UMS "Agram" : RISE - the Necromancer project < Articles < Hobby

RISE - the Necromancer project

Sebastian Søgård, 5th June 2024

For a while I had this Ossiarch Bonereapers miniature, Mortisan Boneshaper, from Age of Sigmar, in my collection of gray plastic, not really knowing what to do with it. I liked the model, bought it to support a local hobby store I visited, but didn’t ﬁnd any inspiration for it.

Until one day I saw a few kits at Carta Magica and my head started spinning around a new diorama idea - a Necromancer raising undead warriors from their graves. One of these kits was gravestone bits from Green Stuﬀ World, the other was this Spirit Hosts kit, where I suddenly noticed the very ﬁtting skeletons at the base that I never saw before. They were perfect for my idea.

I started by getting rid of all the spikes on the Boneshaper, as they’re too silly, big and unnecessary for my taste. I cut them oﬀ with my hobby knife and covered up the space this left with some brown stuﬀ. I also covered up the very “warhammer-y”, fancy pattern on middle part of his armor, with brown stuﬀ as well.

For the base, I started with a piece of XPS foam cut to the same size as the wooden plinth I knew I wanted to display it on. I superglued several pieces of bark on one side of the base, to elevate the area where my Mortisan Boneshaper, the focal point of the diorama, would be placed. I also mixed superglue with baking soda to create some textures here as well. Then I covered the bark and all the XPS foam with cheap, air-hardening modeling clay from DAS. At this point I also test-ﬁtted all my elements - the graves, the skeletons and some small branches that would eventually serve as streaks of energy (I didn’t know that yet at this point). And I pushed the base of the Mortisan Boneshaper into the clay before it had hardened to make sure it will ﬁt in the future (although I didn’t consider how much this kind of clay shrinks when it dries, so I eventually had to cut out more clay to make the base ﬁt).

The next step was to blend the graves and skeletons into the rest of the landscape. For this I found that Standard Milliput is perfect. It’s easy to work with and shape, it doesn’t stick as much as brown or green stuﬀ, and only requires a little water to blend it into the landscape.

My painting plan for this diorama and the miniature, was to work with contrast paints and enamel washes, something I don’t do often, so it would serve as practice. For this reason, I zenithal primed both diorama and miniature, and then covered them in contrast colours. On the diorama, to get a lot of variation in colour tones, I used ﬁve diﬀerent contrast colours, as I knew the later stage of drybrushing would bring them all together. I used warm colour tones for the rocks, landscape and skeletons - red, yellow, warm brown and green - while covering the gravestones in a colder blue colour (I like Citadel Contrast colour Gryph-Charger Grey a lot, as it is subtle, but gives a cold tint). Then I drybrushed everything with several lighter, neutral greys and browns.

I was happy with how varied in colour the landscape looked after this, but as I had already decided on Streaking Grime enamel as the wash for the whole project, because of a successful test on a General Grievous mini earlier, I went ahead and covered everything in the enamel wash, waited for 15 minutes and began the laborious process of cleaning oﬀ most of it with make-up removal brushes from DM that I’ve grown quite fond of (they don’t leave cotton hairs as Q-tips do) and paper towels. On the miniature I was pleased with the result, as the Streaking Grime dirtied down the very ﬂashy yellow colour on the dress, and gave an interesting worn feeling to the bones. Just as my Grievous test had showed me. But as I had never tested this technique on landscapes before, I made a miscalculation. In hindsight I would have left if without the wash, as the contrast colours had already added a nice contrast (duh?) to the diorama. Since the landscape had a lot of tiny textures, from the bark, superglue and baking soda, the enamel wash got stuck deep within the small crevices, and were impossible to get oﬀ. This left we with a darker, dirtier, less varied landscape than I wanted, and I took me a long time, and lots of boring steps I won’t get into here, to get some colour variation and interesting tones back into the diorama.

After highlighting the mini, the skeletons and the graves, it was time to tackle the energy streaks. What was ﬁrst supposed to be regular branches, I decided to give a strong colour, pretend that they were streaks of energy coming up from the ground all around the Boneshaper as he’s doing his necromancy thing. I had several reasons for deciding on this - 1. the ﬂashy, turquoise colour of the eﬀect would add some nice colour back into a very brown diorama, 2. I hoped the energy streaks would add some dynamism and movement to the diorama, as well as help tell the story better and 3. it would give me a chance to add some subtle OSL in the project. I took inspiration from this artwork I found of the Mortisan Boneshaper.

