Painting with... Richard Gray

Today in the blog we have brought the newest addition to the Slayersword winners list, the only one this year. Richard Gray, unknown to many, has managed to receive the ultimate prize in Golden Demon 2014 surprising all, and we have invited him to the blog as usual so that he tells us more about his experience as a Slayersword winner and his impressions of the event. Without further ado, I give you Richard Gray, Slayersword UK 2014!

Richard Gray

Volomir: Hi Richard, nice to have a moment to chat with you. The man of the moment! You have just been awarded Slayersword in recent Golden Demon 2014, but to be honest, I didn’t know you before (shame on me!). Tell us a bit about yourself, so we can get to know you better. How long have you been painting miniatures?

Richard: I don't blame you for not knowing me, I am not well known at all!

I live in the county of Rutland in the UK and have a lovely girlfriend named Rebecca, who I have been with for 4 years. I'm just a regular kind of guy really: I love sci-fi and fantasy films and books, play rpgs and strategy games on the pc and enjoy building pcs. My degree from UCE in Birmingham was for illustration, which I find transfers well to models.

My model painting started when HeroQuest first came out; I just loved the figures and the fantasy setting. Wikipedia tells me that HeroQuest came out in 1989, so I guess I've been painting for 25 years! Now I feel old. After that I noticed a magazine called White Dwarf (issue 148) and I instantly became hooked on Games Workshop. It's just carried on from there.

On a sad note, unfortunately my mother died of cancer on 20th August this year, so it has been a very difficult time recently for my family and I. I had only just decided to enter the competition before it happened, so it hasn't been the easiest thing to complete my entry.

Volomir: Are you professional or is painting miniatures a hobby for you?

Richard: I'm sort of a silent professional. I have a few long term clients who have been wonderful to me. I also paint as a hobby, although all of my personal models are painted with the intention of them being gaming pieces.

The Mechanicus Knight, Slayersword 2014

Volomir: Are you a regular on painting forums or websites in the internet? Do you have your work in places like CoolMiniOrNot or Putty&Paint? Have you been participating in Golden Demon a lot?

Richard: I'm a member on CoolMiniOrNot and Warseer, although I have a bad habit of hardly ever posting anything. You can find me under the name “Demonrich”, which has no relation to my Golden Demon! I've used that name online since Half Life 2 first came out as I needed an online name!

I entered Golden Demon a few times in the 90s, and finally got a Silver Demon for my Keeper of Secrets in the Fantasy Monster category in 1999. That was the last time I entered a painting competition until now.



Volomir: Do you think there is a difference between the way that miniatures are painted in the UK and the rest of the world, especially in Europe?

Richard: This is a tough question for me to answer as I don't pay too much attention to where each model comes from. I sometimes think that many models from Europe are more flamboyant and colourful than the UK, but I could be wrong!

Two-headed Dragon

Volomir: How was winning the Slayer Sword for you? How did you feel? Did you see it coming at any point during the day?

Richard: It is hard to describe the feeling; my mind went blank and my mouth dropped open. I hope no-one caught a photo of me then as I'm pretty sure I looked like a fool! Once I got the sword I was over the Moon, and just wanted to get home to show my family.

The idea of winning the sword during the day never entered my head. It was quite funny really as I saw the judges looking at the finalists on the table and my model was off to the side with some other finalists while they were examining three others. I just thought I wasn't even being considered for a trophy. I wasn't disappointed as my aim was to get a finalist this year. It had been a long day for me and I was looking forward to leaving early to get some rest. Also I wanted to go home and get a closer look at a Forge World Knight Lancer I had bought myself.

I actually nearly didn't turn up to the event. It had been so stressful trying to get the model done while dealing with my mother's death and I had run out of time. There was a lot more I wanted to do to it, but I was rushing and the paintwork was starting to suffer due to it. I wasn't happy with the model, and was sick of the sight of it. In the end I decided to go just to enjoy the day and not worry about how I did.



Volomir: Which other miniatures where the ones competing against yours for the Slayersword in your opinion?

Richard: That is a really tough question. There were many models that I thought were at least as good as mine! To be honest it was tricky to tell on the day as the lighting wasn't great and I think some of the entries didn't look as good to the audience as you couldn't see them properly.

There was one entry by Michal Pisarski that I was aware of from seeing the WIP in a facebook group, and the painting on that was flawless. I didn't think I'd be competing with it, because I hadn't even considered the Slayer Sword. I was told it was a very close decision, so I'm sure he must have been one of the people being considered.

Volomir: Your win is particularly historical since it’s the first time that Best of Forgeworld and Best of Show (Slayersword) are given to the same piece. There has always been lots of chatter around what makes a miniature “Slayerable” but every year, especially in UK, all hypotheses are proven wrong. What makes a Slayersword winner in your opinion? Do you think there is any commercial criterion behind Slayersword choices?

Richard: Sometimes I wonder if they just roll a dice when selecting the Sword winner. The standard is so high between all the winning entries that I don't know how the judges pick an overall winner. I'm sure the judges have to start looking at other criteria, such as how the pieces fit the theme of the warhammer universe, just to help make a decision. I have no clue about commercial decisions, although if they wanted to push a product, I would have thought they would have picked a large, plastic kit as overall winner.

I don't know if the Forge World Best of Show is judged differently to the rest of the awards, but I guess if the Slayer Sword winner is a standard Forge World model then it might seem awkward for Forge World to give the trophy to a different entry.

Considering I just won a Slayer Sword when I didn't think I was even getting a trophy shows that I have no idea at all what makes a Slayer Sword winner!

Volomir: What's your view on Warhammer Fest? How would you compare it to Games Days, and in particular Golden Demon 2014 with the rest of Golden Demons in the past?

Richard: As I haven't been since 1999, I can't really compare them. I know in 1999 the event was massive. There were a lot more Golden Demon entries then, but I think people used to enter just to get into the venue quicker!

I enjoyed Warhammer Fest 2014. It was a lot calmer, the queues to buy anything were short and it was easy to get to talk to the artists and designers. I'm not sure how good it was in terms of playing games as I didn't go for that.

Volomir: The past few years have seen a decline in number of contests and participation in all Golden Demons around the world, to the point where we only have one right now in UK, and the attendance is also much lower than in the past years. How do you see the future of Golden Demons? Do you think this trend is going to continue?

Richard: I think it is a terrible, terrible shame that they have cancelled all of the other shows. I really enjoyed looking at all of the winners from around the world. I do wonder if they are trying Warhammer Fest as a new template and may use that in other countries, but my opinions are no better than anyone else's. I can just say I hope they bring back Golden Demons for the rest of the World.

Eldar Vehicle

Volomir: Any artists that influence your painting? What are your favourite painters of all time?

