play, but wait you want some cool Warhammer terrain to go with your newly For all your Warhammer terrain making materials and supplies it's best to keep. Titre: How to Make Wargames Terrain Auteur: Games Workshop. Ce document au format PDF a été généré par ABBYY FineReader /, et a. How to make wargames terrain 2nd soundofheaven.info D&D Miniatures: Maps & Terrain Tiles Tabletop Games, Dioramas, Maps, Gaming,. Öffnen. More information.
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Games Workshop, the Games Workshop logo, Warhammer, Warhammer 40,, Citadel, How to Make Wargames Terrain is a guide to building and painting. GW - How to Make Wargames Terrain 2nd Edition - Download as PDF File .pdf) or read online. manual detailing how to make verious tabletop terrain features. How to Make Wargames Terrain - Warhammer Fences, Walls and Hedges - Free download as PDF File .pdf), Text File .txt) or read online for free. Modeling.
There are several different kinds such as DAS which can be bought in art, toy and model shops. I think any potential gaps in the market have been filled quite well. When you're not using the knife, the blade can be retracted safely into the handle. While I love those books, in the age of the internet they are rather obsolete. If you want the step to be higher, cut out another identical step and stick it on the first to make a double thickness step and so on until you have the height you want. The modelling material can be held down firmly on the board to be cut accurately and safely without scratching the table or desk. SAND Sand is readily available from pet shops where it sold for fish tanks and bird cages.
Some materials are resistant to warping and others may not warp because of this reason, but may warp under their own weight because the base has not been stored on a flat surface. The best way to guard against warping is to choose your card or other materials carefully and to try not to saturate the base.
Another way is to paint the bottom of the base first, before applying paint and glue to the top surface. This can help to counteract the tension caused by the drying of the upper layers of paint and glue. PVA glue can be painted on as a sealant to prevent moisture penetrating the cardboard and making it soggy.
Cardboard is most susceptible to warping, but corrugated brown box cardboard tends not to warp because of its structure. Larger bases are more liable to warp than small ones. As a general rule it is better to make several small terrain pieces and place them together to make a bigger feature than to try and make a very big piece of terrain. When sticking down any flat piece of card, cork tile or polystyrene onto a flat surface, place a weight, such as a telephone directory, on top of the upper surface.
This will hold it down firmly as it sticks and avoid the edges lifting up or warping. When the paint was dry, diluted PVA paint was applied, then flock was scattered over it. Drybrushing is a painting technique that accentuates the texture of a model's surface. Paint the model in the basic colour you want it to be - dark grey for stones, for example. When the paint is dry, mix a lighter shade of the same colour. Using an old brush, wet it in the paint, then clean off nearly all the paint by wiping the brush gently on a tissue.
Flick the brush gently over the model, leaving a trace of the lighter colour on the raised parts of the model's surface. If you drybrush in progressively lighter shades, you can make this effect more pronounced. The base of this statue was painted with PVA and sprinkled with sand. When dry, it was drybrushed in shades of brown. There is only one way to cover your table-top battlefield with scenery fit for such awesome encounters: A few hills placed on the field of battle can make all the difference between two armies dashing towards each other over an open plain and an interesting battle full of the tactical options that different levels of terrain afford.
Hills are easy to make, and can come in all shapes and sizes. The more hills you have the better! Y ou will usually need at least two or three hills to make an interesting battlefield. Troops can hide behind hills and archers and war machines can be placed on them to shoot over other troops. Line your missile troops up on hills so they can see over the heads of friendly troops in front. Hills can be made in various shapes and heights with either steep or gentle slopes.
The three most common and useful shapes are a simple oval hill, a long ridge and an oval hill with a straight side for placing against the table edge. The most important thing about hills is that it should be easy to stand models and units on them. The hill slopes should not be so steep that models fall over when placed on them.
If you want the hill to have steep slopes, then it is a good idea to make flat areas between the slopes for placing models on the hill. Hills with 'steps' offer the best possibilities for placing troops, and steps that are wide enough to accommodate two ranks of troops - about 6cm - are ideal. It is also the basic shape for making a sloped hill. A stepped hill rises up in several steps like a series of two or three flat platforms of diminishing size placed on top of each other.
Models can be placed on any of the flat steps. Models on the higher steps can see over and shoot over models on the lower steps. To make a stepped hill you will need thick cardboard, cork tiles or polystyrene sheeting. Decide what material you are going to use and what shape you want the hill to be. Draw the shape of the base of the hill, for example a big oval about 30cm across, on one tile or sheet of cardboard and cut it out.
The base and the top layer were each made from two sheets of thick card.
HILLS you the bottom step. If you want the step to be higher, cut out another identical step and stick it on the first to make a double thickness step and so on until you have the height you want. If you leave it at that you will have a basic, flat-topped hill.
If you want to add a second step, draw a similar shaped but smaller oval on another tile or sheet of cardboard and cut it out. Repeat the process as described for the first step if you want to make the step thicker and higher. If the first step was about 30cm across, the second step could be 20cm across giving plenty of room around it on the lower step to place models. Stick this step on top of the first step. You now have a two step hill. You can leave it there or continue adding smaller and smaller steps until you have a three step or four step hill.
A three or four step hill would count as a high hill, while a one or two step hill would count as a low hill or gentle hill. The stepped hill is finished by painting it all over with green paint. You can leave it at that for a very simple hill, or improve the hill's appearance by painting it with PVA glue and scattering green flock over it. Here is a selection of basic shapes to get you started.
