Wednesday, 26 June 2019

Book Review: Painting Wargaming Figures - WWII In The Desert by Andy Singleton

My last book review was quite critical, so I am pleased to say that I am a lot happier with this one.

WWII in the Desert by Andy Singleton appears to be the first in a new series of books from Pen and Sword called Painting Wargaming Figures.

The subject of the book should need little explanation, covering the four major forces in the desert campaign of World War Two. British and Commonwealth (including Canadian, Australian, Indian, South African, as well as Poles, some French and others), Italian, United States, and German.

The layout of the book has been well thought through. The book is split into two sections, Basics, and the actual Painting Guides. The Basics section covers the various tools, paints and varnishes that will be needed and then goes on to explain how to prepare and assemble figures before the painting begins. This covers metal, plastic and resin miniatures and so all bases have been covered (well actually, basing the figures is covered at the end of the painting guides, but you know what I mean...).

The painting guides themselves are well laid out with a brief introduction and history of the various forces and their involvement in the campaign. This is a nice touch, as it would have been very easy to skip this and dive straight into the guides, but as the book is probably going to be read by wargamers just getting into this period it gives that extra level of information that will help build a wargames army. In each guide, Andy takes us through the painting process at three different levels. A simple basic paint scheme, a more advanced scheme that will give a good tabletop standard, and then the truly advanced scheme, which would probably be best kept purely for command figures or special characters.

Each guide shows the full process of painting the same figure at each level. Although there are four different factions, there are five guides as the fifth guide shows the painting of camouflage for the later part of the Desert campaign, when the German paratroopers arrived in theatre. Now, clearly, there is a fair bit of repetition as you read through each of the painting guides, if not exactly in colour, but in the technique used. However, the reader is likely to be following only one of the guides and is unlikely to be painting all the forces, at all the different levels in quick succession, so the repetition only gets boring for a reviewer reading the entire book, without actually using it to paint their army.

The author also points out that a lot of the uniforms faded in the dust and sun of the desert campaign and many of the soldiers chopped and changed items of uniform so it would be rare to have a standard scheme across an entire squad, let alone larger forces. Therefore, the painting guides are just that, guides, they can be mixed and matched, within reason, to achieve a more realistic look.

After the painting guides, there is a nice guide to basing figures in desert schemes. It goes into quite a bit of detail and is far from simply glueing sand onto the bases ( although it does involve a bit of this).

The final pages of the book are given over to a reasonably thorough list of manufacturers who produce ranges of wargames figures for the Desert Campaign, at various scales.

It would have been nice to see more than one figure for each force, as clearly the uniforms varied a lot over the campaign, and we just get one (except the Germans who also get the camouflage scheme). It would also have been good to have seen one or two reference pictures for each of the uniforms, whether that be illustrations like those found in the Osprey Men At Arms series of books or photos of re-enactors etc. Also, obviously these guides are all written by one (very capable) author and, as any experienced painters knows, there are endless numbers of different ways to paint a figure, so it might be nice to see a book like this written by several different painters, offering different ways to paint similar figures.

Still, these are minor quibbles and overall, I would highly recommend this book.

So, in conclusion, this is an excellent beginners guide to painting figures for the Desert Campaign. It covers everything that someone just venturing into this area would need to get going with a new army.

You can check out the book for yourself HERE.

Friday, 7 June 2019

Book Review: Wargames Terrain & Buildings - The Napoleonic Wars by Tony Harwood

Tony Harwood has quite a reputation for building attractive wargames scenery so I was very keen to get hold of Pen & Sword Books The Napoleonic Wars, which appears to be the first in a series of books on constructing scenery and buildings for the wargames table.

As expected, after a quick flick through the book, Tony has managed to produce a series of interesting buildings that could grace any wargames table. Although it is squarely aimed at the Napoleonic period, I feel that there is plenty here to interest gamers of other periods too as many of the buildings would suit earlier or later periods.

A brief skim through will give you a right old treat for the eyes, and even that is enough to inspire terrain ideas.

After giving it a thorough read through, I do have a few issues with the book. Firstly, I would like to point out that I am a professional model maker and have been for over 30 years (I have been running an architectural model making workshop at a school of architecture for the past 15 or so years). I do understand that this gives me access to techniques and materials that are probably beyond most hobbyists, however, I am perfectly happy building models in the same way as any hobbyist would, so it shouldn't affect my review.