Richard: As Games Workshop had such an impact on me, many of their 2D artists inspired me. I am a big fan of people like Geoff Taylor, Adrian Smith, Kev Walker, Mark Gibbons, John Blanche etc.

Others include people like Brom, Boris Vallejo, Giger, Zdzisław Beksiński and many others.

Unfortunately I don't know the names of many model painters; I just have a huge folder on my computer with images of models that inspire me that I have collected from places like CMON.

Volomir: Do you attend other painting events apart from Golden Demon?

Richard: Nope! I might look into doing more, but no promises.

Details of the Slayerwsord

Volomir: Finally, any advice you want to give newcomers to the miniature painting world and competition in particular?

Richard: I don't really paint as a competition painter, I just paint models I like, or things my clients want me to.

There are so many techniques that are being advanced all of the time, so do your research. Also, don't just copy what you see, but adapt it to your style and preference. Just because something wins a trophy, it doesn't mean it is the best style.

Finally, don't be put off when you see a model you think is amazing. I see so many posts by people saying that they should just throw their brushes away as they will never be able to win a trophy. If you see something you like, be inspired by it. Everyone is crap when they first pick up a paintbrush.

Many thanks Richard! We look forward to seeing you in more events, not only Golden Demon, and see more of your wonderful work. See you soon!

Painting with... Thomas Ales

Golden Demon 2014 is going to take place this weekend! The only edition this year of our beloved glorious contest, and we have to cherish it! To anticipate and celebrate at the same time, today I bring you the last of the interviews to Slayerswords of 2013. This one was conducted quite some time ago (some of the questions you will see are now a bit senseless, because we know there will be no more GDs this year for example). It is true that it has taken me a huge time to finish (I translated it into Spanish for my fellow clansmen) but it has been worth every second of my translating. Probably the best interview I have had the chance to read in my blog, absolutely inspirational and interesting, I hope you receive the same feeling of motivation that I got from his words. Without further ado, today I bring you Thomas Ales, Slayersword USA 2013.

Thomas Ales

Volomir: How long have you been painting miniatures? Tell us a bit about yourself.

Thomas: Hmmmmm… a bit about myself… well, I’m 37 and a native of the frozen wasteland that is Wisconsin. During my daily life I work for a Corporation managing intellectual property estates (patents, etc.) and my educational background is in Chemistry and Physics. In my free time, of course I love to paint and hobby, and am a lifelong nerd. I am an avid comic reading, anime watching, sci-fi/horror loving, and death/black metal listening, average kind of guy.

I have been painting miniatures on and off since the mid to late 80’s. My first memories of miniatures were Dungeons and Dragons minis that I believe I still have in my basement somewhere. My first vivid memory of miniatures was when Warhammer 40k first became available state-side. I was about 12 at the time when I went into my local hobby shop and saw the original Rogue Trader Space Marine box set and from then on I was hooked on the hobby. As much as I appreciated playing the game, I found building, converting, and painting to be much more enjoyable.

Over the years I stayed in touch with the hobby as much as possible, but school and work demanded most of my time. I remember having time off from school and breaking out some paints and slowly getting back the basic skills, right before I would return to school. Around 2007, I started buying more minis and spending more time painting, but really focusing on table top level. In late 2010 I had a “life event” that really made me want to pick one hobby and focus on it; and the winner was painting miniatures. In 2011, I started working much harder on display level miniatures.

Volomir: What drove you to paint miniatures?

Thomas: I feel what drove me to miniature painting was my lifelong love of dioramas and any small scale rendering. When I was a kid, my parents hated taking me to any museum with dioramas. They could not pry me from the display cases. In addition, I think I watched the making of Star Wars (the scenes of the scale model building and filming) a couple hundred times. Ray Harryhausen was a profound influence on my love of the hobby. His innovated approach to stop motion special effects using miniature figurines (with fully posable armatures) created several movies that I watched over and over as a child (Clash of the Titans ‘81, Jason and the Argonauts, 20 Million Miles to Earth, numerous Sinbad movies, etc.). If you ever have a chance to watch a documentary on Harryhausen, I highly recommend it. His passion for his work and ingenuity were an amazing inspiration to me.

When I was old enough to start to “create” my own miniatures, I did not need much motivation. With each set of miniatures I would buy, there were seemingly endless number of combinations, modifications, and colors I could apply. The hobby just started growing at that time in the US (late 80’s), so it seemed there was a new kit available every week. When the first Citadel™ painting guides and White Dwarf™ magazines started appearing with some of the most amazing paint jobs, I would sit and read and reread them and try to make my minis look that good. My numerous failures kept me motivated for sure. Every time I came back to the hobby I would buy a new magazine and see how styles had changed, and how much more elaborate miniature painting had evolved. I also realized that I had a new standard to measure up to. The constant improvement in the painting community was another inspiration and challenge that drove me to keep painting. Lastly, as the hobby moved more online, the amount of sharing and collaborating is amazing. The info online for painting is endless and it is awesome to get a perspective on a technique or effect that you would not otherwise have access. This info sharing always keeps me inspired to try something new.

Volomir: Are you professional or is it a hobby for you?

Thomas: This is purely a hobby for me. I would love to do it professionally, but I have learned over the years that when you make something your job, you run the risk of not enjoying as much. So at this point, I am happy spending my free time painting. I guess if I found the right opportunity I would seriously consider a change. I have followed the hobby for far too long to not consider it professionally.

Volomir: Can you tell us something about the painting community in the US? Is it small or big? How's the level of the painters? And the miniature hobby, is it widespread?

Thomas: Obviously, the size and popularity of the painting and miniature hobby in the US is relative to where you live. In mid/northern Wisconsin, it’s no surprise it is a very niche hobby, but the local game shops attract quite a few people from other areas. As for painting in my area, most are interested in army and table top level painting and not display level painting. As you go into the larger cities, just by virtue of a larger population, you have more interest in the hobby. Adepticon 2014 attracted a couple thousand attendants to the Chicago area and the Crystal Brush painting competition had a couple hundred entries across the categories. I personally felt the painting level at the Crystal Brush was very good. Several of the well-known award winning US painters (and a few Europeans) showed up to compete making it a very fun and challenging event.

Volomir: Do you see big differences in the painting style and level of the US community and Europe in general?

Thomas: I will only comment on my style and level. I am older now and have a good amount of humility, so I see many differences in my style and level compared to many in the European community. I personally feel that my style is a bit flat at times and needs more contrast and character. I am a very technical painter so I am continuing to focus these fundamentals as well as composition. European painters have an excellent sense of pulling a lot character and feeling into their miniatures while balancing composition. This is the most difficult part of the hobby and it why I want to take risks and challenge myself going forward. When I made up my mind to start painting more for competition, I knew if I wanted to do my best and be happy with my results that it would take several years of hard work.

