As seen in Wargames Illustrated (April 2019) and Wargames, Soldiers, and Strategy (July 2009)
Boxer Rebellion 15mm (76 Photos)
This is a collection presented in two parts. The first pictures you will see reflect the Peking legation district of 1900 prior to the siege. That is followed by pictures presenting the same district during the siege. In order to accomplish this, the legation district is presented on two separate tables, one representing the pre-siege period and the other presenting the period of conflict. About two years ago Blue Moon (15mm/18mm) came out with a rather substantial Boxer Rebellion range that included an extensive offering of structures. To the best of my knowledge, prior to the release of the Blue Moon 15mm/18mm range of figures, anyone wishing to depict the siege on the legation district, whether in 15/18mm or 28mm, would have to recreate that district using non-purpose manufactured structures and/or scratch build the structures to be depicted. Until the release of the Blue Moon line, that is what I was planning to do. But since the Blue Moon Boxer Rebellion line includes 5 beautiful legation compounds (British, French, Russian, Japanese, and US) and a wide variety of civilian Chinese buildings, I decided to take advantage of that opportunity and develop my collection around what Blue Moon had produced. The complication came over the fact that I wanted to do a table representing the pre-siege look of the legation district as well as the legation district during the siege. In making their legation compounds, Blue Moon cast all the legation walls with attached firing steps that would not have existed prior to the siege. Thus to accomplish the pre-siege and siege looks I wanted, I scratch-built a second set of walls for each legation out of JTT and Evergreen plastic without the firing steps. By doing that I now had two separate versions of the five legation compounds… pre-siege and siege.
While I scratch-built the legation walls without firing steps, I used the Blue Moon gate entrances on four of the legations (Japanese, US, French, and Russian) on both the siege and pre-siege versions. Because the Japanese, US, and French gate entrances were attached to walls with firing steps, I hid the firing steps under removable hedges composed of frames/skeletons of Legos covered with scored Milliput to give them a scrub appearance. The Russian entrance was not cast to a wall section with firing steps so no removable hedge was needed. Since the British legation was the main defensive position in the siege, it posed a special problem due to the fact that its buildings and entrance were bunkered up. Consequently I scratch-built a new entrance using Legos, Evergreen plastic, and Milliput. I also replaced the British legation’s main building with an old Ian Weekley building in my pre-siege version of that legation. I included a lot of trees (most of them by Grand Canyon Gems) in the pre-siege version because I like the less stark look they provide, but I replaced most of those threes with tree stumps in the siege version. The entrance to the Japanese legation posed a special problem because pictures from the period show statues of two Foo Dogs on either side of the entrance, but for some reason Blue Moon did not provide those despite the fact that they did provide the bases they sat on. To remedy that problem, I purchased two of the Wyrd Miniatures Zen Accessory packs that include a Foo Dog of the right size in each pack… expensive, but problem solved.
For the Imperial Canal or Jade Canal I used my old standby that is plastic purchased at Home Depot that was originally intended as a covering for ceiling lighting. It comes in 2 ft. x 4 ft. sections that I cut to serve my needs. I provided three bridges over the canal. All are from PetCo and were originally sold as fish tank décor. I added a little textured Milliput on the surface of the bridge pathway to improve the look and allow me to lengthen the approach at both ends of the three bridges. I then gave each bridge a new paint job. Blue Moon did not include a Tartar Wall with their line of structures so I scratch-built that using Duplos and Evergreen plastic covered with putty which I then sanded to the desired texture and painted. I included my version of the Hotel de Peking using the Blue Moon Austrian legation building. It is the only legation Blue Moon offers that is sold as separate pieces rather than as a legation unit.
In addition to the Blue Moon, Old Glory 15s, and Frontier figures, I also incorporated a large number of Prieser HO scale Victorians plus a few figures by Peter Pig. While all the figures I painted for this collection did not make it to the tables, my guess is that I have painted more than 900 figures for this collection. I know I painted 501 Boxers. Because Blue Moon did not make a rickshaw, I scratch-built four out of Evergreen plastic, and some Old Glory 15s’ wheels. The rickshaw drivers are figures modified from the Blue Moon Boxer Rebellion Chinese civilian pack, and the passengers are by Prieser.
I also scratch-built eight market stalls… four pre-siege and four in ruins. They are built from Evergreen plastic and facial tissue (the awnings on the destroyed stalls). They are set on bases of Milliput. The goods being sold in the pre-siege version are by Prieser, and the scattered pots in the siege version are just small plastic beads.
The legation flags are metal blanks from Stone Mountain attached to thick metal wire serving as flag poles set in Milliput bases. Each of the flags is finished with a homemade flag decal that I then touched up with paint since the metal flag blanks are neither true squares nor rectangles.
I hope that these two layouts give a feel for the events they represent, but the controlling factor in their presentations was the size of my table tops, not history. The British and US legation are generally properly placed, but the Russian, Japanese, and French legations on the opposite side of the canal are placed based on how they fit on the board rather than reality. The Hotel de Peking is far from its actual location, but I liked the idea of including it, and since it did not play a significant part in the siege, its placement did not seem significant.
The homemade background mural is one I have used for years as is the case with the indoor-outdoor carpet table coverings. To add a splash of class to the grounds of each of the legations, I added JTT grass covering which comes in a roll set on a heavy paper backing. My wife cut the grass areas for me. She knows her way with scissors. As is always the case, the pictures were taken by my daughter. The actual work on this project lasted about nine months. If you are interested in seeing the development of the scratch-built legation walls, those can be seen in my Weekly Workbench Archive for May and June 2018.
Post-Apocalyptic 28mm (165 Photos)
BETWEEN L.A. AND LAS VEGAS
In October 2017 I began painting, building, and repurposing the pieces of this collection. In the seven months from the start to the completion of this project, I have seen the pulling together of an idea that has been baking in my mind for more than a decade and during that decade I collected the pieces that have come together in this gallery. The roots of this collection rest with the work of members of Lead Adventure Forum (LAF) who put together wonderfully crazy collections and layouts/tables based on Atomic Cafe that they posted on LAF. As tends to be the case with all my collections/galleries, I went big… two 5 ft. x 7 ft. tables, 400 to 450 figures (not counting bugs), approximately 50 vehicles, a town with 22 buildings plus a trailer park (8 trailers), and a motel with a scratch-built motel office and five blocks of motel rooms (the motel rooms are Plasticville), and a junkyard. Most of the buildings in my collection are Plasticville and K-Line plus two buildings from The Cars Movie and an O gauge theater. The plot behind this layout/collection is admittedly less than well defined. I wanted to do something rooted in the 1950s/1960s. The problem I had was that while I felt/feel that period is perfect for this concept, I fell in love with figures armed with weapons significantly out of that time frame. I resolved this conflict of era vs. figures by ignoring it and combining the two… this thing has zombies and big (really big) bugs, so why worry about weapons’ technology; have fun. Once I broke the constraints of true history, I was able to let my imagination run free. I did my best to keep the vehicles in the late 1940s, 1950s and 1960s periods, but even that is less than perfect.