The difficult bit will be making the edges of the steps look good. If these are polystyrene, they can be smoothed with sandpaper. If they are cork or cardboard the rough edges can be smoothed and disguised with filler or PVA mixed with sand applied with a spatula.
The odd stone could be added here and there as a boulder to disguise any bits of basic construction material which still show through. Next you will need to build up a surface over the steps, so that the hill slopes gently and the steps disappear. Filler or plaster can be used to cover the steps and build up the sloping surface of the hill. If you use plaster you will need quite a lot and you may need to apply it in several layers to avoid cracking as it dries.
It might be worth painting PVA onto the hill immediately before applying plaster so that the dry plaster doesn't flake off. When the filler or plaster is dry you can paint the hill green. When the paint is dry you can paint the hill with PVA and scatter flock or sand on the hill to give it a very realistic look.
If you use sand you should paint dilute PVA over it afterwards to help stop the sand rubbing off. To finish the hill, paint the sand green, and drybrush it lighter green or yellow to give an effect like flock.
A straight-sided hill, designed specifically to go along the edge of a wargames table. This wedgeshaped hill has been designed to fit neatly into the corner edge of a wargames table. One end of this straight-sided hill has been modelled into steep crags. Note the loose stones round the entrance.
You can leave your finished hill as it is, bare and windswept, or go a stage further and add trees, scree, cliffs or boulders. If the hill is made of corrugated card or polystyrene, you can push model trees into it to create a wooded hill.
Boulders are easily added, just select a few rugged looking stones and stick them on the slopes. The stones should be painted a dark rock colour and drybrushed a lighter shade of this to really look good. Trees and rocks clustered together look realistic and can be used to create rocky slopes on part of the hill.
Trees and rocks can provide cover for troops positioned on the hill. Modelling clay can also be used for even more detailed effects. When dry, the cliff face can be painted a suitable rock colour and drybrushed a lighter shade. Patches of green flock can be stuck on here and there to represent moss and grass clinging to the rock face. You can embellish the cliff even further by shaping a cave at the base of the cliff.
This is best done with modelling clay. The cave does not have to go back into the slope, the mouth of the cave can be painted black to give the illusion of depth and darkness. The upper part of this scree slope was made by carving a small section of exposed polystyrene to represent rocks. The scree was made from tiny stones and coarse sand. The shrubs on the hillside can be bought ready-made from Games Workshop. Scree slopes are scatters of rock fragments which tumble down the sides of hills.
These can be made by painting an area of the hill with PVA and scattering grit or small pebbles on it. Paint these in the same way as big boulders. Scree looks particularly good around boulders or on very steep slopes. It can represent an impassable or very difficult slope. Paint the scree dark brown, black, grey or purple and drybrush with light brown or light grey. Very steeply sloping hillsides and steps can be textured with filler or plaster to look like cliffs.
To do this, smooth filler over the steep part of the slope or against the edge of a high step. Then score the filler with A rocky cliff face goes up the side of this hill. The hill itself was made from layers of expanded polystyrene. When the sides of the hill were smoothed with filler, one area was left bare. The exposed polystyrene was then carefully cut into rocky shapes with a craft knife. HILLS Two sets of hills placed opposite each other create a deep valley - an ideal place for an ambush!
You'll be able to use the hills you make for your Warhammer battles for Warhammer 40, too. Steep, craggy hills with lots of places for models to hide in and shoot from are ideal. In fact, you could make a very good battlefield with only woods and no hills. Woods provide cover for troops, slow down movement and can be used to hide troops from enemy shooting or line of sight. They are one of the most useful and most attractive pieces of scenery.
T o make a wood follow the procedure for making a stepped hill as described in the preceding section, except that you only need to make the one step. This provides you with a suitable base on which to mount your trees. If you intend to stick trees into the base, it will need to be quite thick in order to hold them securely. Polystyrene is good for tree bases, as it's thick, and easy to stick the trees into.
Finish off the base as described for the hills, with paint, sand or flock. Now you're ready to add the trees. You can make trees from scratch but this can be time consuming and tricky. It is far easier and quicker to buy ready-made model trees. These are very good, look realistic and are usually a lot better than any attempts at making them from scratch. They come in several sizes and are either deciduous trees or conifers. Small trees can be used to represent bushes in conjunction with larger trees.
A wood looks most effective when it contains a variety of trees of different types, shades and sizes. When you have chosen a selection of trees you can plant them in the base. The trees usually have twisted wire trunks which can be pushed into the base. Put a blob of PVA onto the end of the trunk so that it will stick firmly and not fall Ready-made trees like this one are ideal for making woods with.
Just stick the wire trunk firmly into your hill base, and there you go! It's well worth making lots of woods - they'll always come in handy, and make your battlefields look great too! Some model trees have a plastic base to the trunk which can be stuck down onto the base.
Metal tree bases can be bought from Games Workshop for use with the wire trunk trees to give the effect of gnarled roots gripping the ground. Stick the trees into the base, and, when you are happy with the positions, glue them into place. If you want to add any extra details, such as clumps of grass or small rocks, now is the time to do it. The base can now be painted and flocked as usual. Arrange the trees on the platform with one or two tall ones in the centre and shorter ones around them.
Put the shortest and any bushes near the edges. This will make the wood look realistic. Another trick is to put the darker shaded trees in the centre to make the wood look deep and dark. Trees should not be placed so close together that models cannot be moved through the wood.
