Resin miniature based on the classic sculpt by Raúl García Latorre.
Painted him as a noble Celtic warrior from the La Tène period shirtless, red-haired, with an old scar across the eye and a worn bronze shield.
Tried to keep a raw Iron Age look rather than a fantasy style.
Hand painted in 54mm scale. Comments and historical feedback are welcome.
Resin miniature based on the classic sculpt by Raúl García Latorre.
Painted him as a noble Celtic warrior from the La Tène period shirtless, red-haired, with an old scar across the eye and a worn bronze shield.
Tried to keep a raw Iron Age look rather than a fantasy style.
Hand painted in 54mm scale. Comments and historical feedback are welcome.
Northern Italy, AD 171.
Three Roman legionaries pause in the square of a small Italian town while marching toward the Rhine–Danube frontier during the Marcomannic Wars of Emperor Marcus Aurelius.
Far from Rome, the northern borders of the Empire were under constant pressure from Germanic tribes crossing the Danube. Columns of troops moved endlessly through Italy on their way to the frontiers, passing through cities and provincial towns before entering the uncertain world beyond the Alps.
54 mm white metal miniatures, hand painted.
Finished my latest Napoleonic diorama. А French Mameluke cavalryman charging through Russian infantry during the Battle of Austerlitz.
75mm / 1:24 scale resin kit.
Painted with acrylics.
I tried to capture the movement and chaos of cavalry impact rather than a static pose.
C&C welcome!
Finished my latest Napoleonic diorama. А French Mameluke cavalryman charging through Russian infantry during the Battle of Austerlitz.
75mm / 1:24 scale resin kit.
Painted with acrylics.
I tried to capture the movement and chaos of cavalry impact rather than a static pose.
C&C welcome!
Grand Assassin Azrael the pale executioner.
Finished this 54mm (1/32) figure recently.
I sculpted the model in 3D, resin printed it and painted it myself.
Grand Assassin Azrael the pale executioner.
Finished this 54mm (1/32) figure recently.
I sculpted the model in 3D, resin printed it and painted it myself.
Finished a diorama inspired by Long Journey Home by Robert Griffing.
I tried to focus on capturing the atmosphere of the original painting the feeling of a long trip home, exhaustion after the journey, quiet water, and that sense of complete silence around the canoe.
The water turned out to be the hardest part of the whole project. I used epoxy resin, and it only came together properly on the third attempt. The first two tries looked either too artificial or too flat, so I ended up reworking the transparency, depth, and subtle ripples around the canoe.
My goal wasn’t to make an exact copy of the painting, but to recreate its mood in three dimensions the cold evening light, the calm river, and the feeling of finally returning home after a long journey.
Scale is 54mm / 1:32.
Comments and critique are always welcome 🙂
Finished a diorama inspired by Long Journey Home by Robert Griffing.
I tried to focus on capturing the atmosphere of the original painting the feeling of a long trip home, exhaustion after the journey, quiet water, and that sense of complete silence around the canoe.
The water turned out to be the hardest part of the whole project. I used epoxy resin, and it only came together properly on the third attempt. The first two tries looked either too artificial or too flat, so I ended up reworking the transparency, depth, and subtle ripples around the canoe.
My goal wasn’t to make an exact copy of the painting, but to recreate its mood in three dimensions the cold evening light, the calm river, and the feeling of finally returning home after a long journey.
Scale is 54mm / 1:32.
Comments and critique are always welcome 🙂
Painted a 75mm figure of an Ottoman Peyk elite imperial messengers of the Ottoman court.
The Peyks served as royal couriers for the Sultan, carrying official orders and sensitive messages across the empire. They were known for extraordinary endurance and speed, often traveling long distances on foot.
Beyond their role as messengers, Peyks also appeared in imperial ceremonies and processions. Their distinctive uniforms, decorated with symbolic elements and ornate headgear, reflected their status within the Ottoman palace hierarchy.
This figure represents one of the lesser-known but fascinating institutions of the Ottoman Empire.
I recently painted a 54mm figure of Caracalla and started reading more about him.
Caracalla (r. 198–217 CE) is often remembered as a brutal ruler most notably for murdering his brother Geta but his reign also included one of Rome’s biggest legal changes: the Constitutio Antoniniana (212 CE), which granted citizenship to nearly all free inhabitants of the empire.
He maintained strong support from the army by increasing soldiers’ pay and spent much of his time on campaign, inspired by Alexander the Great. He was ultimately assassinated in 217 CE.