The next big plot issue centered on the question of why all these different groups/survivors gathered in this small desert community between Las Vegas and LA. Why are there zombies and giant bugs in this small desert community threatening the existence of these varied groups of survivors and perhaps life as we know it? I pondered this weighty question long and hard, and finally I found my answer which is that I don’t know, and I don’t care… that felt good/liberating. Actually, the gallery offers two options for a really bad day… zombies or giant bugs and lizards; your choice. So there we have it. Groups of survivors find themselves in/drawn to this desert town surrounded by life threatening forces. For some reason, unknown to me, this town had been deserted. Perhaps the original inhabitants got out while they could. The collection of survivors who now inhabit the town have set up their own group areas of control/defense centered on buildings or sections of the town. In putting this town together I decided to break with post apoc traditions I have seen on LAF by not dirting-up the town’s buildings. I wanted it to be a town deserted by its original inhabitants and then repopulated by outsiders. I saw no need to make it look like a dump. My one concession to tradition is that I boarded up the windows on several structures, but even in doing this I retained the normal look of the building because the boards are not glued on; they are held in place by tiny magnets and thus removable. Now you know as much as I do.
I pull figures from a wide range of manufacturers. Without question the largest group of figures (other than bugs) is from the Foundry Street Violence range. Other manufacturers include Lead Adventure Miniatures, Copplestone Castings, Crooked Dice, Heroclix, Horrorclix, Brigade Games, Sgt. Major Miniatures, Reaper, Mirliton/Cyber Wars, Hasslefree, Eureka, Victory Force, Blue Moon, West Wind, Artista, Warlord Games/Project Z, and Wyrd Miniatures/Malifaux. The big bugs are toys I found at the swap meet over the years. As indicated above the buildings are largely Plasticville and K-Line. Like others who have worked in the post apoc world, I found that the Plasticville and K-Line buildings seem perfect. They are simple in their construction but offer a great variety of main street possibilities. I have included three structures marketed with the release of the first Cars Movie… Flo’s V8 Café, Radiator Springs Curios, and the fence from Mater’s junkyard. I used the Cars’ fence around my trailer park with a scratch built entrance. I wanted my town to have a theater and in 28mm or O gauge that can be expensive/very expensive. I found one that I could afford from Ameri-Town. My junkyard is surrounded by a wire fence scratch built from nylon door and window screen and Evergreen Plastic posts set in Milliput bases. The junk in the junkyard is made up of odds and ends found at my local swap meet plus some wonderful junk piles from Crooked Dice. The road/town streets are made from plastic sheets used to cover ceiling lighting in kitchens (2 ft. x 4 ft.). The terrain is covered by cactus mostly by Pegasus… I put together and painted 4 boxes of those cactus (two of Box 1 and two of Box 2). Late in the process I found some larger cactus at the swap meet, some by Playmobil (I think) and others of unknown origin. The other natural terrain is in the form of rock outcroppings. A few of those outcroppings are repurposed broken toys (I think marketed with The Cars Movie), a few are by Snapdragon, but most are from Gale Force Nine’s Battlefield in a Box. Terrain features (accessory details) in the trailer park consist of Plasticville chairs and lawnchairs, scratch built picnic tables, a small BBQ from the Heroclix figure The Thing, and a lawn pool from Tiny Treasures (Michaels Arts and Crafts). The bicycles are by Eureka. Except for the slide, which is by Artista, the school yard/playground toys are scratch built from Evergreen Plastic, Milliput and wire.
My recent collections and galleries have included interiors that are generally made using Evergreen and JTT plastic to form a floor and two walls which when not in use can be taken apart for easy storage. A number of years ago I found a little diorama-style decorative piece at the swap meet in the form of an ice cream parlor. It was composed of a counter with stools, a table with two chairs and a couple of refrigerator units. It was made of resin which I cut into its separate component parts: counter and stools, table and chairs, and refrigerator units. I then cast those in resin so I would have the makings of a nice size ice cream parlor. In putting together my post apoc collection, I was committed to including the ice cream parlor interior with a waitress killing a zombie… I did.
Most of the vehicles included in this collection are 1:43 scale die cast cars and trucks I got at the swap meet or at my local model train shop from their bargain table. The one notable exception is a group of late 1940s style plastic cars from Dimestore Dreams (didn’t get used; I regret that). They are a bit toy-like in appearance, but I like them. I’m also including one of the Disney trams. I used these trams in two of my previous collections… the Gangsters and the Spaceport. It’s a great toy (IMHO) and perfect for 28mm though I find it hard to believe that kids really want to play with the tram they rode from the parking lot at Disneyland to the park’s entrance. On this tram in addition to giving it a new paint job I added roof signs that say ZOMBIE TOUR on the first and third passenger wagons and a gun platform on the center/second passenger wagon. I did something similar with the Gangster collection putting roof signs on the passenger wagons that said STUDIO TOUR. I purchased the Zamboni in a Montreal gift shop in 2015. It is resin and I couldn’t resist it. I did a few minor modifications to distract from some of the oversized elements of the Zamboni (in terms of 28mm figures) and added a 28mm driver from the West Wind Road Kill line.
As always the ground cover for this collection is tan indoor-outdoor carpet I bought on a clearance sale three decades ago… terrible carpet, but great ground cover for my galleries. I painted the background murals on Masonite and added small blocks to the back of each mural section that allows them to be attached to the edge of the table with large clips. As always the photography was done by my daughter who is a professional artist in the film industry (TV too) and brings that artist’s eye to the task.
French and Indian War 15mm (95 Photos)
FRENCH AND INDIAN WAR
When I was eight years old, which is to say well over a half-century ago, I wrote to Marx Toys to request that they produce a French and Indian War toy set among their many boxed collections. I received no response to that letter. The French and Indian War became important to me as an eight-year-old largely because of the movies Northwest Passage with Spencer Tracy and Robert Young and The Last of The Mohicans with Randolph Scott. I’m sure the Classic Comic The Last of The Mohicans played its part as well. In the many years that followed, the French and Indian War remained an interest… there was simply something majestic about it with its dark forests and Woodland Indians, the independent-minded frontiersmen and the European forces dressed in uniforms that were out of place but nonetheless added to the mystery and majesty of it all. In more recent years, my interest in this childhood romance with history was fed by Allan Eckert’s Wilderness Empire, the reading of Kenneth Roberts’ Northwest Passage, and Daniel Day-Lewis in a new version of The Last of the Mohicans.
I never lost hope that one day some manufacturer would give me the figures I had been denied by Marx Toys, and about a decade ago my dreams were realized when Blue Moon 15mm-18mm came to life and among its first offerings was a French and Indian War line of figures with 64 figure/building packs. It was as though my letter had been misplaced all those years ago and had somehow been found and delivered not to Marx but to Blue Moon. They were giving me almost everything I had ever wanted from the French and Indian War… forts, Indian lodges, cabins, blockhouses, canoes, Indian villagers, European colonial settlers, Indian warriors, British troops, French troops, rangers, French marines… It was/is wonderful, and I began to buy!