Volomir: How was winning the Slayer Sword for you? How did you feel? Have you noticed any difference in your painting life since you won?

Thomas: It was very exciting and surprising. I worked very hard over the year leading up to the event with a personal goal of having all of my entries make the first cut. I had a stretch goal of placing in one category; again I was very surprised at the results.

Since I won, I am inspired to try even harder and take on more challenges with my painting. I now feel that if I were to pick up a miniature and know exactly how I am going to paint it, I am not painting outside of my comfort zone and not challenging myself. I took a lot of risks with my Slayer Sword entry and it worked out, many will not, but I will continue to learn and grow as a painter. I want to continue painting miniatures that I am passionate about regardless of how tough or light a prospective competition category. If I am not excited to paint something or if I don’t have a good background story for a piece, I know I will not put all my effort into the piece.

Also, being newer to the US painting scene I felt a little weird after winning. I was aware of some comments online about the decision but I never heard any specifics. When I attended the 2014 Crystal Brush, I did not know what to expect from the other painters. But after the weekend, I met a lot of other great painters, made a bunch of new friends, and got some great feedback on my minis. Going forward, I am excited to attend events and get together with the other painters.

After reading several blog posts by Enrique Velasco (emuse) and your interview with Martin Goumaz, I was surprised at their comments on how their painting communities react to winning awards. If I had to paint with that type of criticism, it would be very demotivating. I am very proud to participate in competitions like the Crystal Brush after reading emuse’s comments on the event. All of the US painters are very friendly, sincere, respectful, and are happy to get together and talk about the hobby.

Volomir: How did you come with the idea of the Ork idol that won the Slayersword?

Thomas: I was inspired by the story and background of the idol mostly, not the Warhammer Forge mini. If you look over the background and pictures of the idol in the Monstrous Arcanum, you will see where I got my inspiration. When I heard that ForgeWorld was going to be making a mini, I was really excited. When it was released, I was not as thrilled (no offense to Mark Bedford the designer), but I still saw a lot of raw potential in the mini. My only goal in painting the mini was to “make it cool”; I never imagined it to be a winner.

Specifically speaking to the features I added versus the story of the idol, I made a lot of modifications. The idol is referred to as rogue since the shamans conjure up a little magic and put the idol into battle. The idol then destroys anything in the path until they run out of Orc mojo. I felt I could build a side story out of it by seeing what an Orc idol would look like if it was not a rogue, which was the inspiration behind adding the top and rear howdahs. There is a goblin shaman in the top howdah that is in direct control of the idol using his magic to influence how the idol battles. Of course there is a team of gretchins to help with the miscellaneous, battle music, fixing the howdah and fending off brazen enemies.

Another personal challenge to the piece was trying to incorporate a lot of different materials and techniques. The rock surface was created using a combination of acrylics, enamels, pigments, and oils. The glowing mask was a combination of airbrushing and brushing with acrylic inks and paints. The howdahs are constructed from basswood and colored with a myriad of alcohol based stains and enamels and weathered with pigments to add a dry rot, moldy effect. There are roughly 30-40 chains using around 60-70 bolts driven into the stone to hold the howdahs and weapons in place. I used about 90% of a full package of grass tufts (several colors) with various roots and dirt added to the surface and crevasses. And I believe I sacrificed about half of my brain cells smelling super glue while adding the grass!

Volomir: Do you think there will be a GD US in 2014? What's your opinion on how GW is dealing with GDs lately?

Thomas: At this point of the year, I have lost faith that there will be a GD US 2014. It is unfortunate, but it is out of my control so I can’t get frustrated or demotivated by it. I hope to see a return in future years but GW as a company with shareholders has to make money. I work for a large publically traded company so I understand decision making guided by financials. If they found GDs to lose money, I understand their reasoning, but any company can benefit from advertising and marketing, even if it is at a short term loss. I find it hard to believe that the GDs affected GW’s bottom line significantly, and GDs are/were great advertising and marketing. In comparison, very few music acts that tour make money, most lose in then end. But the brand and following they build pays back for years and years. GW has (or had) a loyal fan base that loved GDs, they are losing a lot of brand equity by not continuing with these in the future. As a publicly traded company, I find their lack of transparency to be surprising at times. I think they would do much better for themselves if they communicated more with the fans, and frankly, showed an ounce of love to their loyal buyers. Even the most loyal can move on. But, they still have awesome intellectual property in WFB and 40k and they still make some killer minis and kits. I am sure I am going to catch some flak for that comment ☺

Volomir: Any artists that influence your painting? What are your favourite painters of all time?

Thomas: There are several artists that influence my painting, especially outside of the miniature painting arena. I mentioned Ray Harryhausen of course. In the realm of comic books, Jack Kirby was one of my favorite artists when I read my dad’s comics growing up. He is one of the first comic artists that most accurately captured action sequences in a static two dimensional drawing. Dan Seagrave was an artist that I grew up with as well. Dan Seagrave defined the US and European Death Metal album cover in the late 80’s and early 90’s with unbelievably detailed and dark works of art. I highly recommend checking out his work.

As for favorite miniature painters, there are several, but ones that come to mind first would be Francesco Farabi, Raffa Picca, Aaron Lovejoy, and Sam Lenz. Francesco’s freehand is something that inspired me to start working harder in this area. I have a loooooooooong way to go to catch up to Francesco. Francesco creates a work of art inside of a work of art without it being too “busy”. Raffa has an undeniable grasp of composition and color and he can weave a lot of story into small pieces. Seeing “Touch of Death” in person was an honor at the 2013 Crystal Brush in Chicago. Aaron Lovejoy puts an incredible amount of character and color into his minis. I often look up Aaron’s work for inspiration. More specifically, the mini “The Masque of Slaanesh” is one of my favorites and is the reason I love the color purple. Sam Lenz is a great friend and painting brother that also endures the frozen tundra of Wisconsin. He is an amazing painter that has imparted an immense amount of advice and knowledge on to me over the past several years. Sam and I get together regularly and talk through ideas and paint jam. A lot of this time is what I attribute to evolving and growing as a painter.

As for an all-time favorite miniature painter, it would be Ben Komets. Ben has had been a profound inspiration for me and I have always admired his ability capture as much reality as fantasy/sci-fi in his works. He has an amazing ability to balance colors and contrast to avoid over emphasizing aspects of the miniature. When I look at his work, I feel like I am standing off to the side and seeing this scene or character in real life, I hope that makes sense. He is not afraid of larger pieces with multiple components and complex composition. This is something that I strive for in my pieces going forward. The pieces that he creates, I personally think, would communicate well in all forms of media. “Thron”, “General of Khorne on Juggernaut” and “The Last Survivor” are some of my favorites. I was honored to meet him at GD US 2013 and see his work first hand; especially his diorama entry “Tau New World Order”.

