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Shadows of Centralis: An inclusive new addition to the world of tabletop wargames

Shadows of Centralis is a addition to the world of tabletop wargames created by long-term SylCreate collaborator John Wombat

One of our regular collaborators has moved into the world of tabletop wargames. John Wombat recently launched Shadows of Centralis, an immersive strategy wargame offering players the opportunity to field a range of different armies.

Unlike many other wargames, Shadows of Centralis encourages players to build their armies using models from many manufacturers. This makes it an inclusive addition to the world of tabletop wargames.

Accompanying the game itself are many extra resources. The 400-page Shadows of Centralis A5 Book contains all the information needed for beginners and experienced wargamers to play. The game has a website which is frequently updated and there is a monthly magazine introducing new details and backstories.

Already, John has built the sort of community around his creation that the best tabletop wargames have to thrive. So, what next? There was only one way to find out – have a chat with the man himself.

Here, John Wombat discusses Shadows of Centralis, his own model and wargaming career, and where he sees his new game heading in the future.

Hi John. This seems like the obvious place to start. Can you give us a run through of Shadows of Centralis please?

Shadows of Centralis is a dynamic 28mm scale tabletop wargame which fuses aspects of fantasy, science fiction, and horror. The game uses D6 and D10’s (six-sided and ten-sided dice), while measurements are made in inches. The game can be played with as few as 20 to 30 models per side, through to large battles involving hundreds of models. 

Using the principal of ‘I go, you go’, Shadows of Centralis uses Rounds and Turns. Within each Round, each player takes a Turn as four stages are worked through in order: Movement, Hand-to-Hand Combat, Shooting and Magic. 

Players have a choice of 15 different armies to choose from, and the Shadows of Centralis book contains complete army lists for each. Detailing the setting of the game, providing background information on the world and its many races, army lists, and full gaming rules, the Shadows of Centralis Book contains everything players need to know in order to play a game.

What was the inspiration behind it? And what made you decide to create your own wargame?

Though my previous books have been music biographies, I have held a long standing interest and enthusiasm for all things model and wargaming related and have wanted to produce a wargame of my own for a long time.

Rather than creating a generic game that was simply played, packed away, and forgotten, I wanted to build something much more immersive… to offer players an experience which draws them in, transporting them into an alternative reality.

Inspiration comes in many forms and from many different places, from the works of authors such as H.P. Lovecraft and Michael Moorcock through to the rules and writings of Rick Priestley, as well as the musical and television worlds of The Cramps, Beast, Dark Shadows, and Hammer Horror.

Shadows of Centralis is more laid back than most tabletop wargames when it comes to building an army, with players encouraged to use any models they like. What was the thinking behind this?

Understandably, most model manufacturers who also produce rulesets only want to include and promote their own range of figures. An exception to this is Rick Priestley‘s wonderful Warlords of Erehwon; this demonstrated how a game can lend itself to a more inclusive approach with regards to the different models a player can use.

Personally, I have models from many different model manufacturers, both old and new, and seeing them assembled together to create strikingly unique looking forces is greatly rewarding.

Your rulebook lists several different model manufacturers, including our mutual friend The Goblin Master. How did you decide who to recommend?

Having been an active hobbyist and wargamer for many years, I have come across all manner of different models and respective manufacturers. Those listed within the Shadows of Centralis book are some of my favourites.

The companies featured include some of my favourite model sculptors – like The Goblin Master – and whose diverse range of miniatures work well for the unique forces included within Shadows of Centralis.

There is an accompanying monthly magazine. What can readers expect to find in that?

Shadows of Centralis Magazine is a monthly publication, made available as a free PDF download from the Shadows of Centralis website as well as an A5 paperback via Amazon.

This magazine provides extra gaming resources, background stories, new scenarios, and all the latest Shadows of Centralis news. It also features hobby articles, reviews, exclusive interviews with personalities from the miniatures and wargaming worlds.

(Editor’s shameless plug: Including SylCreate. We feature in the May edition. Don’t think our marketing man has ever been called a personality before, so thanks, John).

Basically, Shadows of Centralis Monthly Magazine is the essential companion for any players of the Shadows of Centralis game. Every month, you learn more and delve further into the fantasy world.

When making sculpts of your own, which putties and tools do you like to use?

SylCreate offer many great putties, though my ‘go to’ medium is Green Stuff. I do have experience of using other putties too, such as SylCreate’s Geomfix range. Meanwhile, thermoplastics are great for making quick and easy moulds, especially press-moulds.

Ruth Moreira, who assists in all my writings and is the official artist for Shadows of Centralis, has recently been using Super Sculpty. Though I have not been involved in any sculpting with Super Sculpty beyond the baking process, I have been very impressed with this sculpting medium and look forward to trying it out.

Working much like a paint brush, silicone-tipped colour shapers are my regular sculpting tools, along with dotting tools and a craft knife.

Where would you like to see Shadows of Centralis go? Will we see any more wargames from John Wombat in the future?

Shadows of Centralis is already a supported game system with extra gaming resources, backstories and detail regularly added to the website, as well as featuring in Shadows of Centralis Monthly Magazine.

We’re only just getting started though and there are many exciting Shadows of Centralis plans in the pipeline. There is a lot more to come, so watch this space!

Thanks to John for taking the time to talk to us. To discover more about the world of Shadow of Centralis, please visit The Shadow of Centralis Website.

Want to sculpt your own figures for use in tabletop wargames? Here are John Wombat’s favourite putties Green Stuff and Geomfix Original. They can also be purchased together along with Magic Sculp in the Modelling Putty Kit.

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Modelling in a heat wave: Tips for using epoxy putty in hot weather

Green Stuff and Magic Sculp are two epoxy modelling putties which can be challenging to use in a heat wave

Nobody here at SylCreate would claim to be a climate scientist or Greta Thurnbeg. But summer does seem to be getting warmer. And this can present challenges to scale model makers, sculptors and creators of table-top fantasy miniatures given the impact that heat and hot weather has on epoxy modelling putty and casting resins.

How can the summer weather, its speeding up of cure times and its tendency to mess with the properties of epoxy modelling putties be overcome? For hobbyists, the answer might be taking a break from their model making by swapping the workbench for a pub garden or beach until the temperature cools down.

For those who sculpt for a living, those options are less viable. Unfortunately, business and cannot just stop because the sun is out. That means that the leading model makers have to find ways to work around the heat. We asked Kevin Adams from Goblinmaster Ltd and Paul Wade of Red Zebras Models for their hints and tips for using epoxy modelling putty in the summer heat.