Around January of this year (2015) I completed my African Adventure Gallery for my 28s and began organizing and painting my 15mm-18mm French and Indian War collection. As I write this, it is now the first week of October 2015, and my work on my French and Indian War collection has come to an end… approximately 1500 figures are painted, and I’ve brought to life a Woodland Indian village (reflecting the Abnakis village burned by Rogers on the St. Francis in 1759 complete with 17 lodges, several European style cabins, a meeting house, a church, a blockhouse with an elevated gun position, scalp poles, a large village drum, a fish drying rack, lean-to’s, lacrosse goal posts, beached canoes, and two Indian watchtowers), a British colonial farm community, two forts, a fleet of French whale boats and canoes for the assault on Fort William Henry, and French siege entrenchments with cannons and mortars.
In presenting this gallery, my principal aim is to display my collection. I say that up front so that no one will be left with the impression that I am attempting to present history. This gallery is not devoid of a historical relationship but that relationship is loose and the historical events loosely portrayed have been selected as a means of meeting my central goal of displaying the collection. My references for figure painting have ranged from long viewings of John Jenkins’ French and Indian War figures, to the French and Indian War on Pinterest, to the Funcken Lace War volumes, in addition to a lot of Osprey material.
This gallery includes four main table layouts and some small vignettes. Each table is 5 feet x 7 feet. I work with two actual tables so when my daughter finishes photographing Table #1 (the French and Indian attack on a British farm community), I take down Table #1 while she is photographing Table #2 (the French attack on Fort William Henry/1757) and Table #1 becomes Table #3 (the ranger/light infantry attack on the Abnakis village on the St. Francis/1759). Once Table #2 has been photographed and my daughter moves on to Table #3, I take down Table #2 and use it to set up Table #4 (the unsuccessful British assault on Fort Carillon/1757). I intentionally did not follow a historic time sequence in presenting these tables because I did not want two fort-related layouts to come one right after the other.
As indicated above, most of my figures and structures are from Blue Moon 15mm-18mm, and most of those are from their FIW collection although I did pick some wagons and mortars up from their AWI and Napoleonic lines. The largest number of non-Blue Moon figures are from the Old Glory 15s SYW line (British and French infantry and artillery), and the whale boats (pirate longboats), oarsmen, and seated infantry are from Peter Pig (great stuff). I also have some Woodland Indians from Peter Pig as well as Frontier Miniatures. There are a few SYW officers from both Essex and AB Miniatures included as well. The animals (farm animals, deer, bears and turkeys) are by Preiser. The spruce and pine trees are by Grand Central Gems. The fields are by Musket Miniatures. I think the fences are from Stone Mountain Miniatures, but I got them a couple decades ago, and I am no longer sure. The grain stands are HO, but I have no idea who made them… again purchased many, many years ago. The entrenchments I’m pretty sure are Gallia. The waterfall is a resin décor piece I picked up at the swap meet a few years back. I got it for $3. It required a lot of cleaning up and patching, but I really wanted a waterfall for this collection so I’m very happy I found this one. The church is a repurposed resin music box I picked up at the swap meet for $3. I did some minor modifications and gave it a new paint job. The scalp poles, dock, fort gun platforms, ladders, lacrosse goal posts, fish drying rack, lean-to’s, village drum, wells, cannon hoist (my name for it), and Indian watchtowers are all scratchbuilt by me… mostly using Evergreen plastic and some plastic HO scale telephone poles I got off the bargain table at my local model train shop. The lean-to foliage is from Bachmann Scene Scapes and is called Wire Foliage Branches. The scalps on the scalp poles are made with floral wire. The rock portion of the wells is Milliput over Evergreen tube and the rope is floral wire. The village drum is Milliput over a water bottle cap.
The ground cover is indoor-outdoor carpet I purchased on clearance about 30 years ago. It is terrible carpet but great ground cover. The mural background was painted by my daughter who as mentioned above did the photography. She has done the photography for all my galleries and really makes them come to life. We photograph the layouts in the garage with all the garage doors open so we can get the benefit of natural light while allowing me to set up the first two tables the night before… I couldn’t do the night before set-up if we took the pictures in the backyard.
After six decades, a little boy’s dream (my dream) has come true with the completion of this collection. It feels great! Hope you enjoy it, too.
Victorian 28mm (118 Photos)
I should begin by saying that this gallery has no story or theme other than my fascination with the period and the miniatures. I join the long line of those who love Sherlock Holmes, Dr. Watson and the master criminals of the Victorian era, and I admit to sharing the century-old fascination with the mystery and horror of the Jack the Ripper murders as well as the dark world of vampires, werewolves, and those other creatures that go bump in the night. With that in mind, I think it is not difficult to understand how I was drawn into that world by way of my miniatures. I took my first step down this dark path about a decade ago, perhaps a little less, with the purchase of several of the Victorian packs put out by Foundry. I bought Bill the sandwich-board man, the rat catcher, Holmes and Watson, Moriarty and Moran, Queen Victoria with a shotgun, the Old West Victorian Gents, the Christmas Passers-by, and the Dickens’ characters, but the list of what was available was not long in those days. However, in the last few years the world of 28 mm Victorian miniatures has exploded, and last October I reviewed my 28mm Victorian collection, and it was clear that my collection had kept pace with that explosion in available figures. It was now time to bring those figures to the brush. Thus in mid- October 2012 I began my work and finished, to the degree I ever finish, the figures and scenics for this gallery one year later in 2013 on the eve of Halloween.
This gallery will be a little unique in several respects. First, it is only my second venture outside the realm of 15mm military figures. Second, we have only once before done the photography in the garage rather than in the natural light outside in the backyard. As with the previous garage shoot (Germany, 1945) this is being done largely because there are so many buildings, street and sidewalk sections, and vehicles that carrying them outside would add additional hours to the set up and takedown process which will be lengthy as it is. The third unique element to this gallery is that it will involve two major and many minor alterations of the board. The two major alterations arise from the fact that the gallery will represent the city in both day and night, so that once the daytime version has been photographed, those figures reflecting the normal daily life of the city will be removed from the layout and replaced with figures that represent the darker side of Victorian life, and will range from ladies of the night, Jack the Ripper, grave robbers and common thugs to mad scientists, vampires, rat swarms, escaped lunatics, werewolves, zombies, and the possible or impossible ghost or two. Those figure changes of the night represent the many minor alterations of which I spoke. At this point, you may have noticed that I am referring to what we intend to do rather than what we have done. This may constitute a fourth unique element in this process in that I am writing this a week before we do the photographing rather than the week following the photo shoot which is my normal custom. I have no explanation for that at all.