Alternatively you can make several small woods which are really 'clumps' of trees and arrange two or three of these to make a wood. Troops can then be moved between the clumps. Stones can be stuck on the base among the trees and painted to look like random boulders or rocks poking up out of the ground. Twigs can be stuck down to look like fallen tree trunks. These should be used sparingly and blended into the base with small amounts of green flock. Grit and small stones can be glued in small areas to look like patches of bare earth.
These details will make the wood look more rugged and realistic and provide extra obstacles and cover for models. You can add all sorts of detail to your woods to make them look more realistic, like clumps of grass and plants, tree roots, stones and stony ground.
A tight stand of trees made with Just three trees and a relatively small base. I wanted trees to add to bigger features such as crags, trees to add to hedges, clumps of trees to make forests and plenty of individual trees to put here and there on the battlefield.
Model trees are very good, and technically well made, but they tend to be made to a standard shape: Real woods and countryside include lots of different sizes, shapes and species of tree and I wanted to create the same effect in my model landscapes. I also wanted to make coniferous trees which were not fir trees, such as yews and Scots pines.
I started making trees myself, experimenting with different methods. Tree Trunks The starting point for making a tree is to find something that will make a suitable tree trunk. The first, and easiest, way is just to pick up twigs which look gnarled enough to resemble miniature tree trunks. Often bits of root are exactly right and are also tougher and less brittle than ordinary twigs.
The big problem with twigs is that they snap, so short, knobbly ones are best. Twigs will need little or no painting, perhaps just a quick drybrushing to bring out the texture. The other method of making tree trunks is to use wire. This has to be copper or steel wire of the sort bought on a roll in hardware stores, so that you can bend and twist it into shape. Cut short lengths and twist them together to make a thick trunk. Splay out short lengths at one end to be the roots and longer ends at the other to be branches.
Some of the wires for branches can be twisted together to make thick boughs. Arrange the branches into a realistic tree shape. The wire can be left as it is and painted to make a crude tree or covered in some sort of texture or tape. Masking tape or bandage dipped in glue or plaster will do well, or you can use plaster, milliput or plastic wood filler applied with a spatula.
When this is dry it can be quickly painted and drybrushed to give a very gnarled effect. At this point you could even try to indicate the species of the tree such as painting a slender trunk to look like a silver birch with black and white blotches, or painting yews and redwoods with reddish brown bark and ash trees with greyish brown bark.
With a wire trunk, you can take the opportunity to make really interesting tree shapes, such as trees bending over because of years of gale force winds! Each model tree can be given a unique character which, when combined with other trees, makes the whole terrain piece look less artificial and more natural. The Base It is a good idea to stick the trunk onto a firm base before dealing with the foliage so you can stand it up while you work on it. I stick the wire trunk onto a base before I texture the bark.
I just use an irregular disc shape cut out of card for the base. It just needs to be large enough to stop the tree falling over.
I texture the base with the same stuff I put on the trunk and add flock and also stones to help weigh the tree down. Foliage The most difficult bit of making a tree is to find a way of giving volume and shape to the foliage.
I use sponges, loofahs, moss and green scouring pads. These things can all be found in hardware stores and domestic supply shops apart from moss, which you can find anywhere. If the chunks are quite big you can push them onto the wire or twig branches and fix them with glue. If you make lots of very small chunks, or want to use the offcuts from the big chunks, mix these up with PVA wood glue and apply them to the branches.
This takes a bit of skill because the sloppy mess will try to slip off and it dries into a hard mass. You can do exactly the same with certain kinds of moss: At this stage the tree must be left to dry so that everything will be firm for the final stages.
This will make the canopy look deep and dark. When this is dry, you can drybrush with lighter shades of green, or even yellow or autumn browns to give the tree its final unique character. When you have lots of trees with various shades of green, they always look amazingly like a real wood when arranged together. This is a great opportunity to experiment with as many shades of green or other woodland colours as you feel like! If you have used moss, or green scouring pads, you will not need to paint the foliage at all, or perhaps no more than a bit of drybrushing with a lighter green.
Otherwise, paint the foliage a base colour of Leaf Texture Before painting the base colour, I sometimes add some sort of texture to resemble leaves. Well illustrated books about the countryside, geography, woods and trees, mountains and hills, and travel books with photographs of foreign lands are all useful and will serve as a good source of information. If you want to make a specific sort of tree for instance, a book about trees, especially one that shows trees with and without their leaves, will be a great help.
Paint PVA over the canopy and dip it into a saucer full of the sawdust or flock and then leave it to dry. You may need to do this twice to get good coverage. There is always some that falls off, but a good thick coat of base colour tends to fix it, or paint over it with diluted PVA or spray varnish. Whether or not you texture the tree in this way, you can add a further layer of green flock on top by the same method. Sometimes I just keep going, adding flock and dry-brushing until the tree looks right, or I get fed up and start another one.
Either way, I have just created a different type of tree. When they are all mixed together in a wood, the effect of a lot of them together does the trick and looks like a real wood. Make lots of river sections, designing them so they all fit together, and you'll find endless uses for them. Rivers do not block line of sight, but have a significant effect on troops' movement, as it is difficult to cross a watercourse except at a ford or over a bridge.
T his section describes how to make a section of shallow river or stream. The section is curved so as to run across the corner of the battlefield. It will therefore be a complete piece of scenery in itself and can be used on its own. Once you've made one section you can repeat the process to make more sections to lengthen your river. Use a sheet of thick strong cardboard to make the base for the river section, and draw the shape of the curved river section onto it.
The river should curve almost at a right angle. Alternatively you could draw an almost straight or slightly curved section and arrange it on the battlefield diagonally across one corner.