A damp sponge, an air cooler and a lighter touch with “maddening” Green Stuff

His goblins, orcs and other fantasy creations have taken on legendary status over the course of a near-40 year career. And yet even a man as talented as Kevin ‘The Goblin Master’ Adams describes using Green Stuff in the middle of a heatwave as “sometimes maddening”.

Green Stuff is formulated to be sticky. Its stickiness, malleability and penchant for holding the finest of details is what makes it so popular. It is an epoxy modelling putty which takes time to get used to and can be difficult to work with even in winter – so imagine what it is like in 30°C heat.

“Working with Green Stuff in high temperatures is something that has to be mastered,” says Kev. That starts the minute you take it out of the package and begin kneading the yellow and blue parts together, at which point it can already be sticky enough to want to adhere to everything it comes into contact with.

“Mixing Green Stuff without it coating thumb and fingers can be avoided by wetting them beforehand. I use a damp sponge from a blister pack, and dip my sculpting tools in as well to avoid the putty sticking to them. That is one thing I would definitely recommend.”

The recent hot weather has seen Kev undertake new measures to reduce the temperature at his work bench. “I have started using an air cooler on the side of the desk. It has a top tray which can contain ice water and I aim that at the putty I have mixed. It keeps it fresh, less sticky and prolongs the curing time.”

Even with Kev’s new cooling system, he still has to take a more delicate approach when using Green Stuff in summer. “It needs a much lighter touch than usual. Trying to roll it on my Formica desk is impossible, it just smears and won’t roll. The smallest parts are the most difficult. Rolling tiny balls for rivets and they just smear on fingers.”

“Perseverance is ultimately the name of the game. It is not impossible, just challenging. You spend longer working as you can only make smaller parts due to the faster curing.”

“In winter, I will make a dolly from copper wire and model the legs and upper body in one go as the putty is workable for two hours. In the summer, you struggle to even get the legs done due to the putty curing quickly.”

“I think it is a case of having to adapt to the heat to be honest. If I don’t make any models, then I don’t have any money. It’s as simple as that.”

Heat to overcome the heat for Magic Sculp

Magic Sculp is a much easier epoxy modelling putty than Green Stuff to shape, manipulate and work with in the heat of summer. It cures to a cold, hard feel like ceramic.

That makes it much less sticky. Sculptors wanting an ultra-smooth finish should be wetting the putty as they go, and Kev has already pointed out the benefits that can bring in hot temperatures.

The biggest impact that heat has on Magic Sculp is to speed up the curing time. Having spent many years living and working in the United Arab Emirates and Qatar, Paul Wade is no stranger to dealing with hot temperatures. Even a roasting British summer pales into comparison to the 49℃ he would regularly experience in the Middle East.

It was his time in that part of the world that inspired Paul to set up Red Zebra, a military scale model company which focusses on wars from the Middles East rather than more mainstream conflicts like World War II.

He also learnt whilst living in Doha a trick for extending the cure time of Magic Sculp. This may come as a little bit of a surprise, but Paul says the secret to overcoming heat is to use more heat.

“When I can feel my Magic Sculp getting slightly harder and beginning to cure before I have fully worked it, I heat it with a hairdryer for a few seconds. The small blast of artificial heat actually softens it, giving you an extra bit of working time. If you use a hairdryer on it for too long it will start to cure faster, though.”

Paul also uses casting resin to create copies of his masters. Like putties, resins will also cure quicker in a heatwave. His advice for casting and moulding in the summer? Start early!

“When it is really hot, it is not unknown for me to be out there at 5am in the morning casting. By the time it gets to 9am, I have to stop for the day. I used to keep polyurethane resin in a small fridge, thinking that it would help maintain the cure time. When that fridge gave up, I did not replace it and kept my resins at room temperature. I never really noticed any difference.”

Epoxy modelling putty in the fridge – effective or an old wives’ tale?

Ah, the infamous fridge question. One of the most frequent enquiries we get asked during the heat of summer is whether putting epoxy modelling putty in a fridge or freezer can make a difference.

Who better to ask than Kev and Paul whether storing Green Stuff and Magic Sculp between a cucumber and a bottle of mayonnaise is a worthwhile exercise or an old wives’ tale?

Neither seemed particularly enamoured by the idea. Paul responded with: “I wouldn’t resort to putting Magic Sculp in the fridge, no.” Kev meanwhile said: “Putting Green Stuff in a fridge is not worth the bother. By the time you have taken it out and moved it to your desk, it is going to have warmed up anyway.”

Kev though did have one piece of advice involving Green Stuff and a household appliance. “Occasionally, I get called by my partner for dinner when I am in the middle of a model. If I have not finished a bit of detail, I put it in the freezer and it keeps it in limbo for when I get back.”

“With really delicate detail, I will sometimes put Green Stuff in the freezer first. It means the putty is very stiff for the first five minutes, which is great for doing teeth and eyes.”

Milliput also advise that their putties can be put in a freezer should interruptions occur when working with them. The freezer will keep the products at the same cured state for up to 36 hours. When you are ready to resume work, remove the Milliput, warm it with hands, and it is ready to use again.

Green Stuff? Magic Sculp? Or both alongside Geomfix in our Modelling Putty Kit?

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Green Stuff Stick: Make more out of the world of Green Stuff Modelling Putty

Green Stuff Stick offers greater customisation of the properties of the leading fantasy miniature modelling putty in the world

Do you even live in the United Kingdom if you have not at some point been blighted by the dreaded phrase “supply issues” since the start of 2021? Whereas some see it as a disaster, we at SylCreate have been determined to make the most of the opportunities created by supply issues – by showing the world the benefits of Green Stuff Stick.

Supply issues have meant that we have struggled to get in the materials needed for our Kneadatite Green Stuff Duro Reel. As soon as we do have product on the shelf, its popularity means that within a month or two it has sold out again. The world seemingly loves a Green Stuff Reel more than it loves a Stick.

Which is a little odd because in many ways, the Stick is the format of Green Stuff putty which offers the most potential. By supplying the filler and the hardener as completely separate entities, greater control over the mixing process and the properties of the putty is possible.