Volomir: Do you attend other painting events apart from Golden Demon?

Thomas: Yes, I am very lucky to live near to the Chicago area where in April every year is a very large gaming event called Adepticon. Within the gaming event, CoolMiniOrNot hosts the Crystal Brush painting competition. Crystal Brush is still a newer event, but I think it has the potential to fill the void for Games Day and become one of the best competitions in the US. I have attended the Crystal Brush since 2012, but only entered pieces in the last two events. I am looking forward to many more.

Unfortunately, unlike Europe, there are not a lot of options for miniature and painting events throughout the year. Later in the summer, GenCon and Privateer Press have competitions in the Indiana area, but I have yet to attend this event. Again, I look forward to it in the future. I would love to attend a Euromilitare or Hussar at some point in my life as well.

Volomir: Any advice you want to give newcomers to the miniature painting world?

Thomas: Confidence! That is the one word sage piece of advice I got from a fellow painter when I started painting more for competition. The only way you build confidence is with time behind the brush and being honest with your work. Being your own worst critic is not a bad thing. When you hold a finished piece up to another, be honest with where you think you need to build some skills or learn a new technique. Build confidence by not being afraid to ask questions and make sure to ask fellow painters for feedback.

Also, you can never lose by seeing a different perspective. Every time I buy a new book or DVD, or read a blog, I try to review all of the info included, including the basics. I always see different ways to accomplish the same steps in a project (e.g., a new tool, a new way to hold tools, new materials, different brush techniques, color combinations, different orders of operations, etc.). Whenever I attend classes, I always listen very carefully for the instructor’s interpretation of a technique, style, etc. Everyone processes information differently and you live in a sad world if you think your way is the only way and the right way. The combinations of techniques, tools, materials, colors are endless, and therefore you will always have a challenge ahead of you. Often I hear one phrase that makes me think differently about how to approach a miniature or component of a piece.

Seriously guys, I can't stop thinking about my next projects after reading this huge inspirational piece of knowledge. Thanks so much Thomas! I hope that you keep following your path to enlightment, you are doing a great job so far! And please tell us all about it!

Painting with... Hugo Matte

From the far away land of Japan, today I bring you Hugo Matte, Canadian born but living the samurai dream, he managed to win Slayersword Japan 2013. The event is very new (only 2 years so far) and the competition is not as mature in terms of level as those of the old continent or the US, but could be a promising land for a huge new community. Let's see what Hugo can tell us about his adventures in the Land of the Rising Sun.

Hugo Matte / Ichiban Studio

Volomir: How long have you been painting miniatures? Tell us a bit about yourself.

Hugo: I've started to paint miniatures and do modelling for about 20 years. I've started pretty young doing military modeling. One day I walked into a Games Workshop store and i was in awe! I just had a revelation that tank can be different colors then just military colors. From that day on I've converted to fantasy and scify miniature painting. Then kept on painting and trying to get better and it push me to start doing a bit of commissions here and there. In 2012 I decided to try doing the hole multimedia thing, started a twitter account tweeting about the hobby and from there things unfolded pretty nicely for me. Ended up with a pretty good now YouTube channel and Facebook page allowing me to share my passion and enjoy my hobby.


Slayersword winner GD Japan 2014



Volomir: What drove you to paint miniatures?

Hugo: Military miniatures was definitely my dad, he used to build and paint models when he was younger and help me a lot and supported me to get better in the hobby. Then most likely the GW cover art drove me when i started with the wargaming figurines and from there the net fulled my passion ten fold.


Detail Slayersword winner GD Japan 2014



Volomir: How did you end up living in Japan?

Hugo: Its pretty easy, I came to Japan about 10 years ago for just one year to enjoy a sweet vacation. But ended up never leaving, love the country, culture, people, language... So I made it my home!

Volomir: Can you tell us something about the painting world in Japan?

Hugo: Japan as an amazing pool of incredibly talented painters and builder. You can find hobby supplies in any electronic stores to give you an idea how modelling is popular here, BUT unfortunately on the wargaming side of the hobby its pretty undeveloped. There are still amazing artist here but it less popular then in major hobby centers like in the UK or Europe and the US. There is still lot to be done in terms of growing the hobby but none the less there are still a lot of people playing and painting here.





Volomir: Have you participated in other Golden Demons around the world?

Hugo: Unfortunately not yet, but I am planing on it even knowing that the competition in other golden demon events are one hundred times stronger then in Japan.





Volomir: Do you attend other painting events apart from Golden Demon?

Hugo: When I'm lucky yes. I get to travel a bit. Last year I've been to Gencon where unfortunately I did place and I'm leaving soon for Adepticon 2014 in Chicago where the crystal brush is held.

Volomir: How was winning the Slayer sword for you? How did you feel? Have you noticed any difference in your painting life since you won?

Hugo: Those are really hard questions! Winning the sword was great! Knowing your model is the best of all in a show is great, then also knowing you won something so many painters want is sick (in a good way!) But and there's a big BUT... Its a second year event, so I cant in my mind not feel a little bit ashamed to have won. Let me explained: feel great to win something, feels great to know your the best on that day, but the slayer sword is such a highly praised trophy and the reputation it carries is so big and the artist that won it in the past are some of my idols. So for me to have the same trophy as them but to have won it in an event where maybe it would have been in England i would have maybe not even placed is hard to accept the win. As for if my painting life changed.. hummm not quite sure I'm busy I have commissions but it was the same before so I would say no. But i did have an extremely huge painting mojo boost after the event i was on a painting trance painting like a maniac 24/7 but as high did the high went, the low and dreadful painting burnout was right around the corner waiting for me around November. I'm still slowly getting back into it.





Volomir: Do you think there will be a GD Japan in 2014? What's your opinion on how GW is dealing with GDs lately?

Hugo: Good question, For the Golden Demon Japan in 2014 I would love to think there will be another one, unfortunately I do not think there will be one. Attendance was better this year than the first and so was the quality of the models but the organization was worst than the first year. For the 2 years they did it, they always waited pretty last minute to announce the event. And from a source I know its for the simple reason that they do not really want Golden Demon worthy people from other countries to fly in. On one side i totally understand since its a new event GW japan doesn't want to kill the event for Japanese people and discourage them into entering by seeing their event sweeped out by only foreign painters. There was a joke made by one of the high up the GW-JP food chain at the event during the speech saying "yet another year where the slayer sword is won by a foreign please bring the sword to Japan" pretty ironic since we don't actually get a sword here but a certificate here since they cant import swords into japan. But it does support the theory. Also the fact that they did cut 4 categories last year too. But to be honest those are all speculations we will see, probably only 4 months before the event like last year. Pretty short noticed to get your shit ready before an event.