Was he just a tyrant, or a reformer with a harsh approach?
I recently painted a 54mm figure of Caracalla and started reading more about him.
Caracalla (r. 198–217 CE) is often remembered as a brutal ruler most notably for murdering his brother Geta but his reign also included one of Rome’s biggest legal changes: the Constitutio Antoniniana (212 CE), which granted citizenship to nearly all free inhabitants of the empire.
He maintained strong support from the army by increasing soldiers’ pay and spent much of his time on campaign, inspired by Alexander the Great. He was ultimately assassinated in 217 CE.
Was he just a tyrant, or a reformer with a harsh approach?
Painted this 1/24 scale figure as Guillaume de Martel, a French knight from the mid-Hundred Years' War period. I aimed for historical accuracy by using his heraldic colors:
Yellow surcoat. House emblems hand-painted on the surcoat, horse cloth, and shield. A red banner with green trim, matching his visual identity
I tried to represent the proud and richly adorned French nobility of the 14th century. Open to feedback and discussion especially from fellow historical painters!
Painted this 1/24 scale figure as Guillaume de Martel, a French knight from the mid-Hundred Years' War period. I aimed for historical accuracy by using his heraldic colors:
Yellow surcoat. House emblems hand-painted on the surcoat, horse cloth, and shield. A red banner with green trim, matching his visual identity
I tried to represent the proud and richly adorned French nobility of the 14th century. Open to feedback and discussion especially from fellow historical painters!
Finally finished my winged Daemon Prince, but went specifically for a Daemon Prince of Slaanesh vibe. Tried to stay as close as possible to the official box art from the manufacturer, especially with the skin tones and overall contrast.
Really enjoyed working on the wings and pushing smoother blends there probably my favorite part of the model. Still feel like I can improve on some of the finer details, but overall happy with how it turned out.
Would love to hear any feedback or tips for next time!
Finished painting an Ottoman mounted archer.
I tried to reflect the classic steppe-influenced style of warfare that carried into the Ottoman period fast cavalry, composite bows, and shooting on the move. The pose is meant to capture that moment of a rider turning in the saddle to loose an arrow, something often associated with Turkic horse archers.
If anyone here is into Ottoman or steppe history, I’d love to hear your thoughts or suggestions on making it more historically accurate.
Finished painting an Ottoman mounted archer.
I tried to reflect the classic steppe-influenced style of warfare that carried into the Ottoman period fast cavalry, composite bows, and shooting on the move. The pose is meant to capture that moment of a rider turning in the saddle to loose an arrow, something often associated with Turkic horse archers.
If anyone here is into Ottoman or steppe history, I’d love to hear your thoughts or suggestions on making it more historically accurate.
Finished painting an Ottoman mounted archer.
I tried to reflect the classic steppe-influenced style of warfare that carried into the Ottoman period fast cavalry, composite bows, and shooting on the move. The pose is meant to capture that moment of a rider turning in the saddle to loose an arrow, something often associated with Turkic horse archers.
If anyone here is into Ottoman or steppe history, I’d love to hear your thoughts or suggestions on making it more historically accurate.
Just finished painting a miniature of Alexei Leonov the first human to walk in space.
On March 18, 1965, during the Voskhod 2 mission, Leonov performed the first-ever spacewalk. He exited the spacecraft through an inflatable airlock and spent about 12 minutes outside, connected only by a tether.
What’s wild is how close it came to disaster his suit inflated so much in the vacuum that he couldn’t fit back into the airlock. He had to manually release pressure from his suit (against protocol) just to squeeze back inside.
It’s one of those moments in space history that really shows how experimental everything still was at the time.
Anyway, thought I’d share since this piece is based on that exact moment.
Painted up a 54mm metal set depicting Spanish Legionnaires advancing during the Rif War (1920s).
These figures represent soldiers of the Spanish Legion, an elite unit formed in 1920 to fight in Spain’s North African territories. During the Rif War, they were deployed against Berber forces led by Abd el-Krim, who organized one of the most effective anti-colonial resistance movements of the time.
The scene captures a forward assault Legionnaires moving under fire in difficult terrain, something that became typical of the conflict. After early disasters like the Battle of Annual, units like the Legion were relied on for aggressive offensives and to stabilize the front.
I tried to reflect that harsh environment with dusty tones, sun-faded uniforms, and a sense of movement in the poses less parade, more survival.
Would love to hear thoughts or feedback.