The difference between Green Stuff Reel and Green Stuff Stick

The reason that the Reel is so popular is perhaps because of its simplicity to use. It comes in a pre-formatted 90cm strip. The yellow filler runs next to the blue hardener. When cutting off the amount of putty needed for the gap filling, sculpt or conversion that the user is working on, the Reel gives a perfect 50-50 mix.

Kneading the cut-off strip by hand will mix the yellow and blue parts together, turning the putty green. When it is streak-free and sticky to touch, then that is an indication of successful mixing and Green Stuff is ready to use. Bob’s your uncle, or the orc you are carving…

Using the Stick, it is possible to easily increase the amount of hardener to filler or vice-versa. If you wanted twice as much filler as hardener, you simply cut double from the yellow stick as you do from the blue stick. Adjusting the mix ratio impacts on the putty’s properties including stickiness, cure time and flexibility.

What happens when you adjust the mix ratio of Green Stuff?

Increasing the amount of blue hardener to yellow filler will – unsurprisingly – lead to a harder, faster curing putty. The more hardener you use, the faster the cure time. When building the bodies or bulk of larger sculpts, some model makers will use a mix ratio of three parts hardener to one part filler.

This results in a darker, stronger putty which will set more quickly than the four to five hours of a 50-50 mix. It is sacrificing the ability to carve more intricate detailing into a softer putty and a longer work time in exchange for a firmer base to a project which can be moved onto the next stage more quickly.

Green Stuff is known to be a difficult putty to get along with due to its stickiness. Even an expert in the world of Green Stuff like The Goblin Master Kevin Adams is known to mix and then leave the putty for up to an hour, so that it has already begun to cure and become less sticky before he begins carving his world-famous fantasy miniatures.

Using more hardener is a way to reduce the stickiness of Green Stuff. We often recommend that model makers who struggle with the putty try using more blue than yellow to see if that helps them get on with the material better – another example of the benefit of the Stick over the Reel.

More yellow, less blue

Going the other way and increasing the amount of yellow filler will create a lighter green putty. This stickier, softer putty is much more flexible for carving and holding fine details. You have probably guessed that it is also slower to cure, giving the user much more time in which to work with it.

Leading fantasy miniature creators will often mix as much as four parts filler to one part hardener when carving the most intricate of orcs, goblins and other characters requiring the greatest of details.

They overcome the extra-stickiness of the putty by using more water when handling it and heavy-duty lubricants such as olive oil, vaseline or petroleum jelly on their sculpting tools.

Green Stuff adheres to most materials including other cured putties and itself. This means that different mix ratios can be used in one project depending on the stage.

A giant sculpt could be formed from a putty using more hardener to increase its hardness and cure speed and then finished off with a softer mix carved with fine details added to the base afterwards.

Where to buy Green Stuff Stick

With Kneadatite Green Stuff Reel in short supply, we have subsequently been introducing our customers around the world to Green Stuff Stick.

Even those who were a little reluctant at first are beginning to see the upsides of having far greater control over the properties of the putty they are using.

And – whisper it quietly – for a limited time, we are including Green Stuff Stick in our Modelling Putty Kits at no extra cost compared to when the Kits contain a Reel.

Those who still have their doubts about the Stick can now experience it for effectively the same price as the Reel – whilst stocks last, obviously.

Which might not be long if we run out of the components that go into the Stick as well. Haven’t you heard? There are supply issues…

Purchase Green Stuff Stick today – or try it as part of the Modelling Putty Kit for a limited time…

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Is that a Superfast Wood Epoxy Putty Stick in your pocket or are you just pleased to see me?

Suoerfast Wood Stick is an epoxy putty used as a filler in repair and restoration applications

Got wood? It is a question that we get asked on a semi-frequent basis here at SylCreate, although never quite as bluntly as that. And in any case, what our customers are talking about is a wood epoxy putty for use as a filler, an adhesive, in model making and in restoration. Or at least we think that is what they mean…

And the answer to the question is yes, we do. Superfast Wood Epoxy Putty Stick is one of our more versatile putties, suitable for creative and repair applications. It looks like wood. It had a hardness and density similar to wood. And yet it is not actually wood.

What each 114g stick does have though is wood running through it. Cut off the required amount of putty from the stick, kneaded it by hand so that the resin and the hardener mix until they become a uniform beige colour and you then have 25 minutes to do what you wish with the putty. Shape it, mould it, form it.

After one hour, Superfast Wood Stick will cure. Once set, it can be tapped, drilled, sawed, filed, carved, sanded, painted and stained. It does not rot or shrink and as well as wood, it bonds to metals, glass, masonry and most plastics.

That covers the technical details. But what we are really here to do talk about is what you can do with a specialist wood epoxy putty – and why you would want one.

Wood epoxy as a sculpting putty

Whilst most applications involving wood epoxy will be filler repair and restoration, it can also be used a modelling or sculpting putty.

This is useful when the finished item requires a wood look or feel; you are creating something much closer to wood than by using a modelling epoxcy putty like Magic Sculp or Geomfix AB Original and then painting it to look wooden.

Small wooden-looking items can be carved and sculpted from Superfast Wood Stick, although you have to work quickly because of the relatively short cure time.

One of our clients created a set of chess pieces using Superfast Wood. Fantasy miniature enthusiasts combine it with Green Stuff to make wood-like creatures and accessories. The possibilities are extensive.

Wood epoxy for restoration

Wooden items and ornaments can become easily damaged over time. Pieces can chip or break off. Rot poses a real threat, especially to wood in exterior settings. When it comes to restoring and repairing wood, what you need is a material which is chemical, water AND rot resistant.

You can probably guess that Superfast Wood Stick is all of those things. That is what makes it such a popular putty with restorers working on items ranging from sculpture to furniture (we will have more on furniture in just a second).

Wood Stick can be moulded or shaped and then used to repair or restore missing or damaged parts. The fact it shares the same density as wood means it carves in a similar manner, allowing it to blend seamlessly with the item undergoing repair.

Wood epoxy for bonding

Ever had a favourite wooden chair which has fallen apart through overuse – or, in the case of your author, too much strain from Christmas weight gain?

Superfast Wood is the perfect material to bond broken wooden parts back together. It blends to the existing wood, unlike superglues or epoxy adhesives which may stain or leave a mark.

Not only is it often unnoticeable, but Superfast Wood also bonds with a range of other materials. Jewellery and craft makers looking for a way of bonding glass or ceramic to wood use Superfast as a friendlier way of doing so than other types of adhesive.