As always the table is 5 feet x 7 feet in size. I am using the five background mural sections that were used in the Sudan and Pirates galleries, but because this is an urban environment I have made urban roofline silhouettes from black construction paper that will be taped to the original mural sections. The master for the silhouettes was drawn by my daughter. I just traced the silhouettes onto construction paper and cut them out. For the night version of the gallery, the light blue sky of the mural will be covered with dark blue construction paper. I went with the dark blue because the roofline silhouettes are black, and I wanted some chance of the silhouettes showing up against the dark night sky. I’ve also included a sun and a moon that were made from Christmas decorations I picked up at the swap meet for 50 cents each. They required a small bit of modification and painting; nothing difficult. The sidewalks are made from the same 2 feet x 4 feet sheets of plastic used to cover ceiling lighting that I have used for water in my Aztec, Pirate, and Sudan galleries. The cobblestone streets are made from JJT plastic. Both the streets and the sidewalks have been sprayed black and then dry brushed with gray.
The buildings are from a variety of sources that include the Old Glory 25s’ Chicago Gangster Buildings, the two Old Glory 25s’ Empire Block buildings from their Old West line, an O gauge building from Design Preservation Models, O gauge buildings from RailKing and Walthers, and the church from Pegasus. The Whitechapel row or terrace houses and pub are scratchbuilt using Duplos for the inner structure covered with JTT, Evergreen and Plastruct plastics. To give the Old Glory Chicago buildings a more London look, I have added scratchbuilt pitched roofs and chimneys. The roofs were made from JTT, Evergreen and Plastruct plastics. The chimneys are Legos covered with JTT plastic and caped with Evergreen plastic. The pitched roofs and chimneys are removable. The cemetery is mainly composed of fence from two of the Garden of Morr kits from Warhammer. The fences have been highly modified with Milliput to cover all the skulls. I did the same thing with the Garden of Morr mausoleums. The park fence is O gauge by Model Power and the park gate is a highly modified Cobblestone Corners piece that I picked up at the swap meet for $1. The park fountain is another swap meet item I got for 50 cents and repainted, and the puppet theater is another highly modified Christmas piece I got at the swap meet for $3. In front of the RailKing brownstone buildings that face the cemetery I have added removable iron fencing to add to its London look (HO from Mouse Models). My wife and I were in London in 2011 and saw a lot of that iron fencing. The street troughs and bollards are scratch built from Evergreen plastic and toothpicks. The sandwich-board street advertising signs are scratchbuilt from Evergreen plastic with homemade decals. The street lamps are by Miniature Building Authority. The subway/underground entrance is by Lemax. It required a little modification, but it’s a great piece for only $11. Because I loved the bareknuckle boxing in the first Robert Downey Jr. Sherlock film, I included boxers (Foundry) and a scratchbuilt ring in my collection.
I have made five interior settings from Evergreen and JTT plastic. Each is composed of a floor, and two walls plus the figures and other items that provide each with their particular character. The five interiors represent an opium den, a mad scientist’s laboratory, a church interior, a grand ballroom, and the grand staircase of a mansion.
The opium den cots are scratchbuilt using Evergreen plastic and facial tissue. The opium den customers are Old Glory 25s’ casualties from the Boxer Rebellion and the Plains Indians Wars. The ballroom dancers and musicians are Eureka. The grand ball was inspired by the second Downey Holmes film. Bit of a trend there. The laboratory is composed of items/figures from West Wind, Wyrd, Pegasus, the swap meet, and my scratchbuilding. The church alter and pews are Armorcast. The choir loft is scratchbuilt. The choir is West Wind and the choir director is Foundry/Darkest Africa. The Greek/Roman columns are plastic cake layer supports that my wife found for me at Michael’s Arts and Crafts. These interior sets have the added beauty/benefit of the fact that the walls and floors come apart and can be easily stored in a small box. Over the years storage space has become a real issue.
The vehicles are from a variety of sources. The carriages are all 1:43 scale by Brumm. The hansom cabs are by West Wind and Eureka; the paneled work wagons are from the Blue Moon Wagon Ho collection as are the Black Mariahs and the hearse. The signs on the wagons are homemade decals based on signs in a wonderful picture book of Victorian London by Peter Jackson entitled Walks in Old London. I got it at the swap meet for $3, and it proved to be a treasure. The fire engine is a subscription gift item from Readers Digest that I picked up at the swap meet for $1. The flatbed wagon is something I got off the cheap table at Arnie’s Trains for $3 and modified to be what you see. All of the horses are by Phoenix 43. At the time of this writing, I intend to include one horseless carriage complete with large umbrella that I bought at the swap meet for $1. It was originally painted gold and was a Christmas tree decoration. It actually painted up nicely and is a perfect match for a Eureka hansom cab driver. I bought a lot of those hansom cab drivers from Nic at Eureka. Victorian drivers are not easy to find. I used the same Eureka driver to pilot my steampunk “chopper.” That toy is from the Atlantis the Lost Empire collection and was a great find at the swap meet. I got it out of a box of broken toys for $1. The repairs were pretty easy, and it painted up great. I bought the steampunk tank and the “Freak Show Jack-in-the-Box” at Brookhurst Hobbies’ flea market sales for $5 each. When I bought the tank, it was in pieces in a baggy, and the previous owner couldn’t remember the manufacturer’s name.
The figures are by Foundry, West Wind, Eureka, Reaper, Blue Moon, North Star, Perry, Old Glory, Artizan Designs, Woodbine Design, Wyrd, Mutton Chop, Obelisk, Mantic/Kings of War, Artista, Dixon, Black Scorpion, Fenryll, Horrorclix, Hundred Kingdoms (the “Freak Show Jack-in-the-Box”), Hawthorne Village and Cobblestone Corners. To state the obvious, I love civilian figures that show people just going about the routine things of life. My Victorian figure collection now numbers about 900 figures (still growing) and quite a few have undergone modification. Personal modification favorites are my man shoveling horse droppings from the street and my suffragettes. The Cobblestone Corners’ 2012 collection offered a lot of easily modified figures which to my initial surprise looked great once they got a new paint job. They helped fill my streets with activity at very little cost. I looked at the 2013 Cobblestone Corners Christmas Village collection and was not impressed. But I’ll check them out again in 2014 because you never know. My thanks to Steve and Ludwig at Brookhurst Hobbies for teaching me how they paint zombies. They are talented guys and always willing to share ideas.
As of the time of this writing, I have set my Victorian city up three times over a period of several months in order to map it out and get the best look with the terrain items I have. As always, my daughter will be the photographer. She has the artist’s eye. I must also acknowledge Thunderchicken from Lead Adventure Forum whose wonderful talent in scratchbuilding Victorian buildings has been a huge inspiration for me. I constantly referred to his work throughout this project. When painting a collection, it is my habit to focus on that one collection, period, or theme until I have reached a point where I consider it done (though they never seem to be complete as I will keep adding figures to this collection long after this gallery has been posted). I simply become obsessed; it is a wonderful obsession but an obsession all the same. That process seldom is less than six months in length and often lasts several years. I fall in love with each of my collections which probably goes a long way toward explaining why I do them in the first place. After more than 30 years of collecting and painting, they still surprise me when they are done. This collection is no exception. I have fallen in love again. I hope you enjoy them, too.
