favourites colours below. Anne Foerster recently shared some information about these colours and tips for using them on her Patreon

The other pack is a mix of colours that were previously available via special edition and brand new colours. Reaper adds a few new colours to the line in each Kickstarter. These will first be available to the Kickstarter backers, but eventually they will go into standard retail and be available for purchase to all.

I’m particularly excited about the Oxide Yellow, Oxide Red, and Oxide Brown. These are similar to earth colours like yellow ochre and burnt Sienna that are common in traditional painting and are very useful for mixing. I’ve been playing around with some of the other new colours as well and enjoying those. 

Swatch rm bones5

The specific paints I used to paint the touchups on the blacksmith, in no particular order:

9444 Tawny Flesh
9494 Gnome Flesh
9487 Yellow Mold
9333 Brown Oxide
29139 Grave Glome
29128 Goggler Green
29129 Drow Skin
9039 Pure White
9328 Black Indigo
29150 Rusted Anchor
9332 Oxide Red
9505 Chum Red
9331 Oxide Yellow
9507 Kraken Ink
9325 Carnival Purple
9452 Blade Steel
9673 Bright Silver

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Figures in this Post

The Blacksmith is available in Bones plastic or metal in a pack with two other townsfolk. The copy I’ve shown here is Bones.
The Victorian lady is available in a pack with a second Victorian lady in metal.