Wood epoxy for filler applications

One of the most common uses for a wood epoxy is as a gap filler. Wooden door or window frames which have become damaged by rot and are suffering from cracks and holes can be repaired by filling those gaps with Superfast Wood Stick.

Making an epoxy filler repair to wood is often the most cost-effective solution available. 95 percent of the wooden item or structure might be absolutely fine; why rip the whole thing out at considerable expense when you can fill in the damaged 5 percent?

Money is only part of the reason why making a wood filler repair is preferable. Superfast Wood Stick works in under one hour compared the drawn-out process of replacing entire wooden parts, which could simply have their damaged areas replaced.

Other filler epoxy putties

So, we have established that we do indeed have wood. But what of other epoxy repair putties? Say for example the item requiring restoration or repair is made from concrete or stone?

The good news is that Superfast Epoxy is available in seven different formulations other than wood – including Superfast Concrete Stick for concrete filler repair to statues, ornaments and, well, anything made of concrete.

You can browse the full Superfast Epoxy Putty range over on

Buy Superfast Wood Stick and other Epoxy Modelling & Restoration Putty today

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Christmas Decoration Repair: How the wise men at SylCreate saved Christmas

A priceless Christmas decoration undergoes repair using Sylmasta CAE1500 High Viscoisty Superglue

‘Twas the week before Christmas, when all through the house; Not a creature was stirring, not even a mouse… and yet, somehow a vintage, passed-down-through-the-generations Christmas decoration ended up in need of repair.

Not quite the version of the famous Clement Clarke Moore poem you were expecting, but the scenario it describes is probably familiar. If you do not have at least one Christmas decoration breakage every year, then you are in the minority.

Whether it be Jesus, Mary, Joseph, the wee donkey or one of the shepherds who ends up looking pretty sheepish when the cat snaps his head off, Christmas decorations are in need of frequent repair once they are hauled out of the loft every October. That is then you put yours up, right?

There are two reasons why decorations are so susceptible to damage. The first is that they spend months locked away in damp, dingy conditions. That is not good for them. One solution to this is obviously to leave them up all year round, but that might make you look a little weird… according to my partner anyway, who gave that response when I suggested it to her once.

The other reason that decorations break so frequently is because they are old, brittle, family heirlooms kept despite the fact they have clearly seen better days. There is something satisfying about putting the same angel on the top of tree that has adorned it for the past 30 years, even if said angel has yellowed to the point that it looks like Bart Simpson.

Nobody wants to throw away their baubles, their stars or the nativity scene in the window. Those same decorations are as big a part of the traditional Christmas as bucks fizz with breakfast and a punch up over a Scrabble abbreviation shortly after the Queen’s Speech.

Which is why when decorations break, it can be a disaster on a par with travelling 90 miles on a donkey to Bethlehem, only to find out that every hotel in town is booked up. This is the situation that one family in Sussex found themselves in (the decoration, not the donkey) when one of the Magi was accidentally snapped in half by an unknown party.

A three wise men Christmas decoration snapped in two before undergoing repair with a High Viscosity Superglue
The Baby Jesus was looking at a frankincense-less Christmas when one of the Magi was snapped in half

Christmas would not be Christmas without this chap from Egypt bearing frankincense. And so, the family journeyed to the door of SylCreate, desperately hoping that someone could repair their decoration in a modern-day Christmas miracle.

One of SylCreate’s wise men instantly got to work, opting to use Sylmasta CAE1500 High Viscosity Superglue for the repair. CAE1500 offers strong bonding between all materials, including ceramic, porcelain, plastic, metal, wood, paper and some fabrics.

It is that a good an adhesive that Joseph himself probably would have used it in his carpentry business, had cyanoacrylate superglue existed in Israel 2000-odd years ago.

The high viscosity of CAE1500 gives it a slightly longer bonding time of between 10 and 45 seconds on non-porous materials, depending on the material type. This is important in model making, restoration or DIY tasks, because if two parts being bonded are not attached correctly with an instant curing superglue, then it can be difficult to rectify the mistake before it sets.

CAE1500 was applied to the breakage point on the bottom half of the king. Superglue Activator was brushed onto the top half to accelerate the cure time, with our SylCreate wise man clearly confident in his glueing abilities.

Other instances where you might wish to speed up cure time include applications when significant volumes of glue are required, such as gap filling or bonding wide joints. Activator also prevents glues being absorbed by porous surfaces.

With CAE1500 spread on one half of the king and Activator on the other, the two pieces were then pushed back together. After holding them in place for around 10 seconds, excess glue squeezed out of the joints was wiped away.

The Magi had been perfectly healed, with no glue or crack lines visible. He was back on his feet, permanently repaired, and ready to deliver his gift to Baby Jesus once more.

SylCreate had saved Christmas.

Repair of a Christmas decoration made using Sylmasta CAE1500 High Viscosity Superglue
A perfect repair which saved Christmas

Need to undertake Christmas decoration repair of your own? Want to stock up on glue just in case of future Christmas emergencies? The Superglue & Activator Kit contains High Viscosity, Multipurpose and Penetrating Superglue, Activator and Ultra-Fine Nozzles to cover you for every kind of glueing task.

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Glaze china, pottery & ceramic like a PRO: How Coldglaze PRO 2 works

Coldglkaze PRO 2 system used to glaze a 1920s German beer glass made of ceramic

Coldglaze PRO 2 is one of the longest-serving products in the SylCreate range – and yet not many people outside of a specialist group of china, pottery and ceramic repair professionals know what the glaze is or what it does.

Until now. We are here to demystify Coldglaze and have recruited an expert in the art of using it to help us. Ian MacDonald is a restoration professional who has been using the Sylmasta Coldglaze PRO 2 System for years in his work and he has helpfully agreed to reveal the secrets to his trade.

But before we get to Ian’s restoration and glaze expertise, here is everything you need to know about the Coldglaze PRO 2 System for china, pottery and ceramic glaze and restoration.

What is Coldglaze PRO 2?

Used on its own, Coldglaze PRO 2 Gloss replaces the glaze effect on china, ceramic and pottery without requiring the use of heat. It has excellent non-yellowing characteristics, is water resistant and has high-strength surface adhesion.

Coldglaze can also be used to repaint patterns, either through mixing with pigments or oil colours. Various other products exist as part of the Coldglaze range for different finishes; Sylmasta Matting Agent S432 creates a matt finish when added to Coldglaze whilst CGW White Paste makes a high-quality, homogeneous white glaze.