Germany 1945 15mm (64 Photos)
About seven or eight years ago I decided that I wanted to build the layout of a generic German city in 1945 for my late war German and American forces. At the time, that was a pretty big leap given the fact that I had no late war German or American forces. In the intervening years I have painted about 2000 pieces of German and American late war troops and equipment. I have also put together a layout for fighting in the bocage in 1944 which included a French village of about 35 buildings (none of which are in this gallery). That layout was posted on my website about a year ago. But throughout the years, the plan for the German city in 1945 has remained very much on my mind. To that end I collected a large number of destroyed buildings as well as a few that were untouched by Allied bombing. In the last three years I not only completed my late war men and equipment, but built, modified, and painted more than 60 structures for my city. Although the work on this period was not constant, I devoted about one year of the last three to the German-city project, and when I finished my Medieval Gallery in late June of 2011, I jumped into putting the final touches together for “Germany 1945.” We shot the photos yesterday, and I made my picture selections this afternoon. I’m extremely happy with the outcome and hope you will enjoy them as well.
I’m sure it will come as no surprise to wargamers that a large number of the structures used in this gallery are by JR Miniatures. Their range of W.W. II ruins is extensive, and I bought a lot of them: the Reichstag, Casino, four factories, Stalingrad blocks, Arnhem ruins, St. Lo ruins and Normandy ruins. In fact I bought multiples of the St. Lo and Normandy ruins: about 14 of those. I did major modifications to the St. Lo and Normandy ruins because I felt they were too small as cast but perfect for conversion to the size I wanted. Just as I modified some of the JR to be larger, I did modifications to some 20mm ruins by Hovels and Scenic Effects to give them a smaller appearance. To my collection of ruins I added about 10 HO buildings that I felt had a European look. I wanted my city to have some structures that had survived Allied bombing. Most of the HO buildings I purchased off the recycle table at Arnie’s Trains. They usually needed a lot of work (they were either broken or originally built by less-than-skilled model makers), but they offered the potential for the look I wanted and at very reasonable prices. I did three practice layouts for this gallery in order to map out what the city would look like and figure out where my building collection left holes/gaps in the city layout that needed to be filled. Where I found these gaps, I scratch built small ruins to fill the hole or added scratch built parks which offered the city a little color and interest value as well as defensive positions for my German forces. Arnie’s was also my source for great HO iron fencing for my parks and large government building. The manufacturer of that fencing is Mouse Models, and it is wonderful stuff.
During the month and a half to two months that preceded the photographing of the city, I devoted myself to the construction of gap fillers (mentioned above), bomb craters, shell craters, lamp posts, signs, an open sewer, and other general debris. The large bomb craters are modification of craters I got from Stonehouse Miniatures. I added Milliput and broken bricks from Pegasus. Smaller craters and shell holes were often made by me using Milliput, my thumb or finger tip to form the crater, the brush end of an old tooth brush to texture the Milliput, small bricks from Pegasus, and whatever odds and ends I thought might look good on the streets of a bombed-out city now under attack on the ground. I purchased the eastern front barricade from Flames of War. I did some small modifications to it. For example, I thought the doors were too short so I replaced them with HO doors I purchased at Arnie’s, and on one of the two barricades that come in the box, I shifted some of the pieces from one side to the other to give some variety. Using Milliput and Pegasus bricks, I eased the slope of the barricade’s base so it would meet the table surface more gradually and be less obviously base-like. I also bought a late 1960s HO VW Bug from Arnie’s recycle table for a dollar and rounded the front of the roof, cut off the turn signal lights on the front fenders, and used Green Putty to make the front and rear windows smaller and to make the divider for the rear window. I hid everything else that looked modern under rubble, the Bug becoming part of my barricade. I made numerous street obstacles and barricades from Evergreen Plastic, Milliput and Pegasus small bricks. (I put the bricks in a baggy and hit them gently with a hammer to give more variety in shape and size.) I also blocked my streets with trams used as barricades. Over several months, I was lucky to find six HO scale trams at the swap meet for a dollar each. I put rubble around the bases of three of these using Milliput and Pegasus bricks, and they became street blockers. I left three others in “running” condition to be left abandoned on their tracks. As it turned out I used only two of the barricade trams and two of the abandoned trams. But I have the other two just in case the need arises.
Normally the ground cover for my galleries is either a tan or pea green indoor-outdoor carpet that I purchased years ago, but they would not do for this project. I decided to go to my local hardware store and buy clear plastic rectangles (2’x4’x1/16”) that are used in kitchens and bathrooms to cover ceiling lighting. One side is bumpy while the other is smooth. I scored the smooth side to give it a textured look (I hoped) and then bought the cheapest spray primers and flat colors I could find at the hardware store. I put a base coat of black over the entire area and sprayed gray, red-brown, and bronze-tan randomly over the entire surface of the black. I’m pretty happy with the way it came out.
My German and American soldiers are by Command Decision, Flames of War, Peter Pig and Preiser. My military vehicles are by Command Decision, Flames of War, Peter Pig, QRF, Quality Castings, Preiser, Ricko, Rocco, and Busch. I wanted to do a couple of unique things in this gallery, and so I did something I seldom do which is make a few pieces (men and equipment) specifically for this gallery as opposed to just using what is available in my general collection for the period. The two special projects I was particularly excited about undertaking were a German field kitchen using Preiser figures, and a German field repair unit using whatever I could put together. I’m very happy with the Preiser field kitchen: great cooking unit, and very interesting variety of figures. The field repair unit took some time to bring together since, to my knowledge, no one actually makes one for either 15mm or HO. I used a Command Decision Opel Maultier, cut one side out of the rear area, and added a piece of plastic to serve as the new side in the down position. I found some HO gas station/garage pieces on Arnie’s recycle table to give me a workbench and some interesting and appropriate equipment for the unit, and got lucky in finding the perfect portable crane (again on the recycle table at Arnie’s). I also found an engine on the recycle table as part of one of the kits by Jordan Products’ Highway Miniatures line. I had a Stug III that was missing a part or two. I covered the areas where the parts were missing with Kleenex stiffened with clear enamel to give the appearance of canvas (I hope), and the Stug became my vehicle under repair. I didn’t attach it permanently to the base in case I find something better or need to repair another vehicle in the future. The German soldiers who are surrendering are Preiser as are the German general and staff officers walking to the staff car marked with the division commander’s pennant. I think that car is by Busch, but I’m not sure.
The gallery opens with a set of pictures of staff cars leaving the city. I have entitled these pictures “Exit the Elite.” I included them simply because I wanted to showcase some very expensive and great looking staff cars I purchased at Arnie’s. Those cars include a 1933 Horch Pullman and a 1938 Horch 930V, both by Ricko and a Mercedes 170V by Busch (in camo). The Reichsbahn truck and trailer are Roco. The field police directing traffic are by Preiser.
The last picture in this gallery is a photo of the whole layout. I thought it would offer an interesting insight into the viewing experience. The twelve pictures that precede that photo are of the city with the soldiers and equipment removed. I did that because I believe some of you might be interested in pictures that focus on the city rather than the soldiers – something for everyone.