So I base coloured the energy streaks with white. Then covered them all in two layers of the Citadel Technical paint Nihilakh Oxide.

Next step was again a Citadel Contrast paint, as this was my go to for the entire project. The one called Aeldari Emerald has a very strong, dark turquoise tone, and only needs one layer to cover anything light enough. So I gave the streaks a coat of this, and then proceeded to drybrush Celestra Grey and Ulthuan Grey in several layers on the streaks, and also on the ground around the streaks. Then another coat of Aeldari Emerald, with a watered down mix used to cover the ground around the streaks for the OSL. Then more drysbrushing, then back to some Nihilakh Oxide to bring in some more midtone again, as the darkness of the Aeldari Emerald became my shadow color, the Ulthuan Grey the brightest highlight, and so the Nihilakh Oxide became the midtone. I repeated these steps until I was happy with the outcome, as well as adding a Spirit Host painted in the same scheme. This was originally just a test model for the colour scheme, but it eventually found its way into the diorama.

At this point I was quite happy with the diorama, but felt like something was missing. Some colour in the brown, dirt ground was still lacking, and since it’s a rather large diorama, I wanted to pack it with as much story as possible. I had recently bought some 3D printed spiders from Green Stuﬀ World, and had the idea to paint them quite colourful, as well as have them running towards the necromancer, solving both problems; they would give some more colour to the ground, and help sell the “story” that the Boneshaper is controlling so much energy in this necromancy ritual, that all the spiders in the area are attracted to him. I found a picture of diﬀerent spiders online, and decided on the one on the bottom line, second from left, as I thought the colour would complement the diorama nicely.

So after about a month of on-and-oﬀ work on the diorama, I had this result:

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	On June 27-29 we attended the Isle of Wonders convention held on the island of Cres. 

	

	

	

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Ili Said, 6th July 2026

We attended: 13. Trofeo San Giusto 2026.

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Marko Paunović, 6th July 2026

We attended: Zagreb Scale Model Show 2026

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	On June 6-7 we attended Zagreb Scale Model Show 2026. 

	

	It was held in Zagreb's Family Mall and we organized our Back to Basics Miniature Painting Workshops.

	

	

	

	

	

	

	

	

	

	As always we awarded the best of show prize as voted by our members. This time the prize went to Mr Tihomir Bregar.

	
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	6. i 7. lipnja nastupili smo na Zagreb Scale Model Showu 2026. 

	

	Ove godine održao se kroz dva dana u zagrebačkom Family Mallu. Tijekom oba dana održavali smo naše Back to Basics radionice bojanja minijatura.

	

	

	

	

	

	

	

	

	

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Mario Grgurev, 6th July 2026

Making of MUMMY dioramas

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I recently was approached by the Historical Museum of Oslo to make three miniature dioramas for their exhibition MUMMY - a display of ancient Egyptian artefacts and mummies. Their requirements were that each of the three dioramas would portray a part of the life of one of the mummies from the exhibition, Dismut, a temple guardian’s daughter. Her Life, her Death and her Afterlife. In addition, they gave the maximum size of the display. This left me a lot of freedom for interpretation and to make the dioramas in my own way and style. In this article I’ll take you through part of my process for developing the three concepts. For a more detailed breakdown of the steps it took to complete the dioramas, see the videos.

My first focus was on the miniatures required. I searched online 3D-file shops to see what was already available. I knew this would be one of my limitations as there was no time or budget to 3D design all objects and characters required for all three dioramas. I found a pack of ancient Egyptian field workers, and so the Life diorama was created with this pack in mind - a tranquil scene by the Nile River, with workers harvesting wheat as Dismut observes from a higher vantage point. This diorama was also an opportunity to include some of the animals featured in the exhibition, so I found a cat and a mouse STL (and later a crocodile as well). As Dismut is not a famous pharaoh, there were obviously no STLs available of her, so I commissioned two 3D sculpts of her, giving me the chance to have her in the exact positions I needed for Life and Afterlife. In Death she would only appear as a mummified figure, easily available online.

I wanted the diorama to read from left to right, as the three dioramas would be displayed one next to the other, so as well as reading the specific Life diorama from left to right, I also wanted the entire display of all three dioramas to lead from left to right. I decided that from left to right the dioramas would also go from light to dark, Life being the lightest in tone and colour and Afterlife the darkest, reflecting the dioramas’ subjects. I decided on the scale for the entire display, around 50mm for humans, as this would be small enough to fit all the elements I needed, but large enough to fill up the dioramas with the amount of elements I found as STL’s and save me some time on not having to paint too many tiny details. I adjusted all STL’s to this scale, and found some realistic wheat plants online at the correct scale as well. And so the concept sketch for the Life diorama came together.