As for other countries I think GW should do like Japan though, cut all the crap with Games Day if its so hard and just hold a Golden Demon contest and that's it.





Volomir: Are there any artists that influence your painting? What are your favorite painters of all time?

Hugo: So hard! Love your minis they are superb, Ben too, the guys from Massive Voodo, Bohun, my buddy Les from APJ and Mig Jimenez but at the same time there are so many more on that list, (lol) Arsies, Nakatan, Ana, Ctan, etc...

Volomir: A very tough question: what is your favorite miniature?

Hugo: Man..... again another hard one! hummmmmmmm..... I mean to paint it has to be a tank or any miniature I can make rusty and dirty, cuze that's what I'm good at but as for a miniature hummm I really don't know. But the one i had the most fun painting was the sexy reaver titan. Hoooo I got it! Never did one but I do think one of the miniature I would love to paint and own (that's saying a lot cuze i don't collect at all I sell most of the minis I paint) but its the Eldar Phantom Titan.





Volomir: Any advice you want to give newcomers to the miniature painting world?

Hugo: You guys are Lucky!!!!! You have the net and the magical YouTube! when I started I had non of that. So it was extremely hard to get good comprehensive tutorials, there for the progression was really slow and required me to get into many clubs for the hobby which isn't a bad thing but YouTube can really teach you a lot from the comfort of your house which is amazing!

Just keep painting and don't forget to try new stuff even if your not sure that's how you learn! Make mistakes and get better!

Thanks Hugo! He has a very interesting channel in youtube with loads of entertaining and instructive videos, make sure you check it out!

Painting with... Martin Goumaz

Following on our Slayersword 2013 interviews, from the mountainous land of Switzerland, I bring you Martin Goumaz, also known as Dreamit, a truly skilled painter who is relatively new in the painting contest scene worldwide but has already won a Slayersword in the past Golden Demon Italy 2013. Let's hear about what he has to say about his view of our little world of art.

Volomir: Martin, the first question is very traditional and also kind of mandatory. We want to know more about you! Can you tell us about your story in the painting world, when did you start and why?

Martin: Well I'm 31 years old and I live in Geneva, a French speaking city in Switzerland. I'm working in the social sector with the youth and I've got two young kids.

I played a little bit of 40k when I was like 13-14 years old. But I wasn’t that much interested and I stopped it, sold my minis and forgot the game. Many years later, I had a wife and a son on the road. Maybe you know what that is, but when you have a baby you don’t go out as much as before. During one evening I fell on the coolminiornot website and saw some amazing paintjobs. I simply thought it could be a fun occupation for my free time at home when the baby's sleeping. Some days later, in November 2009, I bought paints, brushes and a lamp... Then I started to enjoy it more and more. :) I learned to paint « alone », reading and watching every single tutorial I could find on the internet. That’s why I always feel thankful to all the painters who spent time to share their passion and knowledge.





Volomir: How is the painting scene in Switzerland?

Martin: It's very small in comparison of countries like France, Germany, Italy or Spain. We are only a few miniature painters and the only club I know is the FMP located in Payerne, in which i'm a discreet member. Sadly I can’t tell you how many we are, shame on me! There are also some events every year like the Montreux Miniatures Show. Miniatures painting is totally unknown of the large public, but I guess it's the same in most of the other countries. When you say you paint miniatures people are looking at you like « wtf ? » :).

Volomir: Who are your favourite miniature painters and which would you consider the best or more inspiring miniatures of all time in your opinion?

Martin: I think the painter that influenced me the most is a famous swiss guy that luckily for me became a friend, Matthieu Rouèche. I always loved smooth blendings, cleanliness, right lights and sober color choices. He's the best I could see so far for that. I met him for the first time during the World Expo 2011 in Montreux (my first show ever) and since then we spend some days painting together when we find the time.


Matthieu Rouèche's paintjob



The second one is I think Roman Lappat, for two reasons. The first one and as I said before, I learned to paint with the internet. You all know MassiveVoodoo, it's a huge & amazing source of tutorials, ideas and inspiration. The second one is simple, he's a very nice & talented guy, always trying to help and with a philosophy I like.


Roman Lappat's paintjob



To finish i'll just say a few names of other painters I love the style, even if i'll surely miss a lot of them... Mirko Cavalloni, Sebastian Archer, Francesco Farabi, Max Richiero, Diego Ruina, Davide Rappazini, Ernesto Reyes, Enrique Velasco.


Mirko Cavalloni's paintjob



Volomir: No doubt there has been a lot of talk and controversy around Golden Demon Italy this year (there always has to be, and in some way it’s also part of the fluff around Golden Demon). Now that a bit of time has passed since the contest, how do you feel?

Martin: The fact you ask this question shows the controversy has crossed the borders of Italy, even if i’m not sure it has been “that” big. What I understood is it was about the event in its entirety, not only about the judges decisions. But I guess that in your question you're mostly thinking about « The ugly little skeleton » who took the slayer sword. For the little story, his nickname has been taken on some forums I could read the day after the GD. It’s sort of a wink to the critics, a touch of humor. :)

Back to the question and to be honest, the days after the games day haven’t been easy, emotionally speaking. I had really mixed feelings. Of course I was happy of the slayer, who wouldn’t be? But at the same time I had to face the reactions of some disappointed or angry people directly after the ceremony and on internet.

I can understand them, usually the Slayer doesn’t go to single miniatures and even less to skeletons. People have been used to see big projects like monsters or dioramas being rewarded. So it was a surprise, for everybody me included. Nowadays there's sort of a « race to epicness » if I can call it like that, with artists doing monster freehands, massive conversions, dioramas with 200 miniatures (Hi Roman :D) or aiming for the maximum of creativity. And it's good for the miniatures world to try to push some limits, no doubt about that. My little ugly simply doesn’t follow this trend and some people blame it for that.

On the other hand, I also received many very positive feedbacks from painters being happy to see a smaller and project taking the award. Of course my skeleton wasn’t the most eye-catching, the most converted, the most freehanded or innovative piece in the contest. I still think it's a nice piece with a good atmosphere, well balanced, easy to read with clear focal points and very clean on the pure technical aspects. That said and after all, it’s the eternal question of the personal tastes. :)





To come back to the question, luckily for me I could talk about this controversy with some friends and “big names” in the painter’s community and they have been very helpful. So how do I feel now? Good, thanks. :)

Volomir: Apart from the Slayersword award decision, what is your opinion on GD Italy 2013? What is your opinion on the controversy around how Games Workshop is treating his flagship event all around the world?