The section should be about 10cm wide for a shallow stream or river. Cut out the shape you have drawn. You may find it useful to stick two or more layers of cardboard together to make a really sturdy and stiff base.
If so, use the original shape as a template for the others. When you have made the base for the river section you will need to build up the river banks along either edge of the base. The simplest way to do this is to stick strips of cardboard, cork or polystyrene tile along the edge. These not only raise the edges, but you can also build up the river banks against them. Cover the strips with filler, or you could use modelling clay, plaster or plasticine.
The banks could also be made by sticking a row of stones along the edge of the river section with plaster, modelling clay or plasticine between them to give the effect of a stream flowing along a rocky bed strewn with boulders. When the river banks are dry, paint this area dark blue or dark greenish blue. The most convincing results come from merging and mingling areas of various shades of green and blue.
Then paint over this again with PVA glue. When this is dry the surface will be shiny and look like deep water. Now paint PVA glue along the inside of the river banks so that it overlaps part of the bank and part of the river.
Scatter grit, sand and small stones over this and wait for it to dry. This will create a gravel shore along the edge of the river banks.
Shake off the surplus gravel and paint it with a dark colour such as black, brown or dark yellow. When this is dry, drybrush the gravel with a light sandy colour or white. You can also indicate waves and currents on the surface of the water. Depending on how much of this you do you can make your river section represent a sluggish deep river or a fast flowing torrent.
All that remains to be done now is to paint and flock the river banks and decorate them with bushes and foliage. Reeds can be made from bristles or tufts of rope glued down beside the river, unravelled to look like a clump of rushes and painted green. The finishing touches can now be made to the water. With an almost dry These two river sections have been designed so they fit together brush and 4 The banks are finished, and the model is ready to be painted.
If you want to make the water look really 'wet' and reflective you can paint it with layers of varnish. At the point where you want the ford to be, stick down more gravel so the river becomes quite narrow at this point. When you paint up the section, this point will appear to be mainly gravel and easily crossed. Another way to make the section fordable would be to stick down several flat pebbles to look like huge stepping stones across the river.
Gravel is likely to accumulate around the stones and this can be represented as described already for making a ford.
The river banks are lower either side of the ford, and the river bed is more visible. All you need to make this is a river section made as described in the previous section and some balsa wood or suitable twigs. Either choose a river section that you've already completed, or make a section specially for the bridge.
The Rivers section explains how to make a river.
Now all you need to do is construct the bridge, paint it and stick it onto the completed river section. To make a simple plank bridge find two twigs or cut two thick strips of balsa wood long enough to span the width of the river or stream.
Lay these down on a flat surface about 5cm apart. For the crosspieces, cut twigs or balsa wood into 5cm lengths to look like logs or planks. Stick the cross-pieces one at a time along the two supporting timbers working from one end to the other. The crosspieces can be laid edge to edge or slightly apart as you wish. When the whole length is covered with logs or planks in this way and securely glued together the entire structure can be painted and drybrushed to look like weathered timber.
When it is dry, simply glue the ends of the long timbers and rest them on the river banks so that the bridge spans the river. The bridge is now finished, but can be further improved by adding sand, flock or modelling clay to the ends where the bridge meets the bank to look like the gravel road leading to the bridge. Further twigs or balsa strips can be added to the sides of the bridge to create rails to guide travellers safely across the water.
The planks and timbers are all made from balsa wood. As the banks need to be wider than usual to support the ends of the bridge, it's best to make a river section specially. To make the bridge, sketch the side wall onto a sheet of thick card. Cut out one wall, then use this as a template for the other, so both the walls are the same shape. If you want to add detail to the walls, this is the time to do it.
Make the river section wider than usual so the ends of the bridge have somewhere to go. The bridge has been stuck onto the river bed, and extra bits of card have been added to help hold it in place. To make the road part of the bridge, you will need a rectangle of card cut to the width of the bridge.
Cut the road longer than the span of the bridge so it curves up slightly. Glue the road to one side of the wall, curving it to fit, and leave it to dry. To support the road, you could stick tabs of card or bits of balsa wood underneath it. Glue the other wall onto the road and leave it to dry. You can then texture and paint the walls as normal. When the bridge is ready, glue it onto the river section.
The finished hump back bridge. Hump back bridges come in many different styles, and the four shapes below should give you some ideas. A jetty has been modelled onto this curved river section. This plank bridge has been enhanced by adding a simple set of rails, made from thin strips of balsa wood.
The skulls on top of the rail posts are from Citadel Miniatures plastic skeletons. Once you have tried the basic technique, you can experiment to create different features such as ponds, ditches, craters full of water, a desert oasis or even the sea. Using different colours you can represent other liquids such as industrial effluent pools or molten lava for science fiction scenery. T he basic technique for representing water is to paint gloss varnish over the top of green or blue paint.
The varnish dries to give a glossy, shiny reflective sheen which looks just like real water. The first stage in the process is to paint the surface which you intend to be water with green or blue paint.
The exact shade you choose will make the water appear deep or shallow, murky or clear. A deep bog or river would probably be best represented by a dark greenish blue shade. A fast flowing mountain stream would have a base coat of turquoise or blue. Over the base coat paint a wash or glaze of blue or green to deepen the effect.
Wait until the base coat is completely dry before doing this. You can subtly shade the area to look like patches of deeper and shallower water, or make some areas murkier than others. All this will generally add to the realistic appearance of the feature. The base coat will always benefit from at least one wash with a translucent green or blue just to enhance the watery effect.