I knew that the Death diorama would be a burial ritual underground. I found a STL pack of several of the objects found in Tutankhamun’s grave, a burial ritual STL pack with two workers carrying a mummy and an ancient Egyptian priest. This would give me the scene. As the dioramas were going to have to be made as cubes, closed on all sides with walls, except for the front, as opposed to the open dioramas on display bases that we are used to, a part of planning each scene was also figuring out how to make the two sides and back panel a natural part of the dioramas. In Life this was an impossible task as no outdoor area is a cube, but I decided on making each side a rocky cliff and hoping the illusion of the scene would make the unaturally geometrical shape of the landscape become less visible. For Death my solution was a roller with Egyptian hieroglyphs. With this I could fill out each wall with historically accurate symbols and this way create interest in the surroundings of the scene as well. And for Afterlife, as this is already a “supernatural” scene, the walls would be bricks, extending the typical art found in Egyptian tombs portraying the Egyptian afterlife of Duat, into a 3D space. Generally I found a lot of inspiration and direction for this entire project from ancient Egyptian art and wall paintings.

The Afterlife diorama would have to have an Osiris character, the Egyptian God of the Dead, overseeing Dismut’s journey to Duat. As all STLs I could find of him had warrior poses, I instead commissioned a seated Osiris figure, as well as the scale that would measure Dismut’s heart against a feather, and thus if she is worthy of the Afterlife. I found a STL of Thoth, taking notes, and thought it suitable for the God judging the dead - in this case Dismut.

After the concepts were approved by the museum, so started a several months long process of getting the MDF walls for the cubes, cutting, carving and gluing XPS foam at the correct angles, sizes and shapes, painting around 40 miniature characters and objects, with airbrush and brush, creating and painting the landscapes, pouring epoxy resin for the Nile River as well as many other smaller and larger tasks. Of the many ideas that came during the making of the dioramas (not reflected in the concept sketches), one that I think especially contributed to the overall look of the final display, was the fact that I decided that each diorama would have its own main colour. Yellow for Life, sun and desert, Red for Death, underground an earthy, and Blue for Afterlife, cold and melancholic. This would differentiate the dioramas from each other even when being viewed from a distance, as well as give a natural progression from warm to cold, another way to add contrast and make the dioramas read in my preferred direction, from left to right. This was achieved most obviously through the choice of oil colours used to shade the three dioramas. Apart from that, the acrylic paints chosen are the same for all three dioramas, giving a cohesion of colour as well as being based on the available pigments they would have had at the time in Ancient Egypt - mineral pigments like lapis lazuli, red and ochre, soot for black, copper compounds for blue and green and synthetic pigments like Egyptian blue.

The final result is displayed here and will also be on display at Oslo’s Historical Museum for the foreseeable future. If you visit the city, make sure to stop by and have a look at the final display.

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Nedavno me kontaktirao Povijesni muzej u Oslu da izradim tri minijaturne diorame za njihovu izložbu MUMIJA - prikaz drevnih egipatskih artefakata i mumija. Njihovi zahtjevi bili su da svaka od tri diorame prikazuje dio života jedne od mumija s izložbe, Dismut, kćeri čuvara hrama. Njezin život, smrt i zagrobni život. Osim toga, dali su maksimalnu veličinu prikaza. To mi je ostavilo puno slobode za interpretaciju i izradu diorama na moj vlastiti način i stil. U ovom članku provest ću vas kroz dio svog procesa razvoja triju koncepata. Za detaljniji pregled koraka potrebnih za dovršetak diorama pogledajte videozapise.

Moj prvi fokus bio je na potrebnim minijaturama. Pretražio sam online trgovine s 3D datotekama kako bih vidio što je već dostupno. Znao sam da će to biti jedno od mojih ograničenja jer nije bilo vremena ni proračuna za 3D dizajn svih predmeta i likova potrebnih za sve tri diorame. Pronašao sam skupinu drevnih egipatskih poljskih radnika, pa je diorama Život nastala imajući tu skupinu na umu - mirna scena uz rijeku Nil, s radnicima koji žanju pšenicu dok Dismut promatra s više točke. Ova diorama bila je i prilika za uključivanje nekih životinja predstavljenih na izložbi, pa sam pronašao mačku i miša u STL-u (a kasnije i krokodila). Budući da Dismut nije poznati faraon, očito nije bilo dostupnih STL-ova za nju, pa sam naručio dvije 3D skulpture, što mi je dalo priliku da je imam u točnim položajima koji su mi bili potrebni za Život i Zagrobni život. U Smrti bi se pojavila samo kao mumificirana figura, lako dostupna online.