As I have already said, a quick flick through the book and you can see that it is lavishly illustrated with plenty of photos. When you start to read the book you actually find that there are possibly too many photos of the models. Some double-page spreads have 8 or 10 photos on them, with the text squeezed in between. A lot of these photos are extremely similar, just showing the model building from a slightly different angle. It is often fairly tricky to work out which photo relates to which bit of text.

Also, virtually all of the photos are pulled back, showing the entire model, even when the relevant text is discussing small details. On flicking through the book again, as I write this review, I find no close-up detail shots at all. This makes working out the fine detail modelling fairly difficult. Makes you want to pull out a magnifying glass at times, just to see what's in the photos.

Anyway. that's my first gripe out of the way. Let's look at the positives. Tony tackles 9 different projects throughout the book, ranging from a simple stone well right up to a 2 building diorama/farm and a chapel. He has picked buildings from different regions, to reflect the different Napoleonic campaigns, covering the Peninsular War, France, Germany, Russia and the chapel is Hungarian. The book doesn't give any background on the different styles of buildings from the different regions, although it does mention where Tony got his ideas from. I would have liked to see some reference pictures, either some photos of appropriate buildings or illustrations of period structures. Anyone approaching this type of project really does need to do the research before throwing these things together.

Tony has tried to build each of the 9 projects using different techniques and to a certain extent different materials. One is a laser cut kit, another is built entirely from foam and a third is built almost entirely from card and foamboard.

His basing for nearly all the models is a piece of scavenged plastic sheet. His insistence on the use of recycled/reclaimed materials is laudable, but may not always be practical for every modeller. Personally, I much prefer to use a sanded and sealed piece of MDF sheet for my bases, as I find it much more stable and it sits on the table better.

While we are on the subject of materials, I don't think that the book covers a very diverse selection of materials. Yes, we have foam, card, DAS modelling clay (which Tony seems to like to clart over everything) and some plastic sheet. However, there are certainly other materials that are often used by model makers when doing buildings. There is very little wood in the book, other than some scrap strips of timber used for the Russian windmill. I feel a more realistic way to guide other model makers, would have been to build that model with balsa wood strips, they are readily available from model and craft shops, and it is unlikely that everyone reading the book will have some scrap strips of timber lying around.

The other material that Tony seems to favour he refers to as "green foam". Unfortunately, at no point in the book does he explain what this material actually is. One of the buildings is built from blue insulation foam, that gets a mention in the glossary at the back of the book (and I use it regularly anyway, so that was fine). But what is this "green foam" that he uses in virtually every project, to a greater or lesser extent? The only green foam that I know of is florists foam, which is very soft and crumbly and doesn't make very good model making material, as it is too fragile. I found this to be possibly the most frustrating part of the book.

I could go on nitpicking ( the almost evangelical use of superglue rather than other more suitable adhesives for example), but I don't want to condemn the book completely. It is certainly inspirational and Tony does make beautiful model buildings.

As a whole, I think the book feels more like a series of blog posts chronicling Tony's builds, rather than a guide on how to build these buildings yourself. A lot of the information is repeated from one project to the next, such as basing techniques, use of scenic grass (sawdust) materials etc. The book feels like it could have done with a good going over by a knowledgeable editor, to tighten up a lot of these problems. I would be a lot more prepared to let these things slide if this was a self-published book (which I know Tony Harwood has done in the past), but I feel that Pen & Sword should have spent a bit more time refining this one.

Anyway, rant over, if you have never built any buildings for a wargames table before, and you really don't know where to start, this book will certainly give you a few pointers in the right direction.

Here is the LINK to the Pen & Sword page for the book.

Thursday, 28 March 2019

Book Review: The Professional Creature Design Handbook by Jordu Schell

The Professional Creature Design Handbook (Part One) by Jordu Schell, $5

In an effort to re-invigorate my sculpting work I picked up this ebook the other day. It has just been released and I am really glad I spotted it.

The focus of the book is on creature design for the film industry, however, after having a quick scan through it, it will prove invaluable to anyone who plans to design fantasy, alien or supernatural creatures, whether they be for film, illustration, kit collectors/painters, or the wargaming table.