When the base coat and washes are completely dry, paint over them with gloss varnish. There are several varnishes which you could use, such as polyurethane varnish, yacht varnish, spray varnish from an aerosol can or acrylic varnish. The important thing is that the varnish dries glossy. Satin varnish will not look like water and matt varnish is no good at all at! These varnishes can be found in model shops and hardware stores. Most of them will require the brushes to be washed in paint thinners after use and will not be water soluble.
For this reason the varnish has to be put on top of dry paint. After the surface has been varnished, you will not be able to paint over it very effectively with water based paints unless they are very thick, so put all the layers of wash and glaze on first.
The varnish is the final coat. You can use several layers of varnish. The more varnish you put on, the glossier and 'wetter' the water will look. The varnish will take a long time to dry completely, so avoid letting any dust or flock fall onto it before it is dry or it will stick to the tacky varnish and spoil the effect.
Water Plants Before applying the final coat of varnish you can embellish the watery area with extra details.
Using light green, flick brush strokes or blobs to look like clumps of submerged reeds and water lilies. Flock can be sprinkled onto the wet varnish which will stick and look like algae and duckweed.
This looks most effective against the edges of the water, or around clumps of reeds and boulders. The Sea Surf and the foaming edges of waves breaking on the beach can modelled with glue and sand. Paint wavy lines with PVA glue and sprinkle sand over them, then wait for the glue to dry before shaking off the surplus sand. The sand will create the texture of the surf. The flat areas between the waves are painted dark blue, giving way to turquoise as you get near the beach to indicate shallower water.
Wash over everything with blue or green inks before putting the varnish on top. After varnishing the whole sea area, the lines of glue and sand are drybrushed white to represent surf. Raging Torrent The technique for representing waves and surf described above can be used for any 'white' water fast flowing water frothing and foaming around rocks. This can be used to good effect on mountain streams where the water is rushing between rocks and boulders and also for rugged coastline with submerged rocks and the sea breaking on the cliffs.
A simpler technique for representing white water is to paint streaks of white into the wet base coat, or carefully drybrush white paint around partly submerged features such as rocks or the piers of a bridge. Very thick white paint can be applied by drybrushing even after varnishing to improve the effect. Though troops can move through marshy terrain, the slushy footing will slow them down considerably. Marshes commonly occur near rivers, and along sea coasts. A marsh is basically a flat area of boggy ground with pools of stagnant water, hummocks and tufts of reeds.
If you only have thin card, stick several layers together until you have a strong enough base for the terrain piece. Paint the top of the base with a suitable colour to represent marsh water, such as greenish-blue or yellowish green. The darker the green, the deeper the water will appear to be. Wash over this with patches of green wash or glaze to create the illusion of deeper pools of water. Paint over the areas which are going to represent water with PVA glue.
When this dries it will give the pools the reflective quality of water so that the water will actually look 'wet'. You can further enhance this effect by adding layers of varnish.
Notice the extra details that have been added to this marsh, such as reeds and stones - even a tiny frog! The marsh base was made from a single layer of thick brown cardboard. A mixture of sand, PVA and water was used to model the contours of the marsh, then the edges of the base were built up with filler. The water was painted before the marsh was painted and flocked. The sides of the base can be built up with filler.
Paint the areas you want to flock with PVA and sprinkle green flock over them, shaking off the surplus when the glue is dry. You now have a basic marsh which you can use as it is or further embellish it by adding stones and marsh plants. To represent reeds, cut short lengths of rope and fray out the strands to look like tufts of reed or long grass.
Put a blob of glue where you want the tuft to be and press the end of the tuft into the glue. It's a good idea to use really tacky glue for this job, or wedge the tuft between a few small stones which you have already stuck down so that it stands upright as it dries. When dry, paint the tufts dark green and drybrush with a bright yellow green. The chamber itself is made of huge slabs of stone and is sealed with another large slab as a door.
The roofing slab and the door are usually visible among the pile of stones and may be carved with arcane runes. M ounds like these are often the last resting places of Dwarf adventurers, Orc warlords, Chaos warriors, long forgotten Necromancers and Barbarian chiefs. Sealed within may be unimaginable horrors and untold treasures.
Making a burial mound is simple. First make a sturdy base by cutting out a roughly circular or oval shape from stiff card. If you've only got thin card, stick several layers together.
The base should be strong enough to bear the weight of the model. Make the mound with layers of thick card, as if you were building a small hill. When the layers are dry, fill in the slopes of the mound with filler, leaving one end slightly flat for the door.
The door of the burial mound can be made from modelling clay, a piece of polystyrene, or even a real stone, if you can find one the right shape. Glue the door into place, and then arrange the smaller stones around it, starting from the bottom and working up. The lintel can be made from the same sort of materials as the door. When the stones are dry, paint them over with PVA to bond them securely together.
The burial mound can be painted and flocked in the normal way. Paint the stones a suitable colour such as dark greyish-blue then drybrush with lighter shades to give the effect of weathered boulders. The mound and the base can be painted green and flocked. If you want to spend some more time on your burial mound, you can add extra details such as tiny stones and clumps of grass. You might even add a small bush or tree clinging to the side of the mound. The bigger stones and slabs could be decorated with runes or sigils to protect the dead and warn off thieves and intruders.
When the glue was dry, the sides of the mound were built up and filled in with all-purpose filler. In the finished model, the mound has been painted and flocked, and finishing touches have been added such as tiny stones and a bush.
When you've made some clusters of boulders and rocks, why not try your hand at a cairn, a dolmen or small group of standing stones?
Cairns are easy to build, and add character to a Warhammer battle ground. They can be as simple as a pile of stones, but we've made ours a bit more interesting by topping it off with a large flat stone. First, you'll need a sturdy base. Cut out a roughly circular or oval shape from thick card.