Can anyone use Coldglaze PRO 2?

We recommend Coldglaze PRO 2 to professionals who have the necessary equipment and expertise to use the product. For example, when large quantities of glaze are mixed in industrial applications, then an extractor hood is needed – something which professionals have access to, but casual restorers may not.

That is not to say that beginners cannot use Coldglaze PRO 2. Small pottery and ceramic repairs are safe to carry out in a well-ventilated room and it is not too difficult to pick up the basics, providing you have the time and patience to master the art.

As with learning any new skill, it is best to practice before taking on the restoration of a priceless artefact so that you have the confidence and the knowledge to carry out a repair.

How to use Coldglaze PRO 2

Coldglaze PRO 2 is supplied in two parts with a mixing ratio of four parts resin to one part hardener by volume. Mixing takes place in a suitable, clean container, such as a small foil or glass dish.

The glaze is thoroughly mixed with a small stirrer. If the glaze needs to be thinned, then Sylmasta PT146 Thinners are added to the mix. Coldglaze PRO 2 can then be applied using either hand brush or airbrush with a pot life of up to eight hours under normal working conditions of 20℃.

If using a hand brush, we recommend a high-quality brush made from goat hair. To airbrush, add 20 percent by volume of thinners to obtain the necessary viscosity of glaze, which can then be applied to china, pottery or ceramic.

Adjustments to the airbrush mix can be made depending upon the desired finish. A wet film thickness of 50 – 60 microns will leave a dry film thickness of 25 microns.

At 20℃, Coldglaze PRO 2 has a surface dry of 10 to 15 minutes. A hard dry is achieved in 2 to 4 hours and full properties reached after seven days. Additional coats of Coldglaze must be applied either within 24 hours or after 90 hours.

The drying process can be sped up via force drying. A flash off period of 10 minutes should be allowed for the solvents to evaporate. Temperatures of 120℃ are recommended for 20 to 30 minutes when Coldglaze is used on ceramics and metal.

For plastic, particular care has to be taken to avoid deformation of the material. Typically, we recommend 60℃ for 2 to 3 hours.

Airbrush or hand brush?

When it comes to using Coldglaze to repaint, the experts at Lakeside Pottery have previously written about when is best to use airbrushing and when a hand brush is the more suitable option.

For general background colours and surface painting, they use an airbrush. It achieves a finer, translucent coating without any brush marks. The ultra-fine thickness blends seamlessly with areas that have not being restored or re-glazed.

Hand brushes are recommended when repainting highly detailed original patterns. To achieve the best finish, using a brush that is similar in type and stroke movement to that used when the original pattern was added is important.

If the restoration task involves repainting rather than merely glazing, then this is always the most time-consuming task. It is one that you will want to get right though as the success of the entire application can often hinge on it – so be sure to check out the Lakeside Pottery guide to painting and glazing repaired ceramic.

Improving the quality of a Coldglaze PRO 2 finish

Increasing the cure time of Coldglaze PRO 2 allows the glaze more time to flatten, giving a higher quality gloss finish to ceramic, china and pottery. A longer cure also improves adhesion of the glaze.

We recommend the use of Retarder for doing this. Retarder can also be used to reduce the overspray when airbrushing and reduce the cotton wool effect, particularly in warmer conditions. Retarder is added to PT146 Thinners at a ratio of 5 to 10 percent by volume.

Using Coldglaze PRO 2 with other glazes

Coldglaze PRO 2 can be used with other glazes, but we recommend using Barrier Coat before applying it to an existing glaze. This is to prevent a mixing of the two different glazes, which can have a detrimental impact on the item being restored.

Ian MacDonald’s restoration process

As promised, we spoke to one of our longest serving Coldglaze users to find out more about his restoration process. Ian was kind enough to take us through restoration from step one to step six, providing an invaluable insight for anyone wanting to restore or repair:

1) Start the process by establishing the extent of the damage and any previous repair work. It is also important to establish exactly what the client wants from the restoration.

2) Before the repair can begin, any previous repair materials need to be removed. These include glue, paint and muck. This is not always easy as, depending on the age of the piece, these materials might have been on the piece for 100 years.

3) Next, work out the order of reassembly of the pieces to avoid a potential lockout of the final piece. Assembling the item loosely using masking tape or similar can help to inform the process.

4) You can then decide the restoration method. Can the piece be glued all in one go using a clear epoxy adhesive? Or will it be better to reconstruct on a piece-by-piece basis with a setting period between each piece? This period can be anywhere between 20 minutes to an overnight cure, depending on the epoxy adhesive used.

5) Once the piece has been assembled, there may be minor gaps which need to be filled. This can be done with an epoxy putty like Milliput. In some cases, a new part may have to be fabricated using a mould from Godiva Wax or similar.

6) Finally, the piece is rubbed down and colour matched to the original. This is either done using acrylics or by mixing powdered pigments with Coldglaze PRO 2 which is applied via hand brush. A clear covering of Coldglaze either brush or spray applied is added to complete the restoration.

We would like to thank Ian MacDonald for his help with this article. Ian is available to carry out restorations of all kinds of items, and he can be contacted via email should you need an expert for your application.

The Coldglaze PRO 2 System

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Resin cast with plasticard: How to make customised scale model buildings

A model rail layout created by taking silicone moulds of customised sets built with plasticard which are then cast in resin

“When my children were young, I remember them playing with flat moulds which produced plaster casts of buildings. So I thought to myself, what if I used plasticard to create original components for scale model buildings, turned them into moulds and then cast them in resin?”

George Ridgway does a lot of casting and mould making, all of it as a hobby. 54mm British soldiers from the Napoleonic Wars? Check. 1/1200 waterline ships? Check. 1/72 military vehicles? Check.

He started out intrigued by the process and as time has passed, gradually became braver with what he attempts, leading to a pretty impressive portfolio of work.

Today, we are talking about his buildings. George is explaining how he came to combine plasticard and casting resin in the construction of scale model buildings in N gauge as part of a model railway layout.

“I had built many factories, houses and other buildings from plain plastic sheets, Slater’s Plastikard and similar embossed plasticard. What I really wanted to do though was produce original components to allow duplication and variations.”

Which is when George had his Paul on the road to Damascus moment, or in this case, George on the road to the SylCreate shop moment. If his children were able to use flat moulds to make plaster cast buildings, then he could use the same process with plasticard and resin for producing customised sets and copies.