Želio sam da se diorama čita slijeva nadesno, budući da bi se tri diorame prikazale jedna pored druge, pa sam, osim što se specifična diorama Života čita slijeva nadesno, također želio da cijeli prikaz sve tri diorame ide slijeva nadesno. Odlučio sam da će diorame slijeva nadesno ići od svijetlog prema tamnom, pri čemu će Život biti najsvjetliji po tonu i boji, a Zagrobni život najtamniji, odražavajući subjekte diorama. Odlučio sam se za mjerilo za cijeli prikaz, oko 50 mm za ljude, jer bi to bilo dovoljno malo da stanu svi potrebni elementi, ali dovoljno veliko da ispuni diorame količinom elemenata koje sam pronašao kao STL-ove i uštedi mi vrijeme jer ne bih morao slikati previše sitnih detalja. Prilagodio sam sve STL-ove ovom mjerilu i pronašao sam neke realistične biljke pšenice na internetu u ispravnom mjerilu. I tako je nastala konceptualna skica za dioramu Života.

Znao sam da će diorama Smrt biti pogrebni ritual pod zemljom. Pronašao sam STL paket nekoliko predmeta pronađenih u Tutankamonovoj grobnici, STL paket pogrebnog rituala s dva radnika koji nose mumiju i drevnim egipatskim svećenikom. To bi mi dalo scenu. Budući da su diorame morale biti izrađene kao kocke, zatvorene sa svih strana zidovima, osim sprijeda, za razliku od otvorenih diorama na izložbenim postoljima na koje smo navikli, dio planiranja svake scene bio je i smišljanje kako učiniti dvije strane i stražnju ploču prirodnim dijelom diorama. U filmu Život to je bio nemoguć zadatak jer nijedno vanjsko područje nije kocka, ali odlučio sam svaku stranu napraviti kao stjenovitu liticu i nadao se da će iluzija scene učiniti neprirodno geometrijski oblik krajolika manje vidljivim. Za Smrt moje rješenje bio je valjak s egipatskim hijeroglifima. S tim sam mogao ispuniti svaki zid povijesno točnim simbolima i na taj način stvoriti interes i za okolinu scene. A za Zagrobni život, budući da je ovo već „natprirodna“ scena, zidovi bi bili od cigli, proširujući tipičnu umjetnost pronađenu u egipatskim grobnicama koje prikazuju egipatski zagrobni život Duata u 3D prostor. Općenito sam pronašao mnogo inspiracije i smjernica za cijeli ovaj projekt u drevnoj egipatskoj umjetnosti i zidnim slikama.

Diorama zagrobnog života morala bi imati lik Ozirisa, egipatskog boga mrtvih, koji nadgleda Dismutovo putovanje u Duat. Budući da su svi STL-ovi koje sam mogao pronaći o njemu imali ratničke poze, umjesto toga sam naručio sjedeću figuru Ozirisa, kao i vagu koja bi mjerila Dismutovo srce u odnosu na pero, te time utvrdila je li dostojna zagrobnog života. Pronašao sam STL Thotha, bilježio i smatrao sam da je prikladan za Boga koji sudi mrtvima - u ovom slučaju Dismuta.

Nakon što je muzej odobrio koncepte, započeo je višemjesečni proces nabave MDF zidova za kocke, rezanja, rezbarenja i lijepljenja XPS pjene pod ispravnim kutovima, veličinama i oblicima, oslikavanja oko 40 minijaturnih likova i predmeta airbrushom i kistom, stvaranja i oslikavanja pejzaža, izlijevanja epoksidne smole za rijeku Nil, kao i mnogih drugih manjih i većih zadataka. Od mnogih ideja koje su se pojavile tijekom izrade diorama (koje nisu odražene u skicama koncepta), jedna za koju mislim da je posebno doprinijela ukupnom izgledu konačnog prikaza bila je činjenica da sam odlučio da će svaka diorama imati svoju glavnu boju. Žuta za život, sunce i pustinju, crvena za smrt, podzemlje i zemljanost, a plava za zagrobni život, hladnu i melankoličnu. To bi razlikovalo diorame jednu od druge čak i kada se gledaju iz daljine, kao i dalo prirodan prijelaz od toplog prema hladnom, još jedan način dodavanja kontrasta i da se diorame čitaju u mom željenom smjeru, slijeva nadesno. To je najočitije postignuto odabirom uljanih boja korištenih za sjenčanje triju diorama. Osim toga, akrilne boje odabrane su iste za sve tri diorame, što daje koheziju boja, a ujedno se temelji na dostupnim pigmentima koje su imali u to vrijeme u drevnom Egiptu - mineralni pigmenti poput lapis lazulija, crvene i oker boje, čađa za crnu, spojevi bakra za plavu i zelenu te sintetički pigmenti poput egipatske plave.