If you just want a simple pile of stones the base needn't be too big - about 5cm across should be about right. For a more elaborate cairn the base can be a bit larger.
For the core of the cairn, you'll need to mould a lump of modelling clay into a squat cone with a slightly flattened top. For a lightweight alternative you could use expanded polystyrene.
Glue this to the base, and when it's dry, glue small stones or gravel up the sides of the core. Finally, make a cap stone from modelling clay or polystyrene and glue it to the top of the rock pile. When the glue is dry paint the entire mound with PVA to bond the boulders together. When this is dry, paint the base green, and coat it with flock. The stones can be painted in a suitable colour such as dark grey, drybrushed with lighter shades to give the effect of weathered boulders. Your cairn is now finished, but you can always go on to add more little details such as clumps of grass or moss between the stones, or runes carved or painted on the rocks.
Real stones are being glued up the sides of the rocky mound. There are endless possibilities, from rocky outcrops, stone monoliths, dolmens, even single boulders. Model rocks and boulders can be made from pebbles, real stones or pieces of stone, modelling clay or polystyrene. For very small stones you can use gravel or coarse sand. This clump of two rocks was made from real stones painted with texture paint.
You'll find more ideas for rocks in the Warhammer 40, section. A slightly larger clump of rocks. Notice how the scattering of tiny stones made from crushed coral round the base of the stones makes them look more realistic. The patch of tall grass on the edge of this set of rocks was made from frayed rope painted green. They can consist of anything from a crude ring of four of five individual standing stones to huge, elaborate circles of carved stone blocks topped by lintel stones. Stone circles are invariably places of great magic power, and are used by wizards, followers of Chaos, Elves and other races for their arcane rituals.
T o make a stone circle, cut out a roughly circular base from strong card, or make one by sticking several layers of thin card together. You will need about half a dozen suitable stones, which can either be real ones, or shaped from modelling clay or polystyrene.
Small stones can be stuck at the bottom of the larger stones to wedge them upright. Some stones can be stuck as though they have fallen down. You can leave the centre of the circle empty, or add a low altar mound, a lone monolith, a dolmen, or even a firepit, as we've done in our stone circle. When the stones are securely stuck onto the base, paint the base green.
Then paint the stones so they look like weathered rock, as described in the Rocks and Stones section. At this stage you might want to paint runes or arcane engraved designs on some of the stones.
When they are dry, paint the base again with PVA glue and scatter green flock over it. The stones on this stone circle were made from modelling clay - the advantage of doing this is that you can make the bases flat so they can be more easily attached to the base. The sides of the base and the raised circular area are being covered with filler to fill in the holes and smooth them over.
The stone circle is now complete but it will look better if it is enhanced with bushes and tufts of grass stuck around the base of the stones to make it look suitably ancient and overgrown.
In the finished model, you can see that small areas of loose stone have been added round the bases of the large stones. This dolmen was made from polystyrene 'rocks'. If you make two or three small buildings to start with you will be able to use the same techniques to make larger and more elaborate buildings later. Eventually you will have built enough buildings for your own small village!
The walls of these huts would be made of sun-baked mud bricks or wattle and daub, while the roofs are usually made from a thatch of branches, reeds or straw. Clusters of these huts are about as far as Orcs go by way of settlements as they have neither the ability nor the interest to make permanent dwelling places.
C ircular huts are very easy to model. To make the hut you will need a thick cardboard tube. The one we used was 8cm in diameter. Cut a ring from the tube to form the circular wall of the hut. The height of the wall should be appropriate for your models; the walls for the hut we made were 6cm high.
Next cut a rectangular doorway in the wall of the hut with a pair of scissors. You should now have a ring-shaped strip of cardboard with a gap for the hut's door. A simple door can be made from card or balsa wood, painted brown see page 48 for help making doors. Cut out a circular base for the hut from thick card. The base need only be slightly larger than the circular wall. Stick the hut wall onto the base. The conical roof of the hut is made by cutting out a circle of thin card. The circle should be wider than the diameter of the hut wall by at least 2.
When you've done this, cut a slit from the centre of the circle to the edge. Carefully bend and curve the circular disc of card so that one side of the slit overlaps The finished hut. The walls have been lightly textured with filler before painting and drybrushing. When you're satisfied with the shape of the roof, glue the overlapping edges together.
It's a good idea to use tape to temporarily hold the roof in shape on the inside of the cone while the glue is drying. When the cone is dry, it can be glued onto the walls of the hut. You now have a basic hut which you can paint straight away or add some more detail to. The walls can be painted to represent mud, clay, wattle interwoven twigs or crude stonework.
The roof can be painted to look like thatch, turf or brushwood. If you want to add further detail you could stick twigs onto the card form of the hut or use modelling clay to sculpt thatch over the conical roof. The effect of a crude stone wall can be obtained by sticking irregular bits of thin card on the hut wall as described already for making a stone walled cottage.
Making a watch-tower is very similar to making a hut - it's just a bit taller! A good watch-tower will either be entirely built of stone or will have a stone base and timber top, so that the enemy cannot burn it down too easily! Watch-towers are usually tall buildings, with a circular or square shaped cross-section.
They may sometimes have a roof, especially in cold or rainy regions, because the lookouts will need to stay in the tower for several days and nights at a time. A stiff cardboard tube is the ideal basis for making a simple circular watch-tower. Choose a tube which is the right size for the tower you want to make. A tower need only be cm high to be effective, especially if it is built on a hill. Cut out a circular base for the tower, slightly wider than the end of the tube.