Jordu Schell has worked on a huge list of movies over the years ranging from Avatar and Hellboy through AvP: Requiem and Evolution to Babylon 5, Batman Returns and Alien: Resurrection. He has amassed a great deal of experience in designing and sculpting fantastic creatures.

This book is the first instalment in a series (as the "Part One" in the title suggests) of ebooks that will eventually cover every aspect of creature design.

It gives a little bit of insight into the author's career and motivations that drove him into creature design before going on to go over some basics of the design process. What works and what doesn't, where to draw inspiration (no secrets there, it is mainly Nature), and then gives some examples of good movie creatures.

As the first part of a series, this is an excellent beginning. Well worth the $5. I would highly recommend it to anyone interested in creature design.

To order the book you will need to PayPal $5 to I received the download link within a few hours, although I believe he has been rather swamped, so it may take a little longer to receive it.

You can also visit his website:-

By the Way, the book also touches on choosing colour schemes for the creatures. This may not have any relevance for sculptors but it is quite useful for miniatures painters as the theories involved are spot on!

Monday, 12 November 2018

Wargames Show: TARGE 2018

I went along to TARGE in Kirriemuir on Saturday. I had some stuff to sell at the Bring and Buy and was also hoping to get in a couple of participation games.

I have always enjoyed the Kirriemuir Wargames Shows, both originally SKELP and it's more recent replacement TARGE. However, this year it turned out to be somewhat of a disappointment. On a surface level, I don't have anything to complain about. I sold most of the stuff I took down and bought a couple of things that I hadn't expected (and still came away in profit on the day).

However, the display tables that were there were all very familiar and I had certainly seen most of them before. I can't really complain, it is the last show for the season, so most of these tables should be retired now, with new ones appearing for the next year, but it did make for a less interesting show.

There were also quite a few empty tables in both rooms. I don't know if this was down to participants not turning up, or the organiser overestimating what they needed. If it was the former, it is a shame, but if it was the latter, I feel it would have been better if the occupied tables had been spread out a little more.

I must admit, the whole show seemed extremely quiet this year. I held off taking the photo of the hall, hoping to get a shot of it looking busier, but it was very quiet all day.

My son and I also only managed to get in one participation game (the, always quality, Leuchars Veterans) Carry On Up The Khyber, which we had already played at Carronade earlier in the year.

Anyway, that is enough of my moaning, here is the photo dump:-

 Leuchars Veterans Carry On Up The Khyber game!

A lovely table with a Batman game on it. Unfortunately, the rules are apparently quite impenetrable, so the game was purely being run as a demo...

I really like the look of this table, it is very simple, but it catches the feel of the territory and works really well.

This Stalingrad table was lovingly produced with scratch built scenery and 3D printed vehicles.


This was an amzing collection of beautifully painted miniatures.

So, that is my very brief round up of TARGE 2018. Hopefully, it will be back to its normal standard next year, as I usually really enjoy it!

Tuesday, 16 October 2018

Future Worlds Landscape - Modular Wargames Terrain

As I slowly get back into my model making and wargaming hobby I have been looking for new and interesting projects to sink my teeth into. I was contacted by Nick Fatchen and asked if I would like to review his Kickstarter Project called Future Worlds Landscape, and this seemed like a perfect little project to get me moving again.

I have always enjoyed the terrain making side of wargaming, probably more so than painting the figures. So when this came along I jumped at it. I wasn't sure about the idea of 3D printing a large number of tiles to make the terrain, but I soon realised that I can slowly add to the set as and when I need to.

Before I go any further, here is the link to the Kickstarter:-

Now I must state at this point that when Nick asked me to review these kits I had planned to print off the whole set straight away, however, both my sons and my 3D printers have been playing up and I have not been able to print any at home. I have had a couple of tiles and some of the connecting clips printed on the machines at my work, but they are too busy for me to do any more at the moment. I hope, from what I have printed, that you will be able to get an idea of the system.

The idea is that you can build up a collection of tiles that clip together to build different hills and obstacles for different games. There are a series of different tiles that have internal and external corners, straights and pieces that change height from one side to the other. There are also edging pieces which give a smooth transition from the table to the hill (unfortunately, I have not yet been able to print any of these).