This was far from the largest project I have undertaken in terms of figures, but it is by far the most complex layout I have ever done. The board is 5’x7’ and held nearly sixty buildings and dozens of pieces of rubble/craters and defensive positions. I believe I used four boxes of Milliput (yellow gray) on this project and huge amounts of Evergreen and Plastruct Plastic. Set-up for the photo shoot began at 7:30 am and take-down wasn’t finished until after 3 pm. Because the day we scheduled for photographing the gallery proved to be very sunny and very hot, we shot the pictures in the garage with the doors open so we would still have the benefit of natural sunlight without the glare of the direct rays. I think that worked out well. It certainly attracted visitors from the neighborhood including the mailman. As always the credit for the photography goes to my daughter. I give her very little direction as to what pictures to take or how to take them. If there is something unique like the field mess and field repair unit, I point those out to her, but short of that, I leave it to her eye to photograph what I have put on the board. I think it is an arrangement that works out well. As always, I hope you enjoy this gallery. Putting this one together has been a challenging and exciting experience for me.
African Adventure 28mm (100 Photos)
28MM DARKEST AFRICA GALLERY
Since completing my Egyptian archeological dig in June, I’ve been working on my 28mm Victorian era Darkest Africa collection. The gallery is a series of random vignettes with no overarching theme other than I love the figures and needed a stage for their display. Let me say from the outset that this is Hollywood Africa not historic Africa. If I were to sort through the inspirational motivations for this collection, they would probably be the wonderful Darkest Africa figures from Foundry, the Cornel Wilde movie “Naked Prey” filmed in the mid-1960s on location in Rhodesia/now Zimbabwe, the Disneyland Jungle Cruise (I rode it for the first time in 1955 and have loved it ever since), and the great figure painting and information I have seen and received on Lead Adventure Forum (particularly the work of Dylan aka Plynkes on LAF). The only book I have spent any time with for this project is Safari, A Chronicle of Adventure by Bartle Bull. In order to aid in the flow of the gallery there are a couple of recurring elements: the safari as it progresses through herds of animals and the lone hunter on a donkey supported by his two loyal porters.
This is the second time I have used two 5 ft. x 7 ft. tables for a gallery, but this time it was done more to facilitate ease of photography than because the scenic features demanded that much space. Since this will be a series of vignettes, using two tables rather than one has allowed me to set up a new vignette on one table while my daughter photographed a different one on the second table. Without the use of both tables, there would have been a lot of wasted time and this process can eat up a great deal of time under the best of circumstances.
I began putting this collection together about a decade ago. The Foundry Pirates and Darkest Africa figures were what initially drew me into the world of 25mm/28mm. While I still love the 15s for my military collections, the larger scale is what I have selected for my worlds of Pulp/Adventure/Victorian Gothic... and that division of labor between the scales has worked out very well for me.
Since this gallery has no central theme beyond being an African adventure, as indicated above it will be presented as a series of vignettes intended as display vehicles for my figures and terrain features. Consequently, I will not be offering any storyline or theme as part of this write up. Instead I will concentrate on presenting a listing of the figures and materials used in the gallery.
The greatest number of figures in this gallery are by Foundry from their Darkest Africa collection, but other Foundry figures are included as well. There are also figures from Old Glory, Eureka, West Wind, Brigade, Copplestone Castings, DeeZee, Mega Minis (the dead zebra), Hinterland, Reaper, Pulp Figures (the man with the butterfly net) and at least one Clix (The Tracker and a couple snakes). Except for the two dead lions, the lion leaping, the chimps, the dead zebra, baboons, tropical birds, the flamingos and vultures, the animals are all toys I purchased for between 10 cents and a dollar at the swap meet over the last decade. The flamingos are Yard Flamingos by Gut Bustin’ Games. I picked them up on Amazon.com. The dead elephant is simply a modified swap meet toy. I think the collection includes upwards of 200 animals.
The boats are by John Jenkins (the two sidewheelers/Lilly and Minnie), Miniature Building Authority (two steam river launches/only one used in this gallery), a small African Queen-style river launch by Brigade (nice boat but didn’t make it into the gallery), and the sternwheeler by Lemax (Miranda/forgot to make the decal name in time for the layout, but it will happen). The two dugout canoes are by Frontline Wargaming.
There are two African villages. The pygmy village is composed of five huts by Frontline Wargaming and two raised huts or granaries that are modifications of Carl’s Jr kids’ meal toys. The larger native village is composed of eight huts by Old Glory (their Cannibal Village from the Pirate line of figures) and two granaries by Monolith Designs from their Aztec collection (I thought they looked good). I got the idea for the color patterns on these huts from the work of Bill Witthans. The multiple drums set on a rock base is by Monolith Designs as are several of the statues, the stone throne, and ovens. Three of the statues are items I picked up cheap during a family trip to Hawaii a couple years ago.
The jungle bar and trading post are by Miniature Building Authority… two of the nicest pieces they have made in my opinion. In terms of work done on those buildings, all I did was to tidy up the paint jobs that came on them. The colors were great but the original painting was a little sloppy. I also made a removable hollow pile of bags that can slip over the stack of tires on the trading post deck. I did that because I didn’t want to remove the tires completely, but I didn’t think they looked appropriate for the Victorian period. Nearby those buildings are two huts that are also by Miniature Building Authority. I am sure they would be more appropriate to the Pacific Islands, but I like them so here they are. The jungle bar and trading post are both made to be entered either from the land or water side, thus one side of each building has steps and the other has a wharf area. I placed these two buildings along a river and added additional scratch-built wharf areas. These scratch-built wharves are located between the two buildings and at both ends thus extending the trading post/bar frontage by an additional 18 inches. The scratch-built wharf that sits at the outer end of the trading post is a slightly modified version of the other two thus allowing the inclusion of Kobblestone Miniatures’ treadmill crane. The scratch-built wharves are made from Evergreen plastic… V-groove for the decking and tubes for the posts. I wrapped each post with floral wire to offer a rope effect similar to that which is present on the MBA trading post and jungle bar wharves. The camp tents are by MBA and an unknown manufacturer… unknown because they were purchased at a flea market sale and came in a baggie with no identification.
The tree for Tarzan, Jane and Boy is a broken toy I purchased at the swap meet for $1 or $2. It was actually in great shape in terms of what my project required although unknown pieces were clearly missing. It had two cave openings in the front which I covered with yellow gray Milliput and “sculpted” in the shape of foliage (I hope). I then repainted the whole thing. I am really happy with the way it came out, and it gives the collection a rather unique terrain piece.
The fortress is by Hudson and Allen. It’s their desert fort, and I admit to having had my eye on it for years but lacked an excuse for buying it. When I began this project nearly six months ago, one of the first things I did was re-watch “Naked Prey.” In the opening scenes of that movie I found my excuse for buying the fortress because the safari led by Cornel Wilde is departing from a fortress very much like the one I wanted from Hudson and Allen. The Hudson and Allen fortress came pre-painted but it didn’t suit me so I repainted it. And for reasons I don’t really understand, the Hudson and Allen fort does not come with a main gate. It has a small entrance opening but no gate. I wanted a nice big gate for my fort so I scratch built an exterior and interior gate from Evergreen plastic which I think look pretty good.