Martin: My opinion about the italian GD is the same as most of the participants and I won’t repeat what has been already said. I'll just add one thing that means a lot; I’ve had much more fun in the Monte San Savino show last year than in Modena. Sadly I couldn’t go back to Monte this year, but I hope for 2014.

About the Games Days, it was my first one so I can’t speak about any personal experience. But I did read some very interesting and in depth analysis on Masterminis or on Julien Casses's website, I could not do better since their authors did an amazing job.

That said I still hope they keep on organizing GD's... in a better way :). As Fabrizio Russo told me recently and I do agree, we need these events to build up the painter’s community of tomorrow. Most of us started with Games Workshop miniatures, and I'm not sure it's going to change in a close future.

Volomir: How did you prepare for this Golden Demon? Did you aim specifically for winning something? How did you come with the ideas for your entries?

Martin: I decided to go to Italy at the end of July during my holidays in Germany. At that time I didn’t have any idea of what I would paint. I just knew I would not have enough time for big projects. Anyways i'm too lazy for big projects :). That’s why I decided to focus on single entries (Whb, 40k and Lotr). I don’t like most of the new GW stuff and I had to avoid finecast models. So when back home at the end of august I bought two boxes of things I simply like, the wraithguards and the skeletons. I also bought an Eowyn on eBay just because it's very small, so very fast to paint.





My idea when I decided to go to Italy was mostly to discover what a GD is, as I did read a lot on the internet about it. It was also an opportunity to see again some Italian friends I met in San Savino last year. That said and of course, I did hope to win something, as every participant does I guess. But I didn’t aim for a special prize, I just focused on painting something I like with my usual style. Anyways I knew I could not beat the Italians at their own «awesome freehand» style.

For the wraithguard, as he’s sort of a robot I wanted to give him a soul. So I did represent him like a solitary hunter, looking for revenge and trophies. The jungle is also there to contrast with the machine and contributes to add some life to the scene. About the color choices I simply decided to stay in the fluff and opted for Ulthwe.





The skeleton was just… because I love skeletons. It’s also very tiny with small surfaces, perfect for the little amount of time I had. I still gave him some modifications, more than people might think. I wanted the face to be the main focal point so I tried to give him a strong facial expression, sculpting teeth, hair and adding eyeballs. I also wanted to try to paint a banner, as it was something I never did. But I wanted the banner to add something to the skeleton, not hiding him. As you know, sometimes we can see amazingly painted banners or freehands and you don’t notice anymore there is a character underneath. This is something I wanted to avoid.

To finish with the Eowyn, I received it from eBay the Tuesday before the GD. As I was working at the same time and with the kids, I’ve had to be very fast. I spent one evening for the prepping plus resculpting some details and two evenings for the painting. For the colors I simply respected the fluff, focusing on a clean & smooth result.

Volomir: Do you think winning this Slayersword will be good or bad for you? Will there be a lot of pressure on whatever you do next?

Martin: I don’t really think winning a Slayer Sword can be a bad thing. If it was, why so many people are trying to win it? Anyways I don’t really measure yet how good it is to have it. As painting miniatures is a hobby, I don’t take commissions and I don’t paint to get money. So I think it's more difficult for me to estimate de benefits. I'm just happy with it and it's the main thing.

Maybe it can change how some people are looking at me, in a good or in a bad way. But it won’t change my way to look at people. If some guys are angry with me because I won it it’s fine, it simply means we wouldn’t have been friends anyways. About pressure I don’t really feel it. I don’t feel the need to « confirm » the sword or whatever, even if some people might be waiting me for that. I don’t care. I always painted what I like, how I like and for the pleasure, it’s not going to change :).





Volomir: What is your opinion on contests? Where do you stand regarding Open contests or Golden Demon?

Martin: As i'm quite new in the miniatures microcosm, I don’t know a lot of painters personally. My reserved and shy side doesn’t help also :). So I like to go to contests mostly to meet new people and discuss about our passion. Besides that and of course, if I win something i'm always feeling happy and proud, but it's not what puts me on the road. I also get bored quite fast of my own paintings, so i'm always happy to look at works with other ideas and styles.

I think contests are there to spend time with friends and share our passion, rather than for the awards. I have the feeling most of the painters think the same and that’s one of the reasons I enjoy this hobby so much. But it’s normal, we’re all different and some are more focused on the competition. Money is also a factor, as many painters have to live of their paintings. Winning an award may allow them to raise the selling prices of their pieces, so it’s totally understandable.

I still think, when I see some reactions, that sometimes awards are taking too much importance :).





Volomir: How do you plan a new project? Can you tell us how do you tackle a new miniature and how much time do you dedicate to it?

Martin: When I start a new project I simply search a piece I would like to paint in my stuff box. Then I try to imagine the atmosphere I want to achieve and if i'll need modifications on the model to reach my goal. Then I often have new ideas while i'm doing the prepping work and I often build 2-3 different bases for a mini until i'm satisfied. Yes, I have got a big amount of dead-born bases… The time I spend on a mini depends of the size of the project and the quality of the result I want to achieve...obviously. I also try to avoid miniatures that have already been painted 500 times by great artists to not be too much influenced.

The average of time I need for a display single miniature (prepping + painting) is I guess between 25 and 60 hours. But it's difficult to count as i'm painting on a lot of short moments when my kids are sleeping (my painting sessions may last between 15 minutes to 2-3 hours).





Volomir: What is your favourite work of yours? Objectively and personally?

Martin: Ugh that’s a difficult question... Maybe the one i'm the most attached to is the Jareck, for two reasons. First it's the mini I spent the most time on so far (maybe 70 hours). After so many hours there's sort of a connection I guess. Second, it's a miniature I progressed a lot on, at least it's the feeling I have :). It's also a miniature I worked on without shortcuts, with the same care of the detail everywhere. You also can find a lot of different textures, skin, metallics, cloth, leather, wood, hair... and different types of effects, blood, mud, water, freehand... It's probably my most complete work.





The one I prefer actually is maybe the Sgt. Connor. I just think the lateral light effect, the osl's and the colors are working fine. It's also a miniature that allowed me to try using a bit an airbrush, and believe me i'm really bad with this tool.





Volomir: And finally, can you tell us something about your future endeavours? Is there anything big planned for the near future? Any contest?

Martin: Not much actually... I don’t have any big project on the workbench, but little ones for miniatures exchanges. Anyways I think as i've got the sword i'll stop painting miniatures and find a new hobby... :). More seriously, next year i'll try to go to the Lugdunum in Lyon, to Stresa, to the Fantask’Open in Lyon (again) and to Monte San Savino, at least. Then it will depend of the plans we have with my wife and the kids.