The tiles clip together with a firm push and grip tightly, but also come apart easily, when you need them to.

The clips push into slots in the sides of each tile and these line up perfectly, with each different configuration.

Obviously, you do need to make sure that the edges of the tiles match.

Depending on the tile, there are between 2 and 4 slots on each side. I have found that 2 should be fine to hold the tiles together, but it is handy that you don't need to use the same two every time...

Underneath the hills, there are extra supports that hold them up. These also hold the tiles together for added rigidity. I have only printed the 1" pieces, but there are also larger ones for the higher hills.

 I had hoped to have a few more printed and have them painted for this review. As that hasn't happened we will have to make do with the painted examples from the Kickstarter page (which can be seen at the top of this article and also below).

 Personally, I am not to keen on the paint job on these examples as I think it highlights the edges of the tiles, however, as this is promoting the tile system, that is probably the intention.

The detail on the tiles is fantastic, and really captures the different textures of the scenery. I was really impressed by this once I had the actual tiles in my hands.

The process of 3D printing this system is not a fast one, and there is a certain amount of clean-up involved. Although the clean-up should be minimal as the files are designed to be printed without any support material. Mine were done with support material as the guy that runs our printers felt they needed it. I will be doing the next lot without, both for speed and to save filament.

I must admit, I think this isanm excellent system and I am looking forward to getting more printed to build some nice big and versatile layouts...

Monday, 15 January 2018

Book Review: China and the West by William Edward Soothill

China and the West by William Edward Soothill

Subtitled: A Short History of Their Contact from Ancient Times to the Fall of the Manchu Dynasty

I have been putting off this review for some time, I finished reading the book a couple of months ago and I have felt that I needed to time to decide how to approach this review.

The book in itself contains some very interesting detail about China's interaction with the outside world, and the West in particular. It was first published by Oxford University Press in 1925 and the author, William Soothill, was a Professor of Chinese at Oxford University.

Therein lies my problem with this book. I am not an expert on this period (one of the reasons that I wanted to read this book), but I am well read on the Mongols and the rise and fall of their state, and I also have an interest in the British Colonial period (mainly in North Africa and Sudan).

The book was written at a time when the British Empire and colonial views were still firmly held, at least by many in the West. The author, William Soothill (who lived in China for 25 years), was clearly still of the opinion that the Western powers could run China far better than it's own people. It is apparent that he felt that China was being badly run because it wanted control of its own trade relationships with the West, and indeed wanted to cut all ties with the West at one point. Considering how the West, and Britain in particular, was treating China I personally feel that they were extremely justified in breaking off relations with these Western states.

Soothill clearly, had some very "Victorian" views on many other aspects of  Eastern culture. As a secular Buddhist myself, I found his description of Buddhism particularly offensive and completely inaccurate.

"A religion which is based on a mistaken philosophy of the world, of life and of human nature, and which makes the monk, with his parasitic life, the noblest form of earthly existence, may bring more safety to the lives of the rest of humanity, certainly more than Islam, or the pagan Mongol, but its inevitable result is intellectual stupor. The fundamental force in Buddhism is escape from all earthly attachments and entry on earth into Nirvana, which in effect becomes spiritual inactivity and intellectual torpor." - Page 44-5

Leaving behind the opinions of the author, I also found at least one factual error in the book:-

"He (Genghis Khan) now turned his attention towards China, the northern half of which was under the Chins, or The Golden Horde By 1213 he had overrun most of their territory, and they were glad to buy him off with promises of heavy tribute, which they in turn squeezed out of the unfortunate northern Chinese whom they ruled." - Page 38

I don't know if the title "Golden Horde" has an alternate usage in the early part of the 20th century, but every reference to it that I have found all refer to the  Khanate of Batu (otherwise known as the Kipchak Khanate or the Ulus of Jochi), which only came into existence after 1259. Named the Golden Horde after the colour of the Khans tent...

Due to this error and Soothill's tendency to inject his personal "opinions" into the text, it does bring some doubt into much of the rest of the book. As such I find it difficult to recommend it as a source of information on the subject covered by the book. In fact, I ended up learning as much about the attitudes of the colonial era than I did about the actual history of China and the West.

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