Use stiff card or several layers of thin card for a strong base. You can stick irregular pieces of card over the tower walls to represent stones or paint the tower to look like masonry. Textured paint is good for this as it leaves a slightly rough finish which can then be drybrushed. Make a conical roof for the tower in the same way as described for the hut and stick it on the top of the tower. If you want a tiled rather than a thatched roof, stick small squares of card onto the roof to look like slates, and paint them in an appropriate colour such as dark grey or terracotta.
Window slits can be painted on, or cut into the body of the tube. A door can be stuck on the outside of the building, or you can cut a rectangular hole in the bottom of the tower and stick the door across this from the inside, as we have for this watch-tower.
Before gluing on the roof, or sticking the tower to the base, holes were cut out for the windows and the doors. Pieces of card are being stuck to the walls to give the impression of stones The finished watch-tower. The walls have been gently textured with filler before painting and drybrushing. The door was made from strips of card, and the door handle was made from wire.
Such structures can be found all over the Old World, from Bretonnia to Kislev where they are the commonest type of building to be seen in the landscape. Most of the buildings in a rural village will be dwellings of this kind and so will many of the poorer houses in towns and cities. A peasant cottage is basically a rectangular building with a pitched roof. There is only one door and few if any windows.
It usually lacks a chimney, and has just a hole in the roof to let out the smoke of the hearth. Inside there is only one big room. The peasants live in the building with some of their animals and sleeping areas are either up in the rafters or separated from the rest of the house by wooden or wattle screens.
Inside, the house is dark, drafty and smoky. The walls are low and made of boulders, crude masonry, logs or wattle and daub a wall of woven twigs plastered with mud and straw.
If there is a window it will usually be a simple opening closed by a wooden shutter. The door is made from wooden planks. The roof may be thatched, or made of overlapping planks, tiles or slates. The big panels cut from a cereal box can be used as can any card of at least the same thickness from other packaging.
Using a ruler and pencil draw a rectangle 10cm long and 5cm tall representing one side of the cottage. Draw a door in the centre. This is the front of the cottage. For the back of the cottage, draw another rectangle identical to the first but without the door.
Now draw a square 5cm long and 5cm high. Mark a point on the top line midway along the square. Note that the building has been glued onto a base to give it stability and keep the walls square.
Join this point with two sloping lines to the top corners of the square. You now have a gable end for the cottage. Draw another end exactly like this so the cottage will have a steeply sloping roof. Using a thicker piece of card, or several thin sheets stuck together, make a base board for the cottage.
This should be slightly larger than a 10cm by 5cm rectangle. Now cut out the four sides of the cottage. If you want you can cut out the door, otherwise you can simply paint it to look like a door later on. Using sticky tape join the four sides of the cottage together at the corners. You will now have a cottage-shaped 'box'. Instead of tape, you could glue tabs of cardboard inside the corners of the cottage for extra strength and even on the outside of the corners as well.
The structure will still be fairly flimsy at this stage so glue the bottom edges and position the cottage on its base. When the cottage is stuck firm on its base, draw a rectangle 11cm by 5cm onto a sheet of thin cardboard for the roof section. Draw a line lengthways straight down the middle to mark the ridge of the roof. Cut out the rectangle and fold it along the ridge line. You may need to score the line gently with a knife to make a neat fold.
Now you will have a sort of tent-like shape which will form the roof of the cottage. To fasten it to the rest of the building, glue the upper edges of the cottage and position the roof section on top with the ridge linking the pointed gables at each end of the cottage.
Tape or hold the roof on firmly until it has stuck. The roof will overlap the walls of the cottage slightly giving it realistic eaves just like a real building. The basic shape of the cottage is now completed. At this stage you can simply paint any details that you want on the basic building or go a stage further and stick details on before painting.
You now need to decide whether you want it to be a timberframed cottage, a log cabin or a dry-stone cottage. This window has been made from strips of card stuck onto the walls of the building. A timber-framed cottage is a structure built with a wooden framework, and is the easiest option to start off with.
The gaps in the framework are filled with wattle and daub panels. This gives the appearance of a black and white cottage as can be seen in many rural villages in England today. To replicate this effect on a model you can use strips of cardboard, balsa wood or even matchsticks. Stick the strips of cardboard at the corners of the cottage to look like strong supporting struts. Stick other strips at various intervals along the sides of the building.
Stick one big strip at each end in the middle of the gable end section of the cottage to look like a timber holding up the roof.
Smaller strips can be added between the larger ones in a random manner to look like struts and cross timbers or to mark the frames of door or windows. The photos of card buildings in this section will give you some ideas. Paint the strips black or a dark wood colour and paint the areas between them yellow or white to look like whitewashed mud or clay.
A log cottage is built with logs laid lengthwise or set upright in the ground. The roof rests on the wall of logs or upright posts. To make a log cottage, use twigs or bits of balsa wood and cut them to the right length by measuring against the walls of the building. Stick them to the cardboard walls until all the walls are covered except for a gap for the door. Don't worry about windows, just make it dark and dank!
If your twigs look realistic enough you will not even need to paint the walls. Stone cottages are built from blocks of stone, and are most common in mountainous regions.
This effect can be given to the model by cutting strips of card and then cutting these into numerous short sections until you have loads of bits of card about 15mm long and 6mm high or smaller. First cut a number of thin strips of card the same length of the roof.