Volomir: Thanks for your time Martin!! I really appreciate it!

Martin: Thanks to you, Rafa ! :)

Wow! Certainly Martin had a lot to say, very interesting thoughts thrown out there! Please keep up the good work and hope to see more from you soon! In the meantime, visit his blog Dre4mit Miniatures.

Painting with... David Soper

Golden Demon UK saw the return of an old time Slayer sword winner. After 20 years since his first Slayersword win, he returned to the contest, older and wiser, and despite the time of inactivity, improved painting skills. He managed to win not only 3 Golden Demons, but also take home the precious Slayer sword UK 2013. Let’s see what David Soper wants to tell us about his glorious comeback!

Volomir: Being as you are, a miniature painting old glory, tell us about your very unusual painting story. When did you start painting miniatures? What happened that led you to come back to painting after so many years?

David: Some time around 1980 there was a big craze for role-playing games like Dungeons and Dragons and it was through this that I first became aware of miniature painting. My interest shifted very quickly away from gaming to painting. The moment I saw those tiny figures I absolutely knew that miniature painting was the hobby for me!
By the age of 14 I had developed a strong aptitude for art but my work had a tendency to get bogged down in lots of tiny tight detail. With miniature painting I had a hobby where I could direct all my obsessiveness to good effect. It would also help to free up my painting and drawing style as I studied towards getting a place at art college.
Over the following years, as I left school and went to art college, I spent my spare time painting minis and began to develop and refine my technique. At first there was no info out there at all and I learnt by trial and error. It was through the pages of White Dwarf magazine that I gained exposure to a wider world of miniature painting and a growing awareness of just how much more there was to learn.
Then we come to 1987 and the first Golden Demon Competition. I thought I was quite good but had no objective way of gauging the standard of my minis. That year I didn’t get past the regional heats. It gave me a kick in the pants and fired me up to prove that I too could make it to the finals.
Up until this point I had been painting in splendid isolation, in 1988 Southampton had it’s own Games Workshop store and I was getting to connect with other hobbyists. I made it through to the finals, and I really could not have been happier. I didn’t expect anything more, so when I won gold in two categories I was genuinely shocked; and it forced me to reappraise myself as a figure painter. This marked the start of a period of intense effort to raise my game.
In 1989 I managed to repeat my success and it was during the award ceremony that I decided to try to win the slayer sword! From then on all my painting and sculpting efforts were focused on that goal. I started the biggest and most ambitious project I had attempted to date, my Nurgle Predator.
At the 1990 finals I was a mess of nerves, I’d put everything I had into this one model. I’ve little clear memory of the awards ceremony itself. I just found myself standing on the stage with the sword held up over my head and no memory of how I got up there!



Can you spot the differences?

Winning the Sword in 1990 was a huge deal for me and remains one of my proudest achievements. But now I’d done that I had to consider my next move. I came to realize that I really wanted to simply get back to painting minis for my own pleasure. Over the following years that’s exactly what I did. I’ve never been a fast painter and, as I focused my efforts at refining my technique, my output slowed. As time passed, and other interests developed, that pattern continued until it wasn’t unusual for me to have only one mini finished in a year. Looking back I can also see that although my technique developed my painting style remained pretty much the same.
The period where I dropped right out of the hobby is probably no longer than three or four years. I remember quite clearly that by 2002 I no longer considered myself a mini painter. I tried to paint some of the new Fellowship of the Rings minis and failed abysmally. Through lack of practice I had lost my technique and confidence. I was surprised by how much of a sense of loss that gave me.
Although I was no longer painting I kept an eye on the hobby through the occasional copy of White Dwarf and increasingly through the internet. It was around this time I discovered Cool Mini or Not. The hobby had evolved and I was blown away by the degree of realism and the sophistication of technique now being employed by many painters. It was inspiring but daunting.
What followed was a process of being drawn gently back into the hobby through some of my other interests. Around 2006 I started painting minis with an ancient Egyptian theme and then, in 2011, I painted some Dr Who minis that I made into a diorama. I found that I was hooked all over again.
The big thing that enabled me to develop my ‘modern’ style as a painter was acknowledging and embracing my old school roots. This came together for me when I painted the Hellion that won the 40k single mini gold. To me that mini feels like a fusion of old and new and it sparked off a period of experimentation that resulted in the Dark Eldar diorama.

Nurgle's Preador which won the Slayersword in 1990



Volomir: How do you see the miniature world and miniature painting scene now compared to how it was back then?

David: It’s very different now! For me it’s the online painting community that has really made the difference. The hobby has been opened right up and expanded by sharing of ideas and experience through blogs and forums. There is a far greater awareness of the many different possible ways of painting a mini now.


Hellion, Gold in UK 2013



Volomir: Have you seen changes in regards to techniques, ways of working or painting tastes? Was it difficult to catch up with the painting world when you returned?

David: For the most part I don’t think that the basic toolkit of painting techniques has changed that much. The biggest difference I’ve noticed is the use of airbrushing which you hardly ever saw used for mini painting back in the 80’s & early 90’s.
The thing that has really changed, beyond all recognition, is the way that painters now apply and combine techniques. I think that exposure to other painting traditions, like military and historical model painting and even fine art, has had a huge influence especially in the pursuit of greater realism. There is also a far greater range of materials and equipment being used. The combination of these factors with the online sharing of information means that there is now a huge diversity of painting styles/tastes out there.
Broadly speaking tastes have moved towards greater realism and subtlety in miniature painting. There is also an increased appreciation of the more ‘painterly’ and artistic approach to mini painting.
I think the ‘modern’ challenge is to use painting techniques with greater control, sophistication and subtlety to create a wide range of effects and greater realism. When I started to paint regularly again the prospect of catching up was very daunting! I had a big struggle to get my technique back, and I really had to work very hard at. Knowing that I could once do this was a double-edged sword feeding both my frustration and my drive to be able to do it again!
I finally reached the point where I felt that I’d returned to the level I was at when I’d stopped painting. It was a great feeling but really only served as a jumping off point for a new era. I was back up to speed but I was not up to date! Since then I’ve focused my efforts on trying to develop my painting in a way that feels relevant to the modern hobby.


Silver Helm from 1992



Volomir: Who are your favourite miniature painters and which would you consider the best or more inspiring miniatures of all time in your opinion?

David: This is going to be a very selective and subjective list but among my favourite painters are John Blanche, Mike McVey, Darren Latham, Roman Lappat, and yourself (honest).
Picking the best miniatures of all time is a tall order! Among those that have inspired me the most are your own Tribute to the Fallen, Stephan Rath’s Eldar Warseer, Roman Lappat’s Rhino King, Enrique Valasco’s Ogrum Ironheart, Raffaele Picca’s Giu’s Robot Repairs and last but not least John Blanche’s Chaos Minotaur conversion from 1987.