“I start out by drawing designs of the buildings I want to create,” says George, explaining his method. “I then build the master components from plasticard and place these in shallow mould boxes made from further plasticard.”

“The boxes are as tight to the shape as possible, but with sufficient surround and depth so as not to waste moulding rubber and to retain a strong mould.”

George’s moulding rubber of choice is Sylmasta 380, our medium grade which offers good dimensional stability as well as a softness suitable for deep undercuts. His master moulds of his plasticard components are simple, flat, single moulds.

From these, George uses Polycast G26 to cast resin copies of the originals. “I keep the resin versions as shallow and fine as possible to avoid needing to trim flash, cut out windows or lose any detail.”

“The original components are designed with flanges and to the same dimension so that the walls of the buildings can be glued together using the products in the Sylmasta Superglue Kit. Designing quoins, buttresses and other supports helped.”

Once the structure of the buildings have been created, George adds details like drainpipes, window glass and chimney stacks from plastic rod, tubes or additional plasticard.

George is at pains to point out that he did not master the craft of creating scale model buildings from resin overnight. “The process took time and experimentation to get the original components accurate, the moulds to mature fully and the resin products to thoroughly harden.”

“Even now, sometimes my castings are too thick. I have learnt to be cautious when mixing the resin and filling the mould and that help creates well defined copies that require little trimming.”

“I am no great model painter and initially, I was concerned that the final finish may not have been as well defined as printed card buildings. That was not a problem though and the end products are less flimsy or vulnerable compared to plasticard.”

“Having more robust buildings is good, but the main benefit is of course that I can cast many different customised parts specifically designed for my layout. The mix and match of components allows a real range.”

Plasticard is not George’s only material for creating masters. He also hand builds from wood, plastic, metal and modelling clay. “I am getting braver about what I try now, thanks to finding Sylmasta moulding rubber and Polycast resin so easy to use.”

“I would say I am more of a modeller than a railway or military fan. No matter what the layout, I enjoy trying out my own methods – even when there are better proprietary products for sale.”

“With how many of us model makers there are and the fact that a lot of us like building our own layouts, I guess many of your SylCreate customers feel the same.”

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How to make and use a two-part silicone mould for resin casting

They say a picture is worth a thousand words, in which case how much is a video worth? Well, we are about to find out as we have dug deep into the SylCreate archives to find one of the first videos we made, explaining how to make a two-part silicone mould and use it for resin casting.

Our casting resins, moulding rubbers and all the accessories needed are some of the most popular sellers on SylCreate. Model makers use them to produce highly detailed copies of masters or modified parts.

Artists like our friends at The Pea Hive create jewellery, trinkets, ornaments and other items. Industrial users use the casting and moulding process to bypass the need to fabricate new machine parts, instead opting to copy existing ones.

It is actually an industrial application being carried out in the video we found, as one of our technicians creates a copy of a gear using Polycast G26 Polyurethane Casting Resin and Sylmasta 380 Silicone Moulding Rubber.

The process though remains the same, whether it is a piece of a machine being cast, a necklace, a statue of a dog, or a scale Roman amphitheatre. Watch the video below and read on to discover how easy making a two-part silicone mould and using it for resin casting can be…

Step One: The Mould Box

Firstly, you need to make a mould box which, unsurprisingly, is a box in which you will form your silicone rubber mould. No exciting titles here, I am afraid – it does exactly what it says on the tin.

In our video, the mould box is formed using plasticard, Sylmasta CAE1500 High Viscosity Superglue and plasticine. The item which the mould is to be taken of is measured to create a box of the perfect size. Create a box too large and you are wasting moulding rubber; create a box too small and, well, you can probably see the problem.

There are lots of ways to create a mould box other than with plasticard. Essentially, anything which can hold the liquid moulding rubber in place until it sets will do. When we have run out of plasticard stock before, we have even been known to recommend that customers use Lego to make their moulding box…

The item to be moulded is then pressed into the plasticine, with impressions made in the plasticine which will act as keys for the finished two-part mould.

Step Two: Making the Silicone Rubber Mould

To make the silicone mould, the moulding rubber is mixed with the catalyst and stirred until the liquid is streak free. Once mixing has been completed, the moulding rubber is poured into the mould box to create the first component of the two-part mould.

Each grade of Sylmasta Silicone Moulding Rubber has a different de-mould time. Once the specified time has passed, the plasticine is removed to reveal the other half of the item which now needs to have a mould taken.

To prevent the two parts of the mould sticking together as the second half is formed, the rubber inside the mould box is coated with release agent. Next comes one of the most important stages of making a two-part mould and one that a lot of people forget, believe it or not.

To get casting resin into a two-part mould, the rubber needs a couple of holes through which the resin can be injected. As our video shows, these can be made by using plasticine to attach a couple of bits of plastic to the item being moulded.

The rubber will form around the bits of plastic, which can then be removed once moulding is completed to leave two holes in the finished mould. Without these holes, there is no obvious way to inject the resin into mould, which is obviously going to cause a bit of a problem down the line.

Once the plastic sticks have been attached, more of the rubber is mixed and poured into the box to create the second half of the mould. When this part has been left for the specified time, both parts are removed from the box and are now ready to use as a two-part mould.

Step Three: Resin Casting with the Silicone Mould

Moulds made using Sylmasta Silicone Rubber are reusable. Remember the Roman amphitheatre we mentioned a little earlier? All the arches for that were made from one mould, which shows just how durable and long-last a Sylmasta mould can be.

When it comes to using casting resin, Part A and Part B are mixed in the prescribed ratios and then injected into the mould through one of those very important holes that were created during the mould making stage. Enough resin is in the mould once it surfaces from the second hole, after which the mould gets a shake and a little more resin is injected.

After the recommended curing time has passed, the mould is opened up and sitting inside will be a highly accurate copy of the master made from resin.

As with most things in life, the more practice and experience that a person gains when resin casting and creating silicone moulds, the better their work becomes.

Most of our beginners kick off with the Sylmasta Casting Kit which contains enough G26 Resin and 380 Silicone Moulding Rubber to get started, alongside all the accessories needed.

The Sylmasta Casting Kit XL contains five times as much G26 Resin and twice as much 380 Silicone Moulding Rubber whilst individual resins and rubbers can also be purchased separately in larger quantities.