Cut into the strips at intervals to make the 'tiles'. Paint glue over the side of the cottage and stick the 'stones' on to it in courses as if they were bricks. Fit them together in any way you like, a random arrangement will look more primitive while regular lines will look well built.
Use bigger bits for the corners, foundations and lintels above doors and windows. When dry, the walls are painted a dark stone colour and drybrushed a lighter stone colour. Roofs Now decide whether you want the roof of the cottage to be thatched, tiled or made of timber planks. A plank roof is the quickest option. Simply cut lots of thin strips of card as long as the roof is wide. Stick the strips onto the roof, starting at the bottom and working up.
Overlap each card 'plank' over the one below it. If they did release this book again, it'd encourage you to build terrain from scratch, but ensuring you use official Citadel Steel Rules and Citadel Markers to mark out Citadel Foamboard or Finefoam , Citadel Plasticard, before you place them on your Citadel Plywood base.
The end result would be thorougly disappointing. Blandford, MA. For The Greater Good….. Heh, I've still got my Specialist Games catalogue from , now that's a tease today!
All scratch built stuff as they don't make any terrain kits, but they do always seem to find a way to squeeze some of their bitz into every project.
Just recently threw out a couple of those giant phone book bit catalogs from several years. Nice, but were taking up space: I don't think we will see anything like the terrain book or even the masterclass painting guides any time soon.
GW has adopted a paint by the numbers approach and is sticking with that horrible 1 - 2 - 3 picture approach in the WDs. The painting articles use to be the main reason why I picked up WD. Ironically the best painting article was for the Dreadfleet game. Yes the game was weak, but bits and tips in that article I used on a bunch of stuff.
While I love those books, in the age of the internet they are rather obsolete. All of that information can be found on either youtube or terragenesis. On an Express Elevator to Hell!! I still think there is a really big hole left by the absence of those books. Of course anyone can look things up on the internet, but sometimes you want something that is a suitable starting and reference point to anyone coming into the wargaming hobby, and without spending hours going through dead-ends and not so good articles on the internet.
A new players guide, contributors welcome https: A Great Crusade Epic 6mm project: Why does it have to be a minis company that makes the book? If someone did their homework and got articles sorted and written, a kickstarter for it would likely pay for the printing costs. I'd try it if I had the time. AduroT wrote: Newest posts will be fine, older ones may be more sketchy until I get up to them!
July-Dec Azazel's semi-random LotR miniatures thread. Aerethan wrote: I wish I had time for all the game systems I own, let alone want to own Versteckt in den Schatten deines Geistes. There's obviously a gap in the industry now for that sort of thing Industrial Insanity - My Terrain Blog. Gap in the market? I think any potential gaps in the market have been filled quite well.
I see no reason for other terrain books when we have these. In the dark recesses of your mind A Town Called Malus wrote: Just because it is called "The Executioners Axe" doesn't mean it is an axe Dude, each to their own and all that, but frankly, if Dakka's interplanetary flame cannon of death goes off point blank in your nads you've nobody to blame but yourself!
The books are excellent, don't get me wrong. But there are better accessable places on the web for better terraign. There are others, of course. Beast of War, Miniwargaming. Like the old saying goes, GW just opend the door, I walked in and closed it after they started doing dumb stuff.
Move on from them, and branch out, because quite fankly- there are better out there. At Games Workshop, we believe that how you behave does matter. We believe this so strongly that we have written it down in the Games Workshop Book.
There is a section in the book where we talk about the values we expect all staff to demonstrate in their working lives. These values are Lawyers, Guns and Money.
And once again GW 's smaller brands continue to put out a better product than the main company. FW 's model masterclass books volume 1 and volume 2 both have extensive step by step directions for making high-quality terrain, including the use of all sorts of non- GW products.
Sure, it's probably not the most durable stuff for everyday gaming though IIRC the Vraks board in volume 1 is open for use at GW HQ , but I imagine a lot of the techniques could be used outside of diorama building. And of course the painting guides are the same, very detailed, and not afraid to recommend non- GW products when necessary.
They're well worth the cost if you care at all about painting. There is no such thing as a hobby without politics. Peregrine wrote: Grot 6 wrote: Somewhere in southern England. BrookM wrote: Rules lead to people looking for loopholes. What's here is about it.
The centre of a massive brood chamber, heaving and pulsating. I have the blue book, it is brilliant. Very sad to see it go out of print. Squigsquasher, resident ban magnet, White Knight, and general fethwit. I therefore declare that that such threads are heresy and subject to exterminatus. So says the Inquisition! This is everything those books are x Not to mention if GW did release new versions of those books it would be met with massive cries of " GW is evil for trying to sell me a book full of stuff I can find on-line", etc.
Not a member of the Get Along Gang. Here is another good internet source: Great ideas and step-by-step instructions. Gitkikka wrote: Why would you need such a book in this day and age of an internet filled with such info? Those are great books. I remeber when I started gaming in the mid 90s I picked up the red terrain book. I loved looking through it.
I could see GW make another terrain book, but it would probably focus on painting and converting their existing terrain kits, rather than scratchbuilding.
Dakka 5. Member List. Recent Topics. Top Rated Topics. Forum Tools Forum Tools Search. AduroT Revenant Pirate Crew. Azazelx Destructive Daemon Prince Melbourne. I wonder if they might compile them into a book for the wargames market.
That is an interesting idea. If I was any good at terrain stuff I'd steal it I don't think so at all. I still think that when you're working in the shop on a project, unless you have a computer setup right there nothing beats a book for having the info you want right at your fingertips. Of course at least a little of this is some of this is probably just my old-school love of a paper book Dawnbringer Master Sergeant.