Slayersword diorama, 2013



Volomir: How did you prepare for this Golden Demon? Did you aim specifically for winning something? How did you come with the ideas for your entries?

David: When I started the diorama I had no intention of entering any painting competitions. I was just doing it for myself as the new (at the time) Dark Eldar minis had just come out and they really caught my imagination. About a year into the project a lot of people started to ask me if I was going to enter it in GD2012. There was no way I could finish the diorama in time but the seed of the idea was planted, so I decided to enter GD 2013. The prospect of having another try at the Demons had been hanging over me for 23 years and was quite daunting so I entered some of my non GW minis into Salute earlier this year as a sort of ice breaker. My success at Salute gave me the confidence to push on with my GD plans.
Once I’d made up my mind to enter GD the pressure was on. Having previously won a sword meant that there was an expectation that I might be able to do so again one day. I put every thing I had into the diorama and did the best job I possibly could on it. Which is not to say I think its perfect – far from it.
My main focus was on the Dark Eldar diorama and the other two entries were almost accidental! The Hellion was actually the first piece I painted for the diorama but it became redundant when the concept and style of the diorama moved away from my original idea. I thought the Hellion was probably good enough to justify entering in it’s own right, so a couple of days before GD UK I dug him out from the back of the figure cabinet and based him up for the competition.
I finished the diorama in July and I needed a project to keep me occupied and prevent me from going back and overworking the diorama in an effort to make it better. At that point the Skink priest came out and caught my attention as an appealing mini to paint. I decided to make a project of it and see if I could get it painted up in time for the competition. It’s the first time I’ve tried to paint a mini in such a short turn around time, and I had no idea if I could manage it. I decided to keep things pretty simple and just do the best paint job I could with no conversion or fancy base work





Volomir: How long did you work on your winner diorama? How did you come with the idea for it?

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David: I was working on my diorama for over two years and I couldn’t even begin to guess how many hours went into it. The diorama was in a state of almost constant evolution as my ideas for it developed. I was using the project as a way of trying out new (for me) techniques and materials. As a result of this my approach to using colour underwent a massive change in the early stages of the project. This is the main reason I could no longer use the Hellion as it reflected my older style and didn’t match the Scourge minis. If I’d started the diorama with the intention of entering it into GD I would probably have gone about it in a very different way.
The initial idea for the diorama revolved around a scenario of conflict between rival gangs of Scourge and Hellions. I’d gone as far as making a completely different base for it but I put it to one side as it didn’t have the right tone. If you look back through the archives of my blog you will see the many changes the piece went through before it reached it’s final form. I’m very glad that I kept on changing and altering the base. I feel the final version is much better than the first. I learnt a valuable lesson about not being afraid to go in and change something, if I think it could be better.
The biggest casualty, and personal disappointment, was the loss of the narrative element from the diorama. I realised that there was no way I would get it finished for GD 2013 if I stuck with the gang warfare theme. I decided to bring the project to a conclusion (two years was more than long enough) with the elements that I had finished. The result is a far simpler piece than my initial idea. That’s not a bad thing in itself but I knew I was taking a big risk by sacrificing the narrative of the piece in order to get the diorama finished.
I learnt that both practically and temperamentally I’m not very well suited to big multi mini projects. That’s not to say I don’t think I should be ambitious in the scope of my mini painting but I need to recognise my strengths and limitations and plan accordingly.





Volomir: How do you plan a new project? Can you tell us how do you go about when creating a new miniature and how much time do you dedicate to it?

David: Once I’ve had the idea for a project I usually spend quite a lot of time just thinking about it before I get started. I will put together a folder of reference material using any sources that seems appropriate. This might include photographic references, textures, colours, book illustrations or pictures of painted minis that are relevant or inspirational. Some of the images in my folder may be used as direct reference but most will be there for inspiration. I also plan my colour palette early on as this will be a major element in creating the look and feel of the project.
I gather together all the elements I think I’ll need and start to experiment with the composition. It helps me to view these tests objectively if I photograph them. I think it’s really important to have a clear vision of the final composition before you start any proper work on the piece. Once I’m working on a project my ideas for it almost always change and evolve. The initial planning provides a strong foundation for that change.
Finding time to paint can be tricky and there are some weeks where I won’t get to pick up my brushes at all. Usually, however, I can steal a few hours during weekday evenings and I always try to build in some proper painting time into my weekends. I don’t tend to have fixed deadlines for painting a mini so I’m able to take as long on a project as I feel it needs. I like to break a project down into stages and plan out how I’m going to tackle them and it helps me to do this if I have an idea of when I’ll be finishing. I will try and set a rough timescale. For example I want to finish my current project over the Christmas break or thereabouts.







Volomir: What is your opinion on Games Day and Golden Demon UK 2013? Do you see big differences in how it was back then and now?

David: My memories of Games Day 1990 are a bit hazy after 23 years but I was struck by how different 1990 & 2013 were in terms of atmosphere. Back in 1990 the (admittedly smaller) main hall seemed far busier and more crowded with many games and demonstrations taking place. My abiding memory is of all the noise and especially the deafening roar that went up when the Demons were awarded. Although that may say more about my state of mind at the time!
The 2013 Golden Demon competition itself was a very different experience for me from that of 1990. Overall I thought the organisation and structure of the day were a great improvement. Sorting the minis first into finalist and then winners gave the day a feeling of progression and helped to keep & build the excitement. In 1990 you dropped off your minis and then had to wait until the end of the day to find out if you’d won anything, it was a long day. The awards ceremony itself was far better organised than In 1990 when you had to struggle through the crowds out front to get up on stage and collect your prize. I thought that the organising of the winners back stage was a massive improvement.


Skink Priest, 2013



Volomir: What do you think about the controversy around how Games Workshop’s latest policies and how they are treating Games Days all around the world?

David: I try to be philosophical about it and take a ‘let’s wait and see’ approach. Over the years there have been a few times when Games Workshop’s policies have stirred up a storm among hobbyists and generally it worked out OK.





Volomir: And finally, a very important question! Are you going to retire again for another 20 years? Or do you plan to stay with us for a while?

David: It might be rather cool to disappear and then come back and win another Slayer Sword when I’m 70! But I’ve enjoyed returning to the hobby. I think I’ll stick around this time!

I think this has been the longest interview that this Blog has ever seen. How many interesting answers! A great pleasure to be able to read these lines filled with wisdom and experience from having seen Golden Demons since they were born. We hope to see you stay with us for a long time, David!