In my Egyptian archeological dig, I borrowed an idea from Hammers who posts really wonderful stuff from time to time on Lead Adventure Forum. He is a great talent with a wonderful imagination. For one of the LAF Painters’ League contests he posted a vignette of a campsite in Africa with cages containing small African animals, tropical birds and snakes. It is wonderful, and while I could not match his creative talent, I could not resist adding such a collection of cages to my collection as well. Hammers was also the source of the idea to include flamingos in the gallery (taken from his “Chicken Race On The Arumbaya”). My great thanks always to Hammers for sharing the products of his wonderful and creative mind.
As always the ground cover is an indoor-outdoor carpet I purchased for this purpose three decades ago. The river is cut from 2 ft. x 4 ft. plastic made to use as covering for ceiling lighting. I’ve simply cut it to size and sprayed it with a couple of shades of blue… the water features in these galleries always seem to be something I get around to doing at the very end when I’m tired and consequently I keep them pretty simple. The removable riverbank is made from the same plastic edged with Milliput to give it an irregular edge. I liked the outcome of this riverbank so much that I went back and made a version of it for my Egyptian collection. Most of the tall grass plants are by Ashland. They come in one-foot square mats and can be pretty expensive, but fortunately, Michael’s Arts and Crafts has regular 40%- and 50%-off sales, and I get them when those sales come around. The trees are simply taken from the large storehouse of trees I have gathered over the years.
As I said earlier, my daughter did the photography as she has on all my galleries. She is a professional artist in the film industry and has a great eye. While this gallery is not as complex as my other 25mm/28mm collections have been, I nonetheless have taken a great pleasure in collecting, constructing, and painting this collection because it is one of the first groups of figures in this scale to really catch my attention, and it was a great joy to assemble and paint. Hope you enjoy it, too.
Pulp Egyptian 28mm (110 Photos)
28MM PULP EGYPTIAN DIG/THE TOMB OF MEN-HER-RA
This is my third 25mm/28mm project and my first involving the Pulp Era if that is defined as being the period between the wars. The Mummy with Brendan Fraser is probably the film that had the greatest influence on this project. I love the look of that film. I’m sure the Indiana Jones movies (Lost Ark and Last Crusade), Alien (probably less obvious), The English Patient and Legend of the Lost (The Duke and Sophia) also had some influence though less direct in nature. I like the idea that my archaeological group has found an ancient Egyptian site that has previously gone undiscovered. The idea that something as large as this could have gone undiscovered until the first half of the 20th Century despite the fact that it is within reasonably short driving distance of modern civilization hinges on the vast emptiness of the desert. I remember that during the First Gulf War Saddam Hussein ignored the fact that the Coalition massed huge forces along his desert flank because he believed that to move an army through that desert was folly since it would simply get lost in the desert’s vastness. He had no concept of GPS. The 1920’s/1930’s equivalent of GPS is the post-WWI airplane. In the years following WWI it seems reasonable that a plane flying over the desert could accident upon an unknown ancient Egyptian complex that had gone undiscovered simply because there had been no modern reason for traveling by land out into that part of the desert, but from the platform of an airplane that which was unknown to those bound to the earth could be seen by those with the freedom to fly. In fact, that is actually taking place in Egypt today. A year or so ago I watched a cable show that centered on an archaeologist (Sarah Parcak) whose area of interest is ancient Egypt but whose search tool is satellite imaging of areas of the desert that had not been investigated previously. From the platform of space she has been able to find topographical evidence of 1250 ancient Egyptian sites including 17 possible pyramids (two of which have been researched in the field and confirmed) unknown until now even though they are only short distances from the Nile.
This gallery is set on two 5 ft. x 7 ft. tables. This is the first time I’ve used two tables for a gallery. One table has an Egyptian town (22 buildings and an independent minaret) and my Nile. That table is really about the fact that I love buildings, boats and people going about their daily lives. The other table has the large temple complex (2 ft. x 4 ft.) and two Playmobil pyramids (each 20” at the base and about 15’ tall). That table also includes the encampment of the archeological team from the Gordon Institute for Archaeology and Paranormal Study. It is on this second table where the Pulp action will take place.
As is my practice, this collection was put together over several years before I began any painting or building. In fact, I have probably been collecting the pieces for this project for about eight years. Early on in the collection process I made a conscious decision not to take the historical/technical side of Egypt or archeology too seriously. In fact, a simple look at the entrance to my temple complex with its smiling sphinx head will tell anyone that my tongue was in my cheek when putting this together. In keeping with this I decided that most of the wheeled vehicles used in this gallery would be toys marketed with the release of the Disney film Atlantis the Lost Empire. I love those vehicles, but I acknowledge there is a cartoon quality about them. In putting together my two Playmobil pyramids, I added a fourth side wall to both (the Playmobil toy comes with only three walls so that the kids can play inside through the open fourth side). I was able to get the two additional walls on ebay for $24 which included shipping. I’ve been looking for the Playmobil pyramids at the swap meet since 2009, but as yet no part of one has shown up. Consequently, both of my pyramids were purchase at Toys R Us. I left one of the pyramids with the look that Playmobil gave it (again not historically correct, but fun), but I think that despite the fact that it doesn’t have the look of a traditional pyramid, it painted up great and is a nice addition to the look of the table. The second Playmobil pyramid is significantly modified to give it a more traditional pyramid appearance. That was a little risky because it is an expensive piece, and I wasn’t sure how it would come out, but I’m very pleased with the finished product. I added to that pyramid a removable section that gives the appearance (I hope) of an opening in the pyramid complete with scaffolding. That was done with Evergreen plastic and yellow grey Milliput. It is through that opening that the archeological adventurers join the world of the undead and perhaps find themselves in a breeding chamber for alien baby pods (the influence of Alien now evidences itself). There are several interior layouts most of which are based on five PetCo fish tank rooms/décor pieces I picked up during a going-out-of-business sale at one of their shops… they were cheap ($1.98 each). Each of those rooms is 7” W x 8” L x 9” T, and they have a very ancient Egyptian ruins look to them/perhaps more in flavor than in fact. I modified them so that two can be put together to form a larger room. They thus form the sarcophagus room, the treasure room and a space where the confrontation between the archeologists and the mummy forces takes place. For that space I have included some victims bound as mummies. I took that idea from Hammers of LAF who took it from the Tin Tin adventure Cigars of the Pharaoh. Hammers consistently produces absolutely wonderful vignettes, and I have borrowed ideas from him before.