If you would like to share your casting and moulding creations made with our products, then please email photos of your work alongside the SylCreate materials used and a description to

We love seeing them and would be particularly interested in seeing how any first-timers get on when following our newly-recovered instructional video. Happy mould making and happy casting!

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Epoxy modelling putty – Your guide to model making & sculpting putties

Selecting the right epoxy modelling putty from the large number available can be a difficult task with each model making putty having its own unique properties

Judging by our inbox, the world of epoxy modelling putty can be confusing. One of the most frequent enquiries we get is to explain the difference between the various model making and sculpting putties available and which one is most suitable for a specific application.

Green Stuff, Magic Sculp, Geomfix, Milliput… there are a lot of options. The rather unhelpful answer is that most of the time, choosing an epoxy modelling putty comes down to personal preference. Some will find the stickiness of Green Stuff easier to work with; others the smooth texture of Magic Sculp.

It is rather like pizza toppings. Everyone has their favourite and there really is no wrong or right answer…. even pineapple is acceptable. Before we end up talking too much about pizza and I end up going to Dominos for lunch, let us get back to the subject at hand – model making putty.

Whilst a lot depends on which putty you get along with best, there are some differences between epoxy modelling putties that you can take into consideration when deciding on your sculpting medium of choice.

Welcome to the SylCreate guide to selecting the right model making putty.

Green Stuff

Green Stuff is often the preferred epoxy putty of wargamers. It is flexible and gives a fine cut, making it ideal for adding intricate details to goblins, orcs, and other fantasy creatures.

For highly-detailed Warhammer, Dungeons & Dragons and other fantasy work, it is perfect. Some of the world’s leading model makers such as The Goblin Master Kevin Adams and Alan and Michael Perry of Perry Miniatures are Green Stuff devotees.

When working with Green Stuff, it is noticeable just how sticky the putty is. It can take some getting used to. This stickiness allows the cured putty to retain a degree of flexibility, enabling the user to bend it into shape without it breaking.

These elastic properties make Green Stuff popular with scale model enthusiasts and professionals as well as wargamers. Whilst scale model makers will use a firmer epoxy modelling putty like Magic Sculp for initial sculpting or conversions, more detailed items can be made with Green Stuff, bent and then glued onto the other cured putty.

Award-winning AFV modeller David Parker deploys this technique for adding detailed insignia and supporting accessories such as belts and hair to his tank crew.

Green Stuff comes in two formats; a reel and a stick. The reel is pre-formatted with the resin and the hardener combined. To use, you simply cut off the amount of putty required and mix it together until it turns green.

One downside of the reel format is it does not allow the user much control over the mixing ratio of Green Stuff. That is not the case with the stick, where the resin and the hardener are separate portions.

The recommended mix of Green Stuff is 50-50, but in more specialist applications there are advantages to be had from adjusting these quantities. Professional model makers will sometimes go as far as to use four or five parts yellow to one part of blue hardener.

Less hardener means a longer curing time than the standard of 90 minutes to 1 hour and a much lighter consistency of putty, allowing for more time to work with a material capable of holding even more detail.

For more guidance on using Green Stuff, then Kneadatite have written a handy guide on their website with everything you could ever want to know about using the putty.

Magic Sculp

Magic Sculp has a finer texture and a softer consistency than Green Stuff, making it easier to sculpt in larger projects.

It is much more clay-like and once cured, it can be sanded, carved, painted… you could even attack it with a grinding tool and it would not break or lose shape.

Whereas Green Stuff is used mainly by wargamers, Magic Sculp has multiple uses. It is popular in the scale model world for easily converting existing models, gap filling and sculpting new models and accessories.

Sculptors like it because of how easy it is to carve and the smooth finish it provides. They use it to repair and restore existing pieces as well as for creating new pieces.

In one of our favourite applications, it has even been combined with brick dust to create a coloured putty which seamlessly repaired a large hole in a brick wall.

Another reason Magic Sculp is popular for larger projects is its work time. At room temperature, it will not cure for two to three hours, offering much longer for model makers and sculptors to carve and shape the putty in larger projects.

Geomfix Original A+B Epoxy Modelling Putty

The best way to describe Geomfix Original A+B is as a cross between Green Stuff and Magic Sculp.

It can hold the finest of details like Green Stuff, allowing it to be used for intricate work. At the same time, it has a tough surface similar to Magic Sculp for building up bulk models and use in restoration work.

Geomfix’s secret is that it is ceramic filled. This allows it to set harder than most other epoxy modelling putties, giving it a ceramic feel which makes it perfect for restoring china and other materials.

The list of users of Geomfix Original is pretty extensive. Scale model makers, wargamers, arts and crafts enthusiasts, china restorers, doll repairers and jewellery designers all use it.

Away from our world of creativity, a super-strength, industrial version of the epoxy putty known as Sylmasta AB is used in maintenance and repair tasks.

If you are unsure whether Green Stuff or Magic Sculp are the epoxy modelling putty for you, then Geomfix is a versatile, happy-medium between the two.

It has a two hour work time which can be accelerated using heat, is available in bulk quantities for the biggest projects and comes in three colours – standard white, jet black and silver grey.

Geomfix Coloured Epoxy Modelling Putty

The colour options do not end there. Geomfix is also available in a further 25 colours which match Swarovski crystals.

Originally, Geomfix Coloured was manufactured as a jewellery epoxy putty but the concept quickly grew into other areas including antique restoration, large design projects, and creating seasonal items sich as Christmas crafts and decorations.

Geomfix Coloured is made-to-order on-site by SylCreate. As well as the standard 25 colours, our technicians can customise an epoxy modelling putty to a specific colour.

When Donald Trump was in the White House, we were even asked by one customer to produce a Trump-coloured epoxy putty. The result was surprisingly accurate – although we never did ask what the putty was for…


Millliput have been manufacturing epoxy modelling putties from their base in Wales since 1968, earning a deserved reputation as one of the best in the business.

All Milliput putties follow the same format – they come in two parts, 56.7gm of resin and 56.7gm of hardener. Mix the two together and off you go, whether your application is repairing a cracked toilet, fixing a leaking radiator, woodturning, or sculpting coal for a model railway.

There are six colours of Milliput available. Standard sets to a yellow-grey with the others doing exactly what they say on the tin: Silver-Grey, Superfine White, Black, Terracotta and Turquoise Blue.

Because Milliput is as much of a repair putty as it is a model making epoxy, it is not great at holding the finer details which most scale model or wargamers require when sculpting.