Konačni rezultat je ovdje izložen i bit će izložen u Povijesnom muzeju u Oslu u doglednoj budućnosti. Ako posjetite grad, svakako navratite i pogledajte konačni postav.

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Sebastian Søgård, 17th June 2026

Miniature Painting Workshop - 75mm Dwarf

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    string(40) "Miniature Painting Workshop - 75mm Dwarf"
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	On 09-10.05.2026. we held a new weekend miniature painting workshop. This time it was the turn of a dwarf in 75mm scale.

	

	




The workshop was held over two days (a whole weekend) and the participants painted a 75mm miniature dwarf. The focus of these lectures was painting various textures - metal, human skin, textiles and leather. Water-based acrylic paints were used in the workshop. For this purpose, the workshop leader, Ivan Knezović, chose a 75mm miniature dwarf from Durgin Paint Forge, sculpted by Carlos Perez Bugedo. The lectures were adapted so that the leader devotes equal time to all participants and can be adapted to all categories of miniaturists (from beginners to slightly more advanced).



	

	

	

	


The workshop took place as follows:

	First, the lecturer sits at his desk and explains and demonstrates each step in painting a miniature/model on his specimen. His work is displayed on a screen via a camera and projector, which the participants listen to, watch, and ask questions about.

	Then, the participants sit at their desks and apply the knowledge they have gained. The facilitator circulates among the participants and checks how each participant is doing. This way, he or she can adapt to each participant individually.




	

	

	

	The workshop will include the following thematic units:

	1. NMM (Non metallic metal)

2. Reflections of ambient colors on metal

3. Steel / gold

4. Face painting (male)

5. Adding vibrancy to the face (filters)

6. Extracting textures from fabric, metal and leather

	

	

	POWERED BY: Carta Magica, Fireball Figurines, Durgin Paint Forge, Playsupport
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	09-10.05.2026. smo održali novu vikend Radionicu bojanja minijatura. Ovoga puta na redu je bio patuljak u 75mm mjerilu.

	

	Radionica se provodila kroz dva dana (cijeli vikend) i polaznici su bojali 75mm minijaturu patuljka. Fokus ovih predavanja bilo je bojenje raznih tekstura – od metala, ljudske kože, tekstila i kože (leather). U sklopu radionice korištene su akrilne boje na bazi vode. U tu svrhu, voditelj radionice, Ivan Knezović, izabrao je 75 mm minijaturu patuljka tvrtke Durgin Paint Forge, koju je sculptao Carlos Perez Bugedo. Predavanja su prilagođena tako da voditelj posveti jednako vrijeme svim polaznicima i može se prilagoditi svim kategorijama minijaturista (od početnika do malo naprednijih).

	

	

	

	Radionica se odvijala na sljedeći način:

	Prvo, predavač sjedi za svojim stolom te objašnjava i demonstrira pojedini korak u bojanju minijature/makete na svojem primjerku. Njegov rad se preko kamere i projektora prikazuje na platnu što polaznici slušaju, gledaju, ali i postavljaju pitanja.

	Potom, polaznici sjedaju za svoje stolove i primjenjuju stečeno znanje. Voditelj kruži između polaznika i provjerava kako svakom polazniku ide. Na taj način, može se prilagoditi svakom polazniku ponaosob.

	

	

	

	Radionica će uključivati sljedeće tematske cjeline:

	1. NMM (Non metallic metal)

	2. Refleksije boja iz okoline na metalu

	3. Čelik / zlato

	4. Bojanje lica (muškog)

	5. Dodavanje živosti na lice (filteri)

	6. Izvlačenje tekstura tkanine, metala i kože (leather)

	

	

	POWERED BY: Carta Magica, Fireball Figurines, Durgin Paint Forge, Playsupport
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