The temple complex walls and the inner temple are from the Great Adventure of Lost Kingdom Playset. Over the years I have been able to pick up three of them… two from the swap meet and one from a fellow I know who had lost interest in it and just wanted his money back. In all three cases I got them cheap, and they proved to be outstanding additions to my collection. The entrance to my temple complex is a Fisher Price toy entitled Great Adventures Hidden Treasure Pyramid. I tend to think of it as the smiling sphinx, and while it will never be thought of as having an authentic look, it fit perfectly over one of the large wall sections of the Great Adventure of Lost Kingdom and after some modification and paint, I think it is a great addition to the temple complex. I modified the inner temple by covering its original entrance and adding a modified Egyptian Gate by Scotia Grendel as the new entrance. I also attached plastic backing to the columns that surround its entrance area. It was intended as a toy and as such the manufacturer left the backside unfinished. I also sanded off the figures molded on the front of those columns because they didn’t work well with the look of the complex. The “doorways” (openings without doors) throughout the temple complex were more finished on one side than the other so I used pieces by Scotia Grendel (3 more modified Egyptian Gates and the Pharraoh’s Tomb). The two obelisks in the temple complex are by Summit Collection. The two large seated pharaoh statues are resin bookends I bought at the swap meet… lucky finds. The large columns in the first courtyard of the temple complex are fish tank décor from PetCo. They are beautiful pieces… not cheap but beautiful. Between two of them I added a connecting cap piece using Duplos covered with Milliput and then scribed with lines and symbols and painted to match the columns. Because of the size of these columns, I had to widen the complex, and I did that by making several inserts out of Duplos covered with cut pieces of Evergreen plastic. In front of the entrance to the temple complex are two sphinx statues that I bought at Pet Smart. They are fish tank décor that I modified with Milliput in order to close some of the holes in each piece; holes that existed as swimming passages for fish that I didn’t need for this project. Once the holes were filled and the Milliput hardened, I touched up the figures by adding paint to match the original coloring of the pieces. I liked the original paint work on those and decided to retain it. The third large sphinx on the table is also a piece of fish tank décor; it looks like something that PetCo would sell, but I’m not sure. I picked it up at the swap meet. The treasure came from several sources including Reaper, Toobes, Crocodile Games and an Egyptian chariot by Hinchcliff that I bought more than 30 years ago.
My “modern” Egyptian town is made up of 22 buildings with one separate minaret, some random connecting walls, a well, a couple fountains, some palms, several market stalls, two wharves and a treadmill crane. Eight of the buildings are by Kobblestone Miniatures, seven are by Architects of War, a mosque and separate minaret are by Miniature Building Authority as are the two arcades, the merchant’s house and the fountain in the town’s center. Two buildings and a patio are by JR Miniatures, and one small domed building is by Monolith Designs. The walls, wharves, and treadmill crane are all scratch built using Evergreen and JTT plastic. The wharves are built around Duplos to give them both strength and uniform structure. The market stalls are by Kobblestone Minaitures and Miniature Building Authority. Most of the merchandise in the shops (not the market stalls) is modifications of the pieces found in Mega Minis’ Bazaar (#21001). The well and small fountain are by Kobblestone Miniatures. Most of the palm trees are from the Lemax spooky town collection and two are from Kobblestone Miniatures.
The dhows or sambuk are from the Old Glory 25s Shipyard collection (Colonial and Sudan MCL10) and the colonial river steamer is by Miniature Building Authority. I couldn’t decide on an alternative color scheme for the river steamer so I left it as it came from Miniature Building Authority. Normally I paint everything to provide a uniform affect but in this case all I painted on the river steamer was the stern awning because the original paint job on that awning was poor. The hippos and crocodiles are toys I picked up at the swap meet for 25 to 50 cents each and modified and painted… the water surrounding the hippos and crocs is Milliput. I used Milliput and floral wire to make the reefed sails on the dhows as well.
As stated above, most of the wheeled vehicles are toys that were marketed by Disney when Disney released the film Atlantis the Lost Empire. As you might expect based on their origin, they have a cartoon look to them but the moment I saw them I knew I had to find a place for them in at least one of my galleries and this seemed the perfect place. I have six of them. Actually I purchased a seventh Atlantis truck at the swap meet the morning we took the pictures for this gallery, but it needed modification and paint so it will have to wait for another day before making its gallery appearance. The two 1911 Model T Fords are Entex 1:43 scale models I picked up off the bargain table at Arnie’s Trains for $1.99 each. The drivers are the Eureka hansom cab drivers. I replaced the head on one to give it a different look. The 1923 Fordor Sedan is by ERTL, and I got it at the swap meet for a couple dollars. The truck used by my Paragon Studios film crew is another piece I got for about 50 cents at the swap meet. I purchased another broken car that offered better wheels and added those wheels to the Paragon Studios truck to give it a better look. All-in-all, that truck probably cost me about $3.
The archeologists’ camp is composed of tents and work awnings, many of which are by Miniature Building Authority although I added a few more tents that I had sitting around doing nothing and needed the opportunity to be part of some gallery. The baggage is made up of odds and ends I’ve picked up over the years. A couple of the suitcases are scratch built from Evergreen plastic and the hat boxes and two of the suitcases are from the Foundry Darkest Africa line of figures. When Eureka came out with its line of 1920’s jazz dancers, I loved them immediately and decided to include them in this collection as well… all work and no play must apply to archeologists as well as the rest of us. The victrola is by Scale Structures Ltd. It’s HO scale and a bit expensive, but it was the only one I could find and though a little small I’m pleased with the way it looks.
Last but not least is a review of the figures used. I’ll try to be thorough, but I am sure I will leave something out because there are about 300 figures involved in this collection. When I put this collection together I decided I wanted it to have a two period option: Victorian and Pulp Eras. In terms of the mummies and Egyptian civilians this was no problem. Those figures work in both periods, but the Europeans were not as flexible. The big problem was with the females. Their outfits simply didn’t transfer neatly from one period to the other. Although I painted figures for both periods, I had just completed a huge Victorian gallery so my focus for this gallery was the Pulp Era. Thus most of the Victorians remained in the box… painted but largely unused. For the record most of the Victorian figures are from the Foundry and most of those are from their Darkest Africa line… wonderful figures. I also have some nice Hinterland pieces as well. For the Pulp Era figures I used some of the Foundry (males), as well as figures from Copplestone Castings, Pulp Figures, Old Glory 25s, Artizan Designs, and Blue Moon. The diggers are from West Wind, Blue Moon and Askari. The Pulp Era Egyptians and mummies are largely by Reaper, Crocodile Games, Eureka, Blue Moon, and Mega Minis (their now oop Arabian Nights pack). The figure being carried in the sedan chair is by RAFM (Wizard in Sedan Chair, Fantasy 3750). The Alien mother, birthing sack, columns and pods are by Horrorclix. I got them at a website that appears to do close-outs of Horrorclix figures. I picked up two of the Alien vs. Predator packs for $13 each. They are really nice pieces. I repainted and rebased the pods but I left the Alien mother and the birthing sack as it came.
I began the actual work on this project the first week of November 2013 and finished all the building and painting in the middle of May 2014. It’s been a great project that offered me a wonderful six months of fun. As always my daughter is the principal photographer but my wife brought her photographic talents to this gallery as well. We took the pictures in the garage with the doors open to allow as much natural light as possible. We used the garage instead of the backyard because I wanted to set both tables up the day before shooting the pictures and living as I do in a beach community, the sea air can get a little damp so it doesn’t lend itself leaving buildings and figures out overnight. As previously stated, this project provided me with years of enjoyment through the planning and production stages… really a wonderful experience. I hope you enjoy it too.