Where Milliput is good is in price – it is by far the cheapest epoxy putty around, making it a popular choice when it comes to packing out the body of large-scale models.

Surprisingly few model makers seem to know this, but you can mix modelling putties together to combine their properties. It is here where Milliput shows its worth.

For larger model making projects in which greater quantities of putty are required, Milliput can provide bulk in a more cost-effective manner.

Mix it with Green Stuff and you create a putty which can be used to build up a model and offers a degree of Green Stuff’s flexibility and ability to hold intricate details.

You can find out more about the benefits of mixing modelling putties in this article we wrote on the subject.

Superfast Wood Stick

Last but by no means least on our list is Superfast Wood Stick, an epoxy putty specially formulated for wood repair and restoration.

The putty is wood-filled and cures to the colour of wood, allowing it to be used as a damage filler. It repairs fences, furniture and wooden sculptures and the cured putty even floats.

Since bringing it into the SylCreate range, we have seen customers start to use it to carve brand new wood-like ornaments and creations.

Superfast Epoxy Putties do not stop with wood, either. There are specialist putties for the repair of other materials including concrete, which we have recommended to several customers carrying out restoration on stone materials.

If you have any projects completed using our modelling putties which you would like to share with us, then please email photos and a write-up to

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Scratch-building and resin casting with scale model master Dr Alex Clark

Alex Clark is one of the best 1/72 scale model makers around thanks to his talent for scratch-building parts from Magic Sculp and using casting resin to produce high-quality reproductions

Dr Alex Clark built his first scale model as a young boy in the 1970s and since then, he has become a master of the art of resin casting, mould making and scratch-building – with the awards to prove it.

He was conquered national competitions within the United Kingdom and international shows in the United States and Spain, including Euromilitaire, AMT Torrent, and the IPMS USA Nationals.

He has had three books published on the casting and scratch-building process and written articles for many magazines, including the first ever issue of the popular AFV Modeller, edited by another star of our Showcase Section, David Parker.

All model makers go through a journey, discovering what they enjoy and what they are good at after having a go at the many different spheres which make up the pastime.

Dr Clark is no different. He went from putting scale model kits together to scratch-building and resin casting his own parts and accessories to becoming one of the best at 1/72 scale AFV models there is. Oh, and he has a chemistry PHD too, hence the doctor.

“Back in the 1970s, I would build all sorts,” Dr Clark explains as he takes up his story. “Aircraft, armoured vehicles, ships, cars and more. Over the years, I gradually settled around armoured vehicles, mostly in smaller scales such as 1/72nd.”

As Dr Clark discovered his calling for 1/72 in his early twenties, he began to read up on the vehicles he was now recreating. What he discovered was a lot of the kits he was building were nothing like the full-size machines they reputed to be.

“As I delved more into research and the details of the real things, I became increasingly dissatisfied with the quality and accuracy of some of the available kits.”

“To this end, I started scratch-building my own details. Inevitably, I reached a point where I needed multiple copies of some parts, which is when I took my first step into the world of mould making and resin casting. Since then, I have never looked back.”

We often find when resin casting that the simpler you can keep the process, the better the result. Dr Clark’s ridiculously detailed work is evidence of that. “To this day I don’t have any specialist casting equipment, I make everything with simple one-part, open moulds,” he proudly says.

Dr Clark uses the most basic of resin casting and mould making materials and tools to recreate his scratch-built parts – and it was his mission to show other scale model makers that you do not need any expertise to start casting that led to him writing his three books for Osprey Publishing.

“My first two books dealt with building specific vehicles – Modelling the Tiger Tank in 1/72 Scale and Modelling the Panzer IV in 1/72 Scale. The third book, Small Scale Modelling Masterclass, has chapters devoted to scratch-building.”

“This also covered basic mould making and resin casting for beginners. Being an enthusiastic amateur, I wanted to show that any modeller can start casting themselves, just as I did.”

Small Scale Modelling Masterclass is a bible for beginners when it comes to everything to do with scale model building, taking readers through construction, painting, finishing and presentation.

In it, Dr Clark explains how he scratch-builds parts and then uses casting resin and moulding rubber to produce highly-detailed recreations which are good enough to wow at competitions across the globe.

A scale model T-54 tank engine made from separate parts cast in resin and assembled together
The two photos above show parts for a T-54 tank engine scratch-built by Dr Clark. He then cast the parts in resin and assembled them

“My favourite tools for scratch-building are Magic Sculp and a Swann-Morton scalpel with 10A blades,” Dr Clark says – without giving too much away from the book, obviously!

“Magic Sculp is the best type of modelling putty for making stowage, like tarps and rolled blankets. It rolls very easily into thin sheets without tearing and gives realistic and natural folds and creases.”

“A scalpel has been my preferred cutting tool for nearly 35 years. Swann-Morton with a number 10A blade is perfect for the small, intricate parts I create.”

When it comes to casting and mould making, Dr Clark has been using SylCreate’s resin casting kits for 15 years now in his scale model work. “Grade 380 Silicone Moulding Rubber has just the right degree of strength and flexibility for the small, detailed parts I make.”

“To partner this, Polycast G27 Resin cures in an ideal time. It is enough time to work it into the moulds, but then not too long as to hold up projects. I also like the sharp and crisp results it gives, they are perfect!”

“A humble cocktail stick is enough to work the resin carefully into the details and remove any air bubbles. Much can be achieved with this approach and I believe it is within the scope for any modeller to do the same if they wish.”

Transmissions for a 1/72 scale Tiger II tank made using casting resin
The transmission of a Tiger II tank. Dr Clark scratch-built the parts, test assembled them and cast them using G27 resin

Dr Clark’s attention to bubbles is clear throughout the casting process. Rather than dispense the Silicone Moulding Rubber straight into the mould box, Dr Clark coats each part in a layer of the liquid rubber first before slowly pouring the rest of the rubber in. This helps to eliminate air bubbles which can otherwise form.

It is the same story when it comes to the resin. Dr Clark describes getting the resin completely into the mould without any bubbles as “the biggest challenge of the whole process.” Again, he turns to a brush, painting the resin into the most detailed parts of the mould and jabbing it gently so that air bubbles rise to the surface.

The results are award-winning models and a loyal following. Dr Clark’s public Facebook profile is followed by thousands of people who like, love and share his regular updates of projects he has been working on.

If you like scale models, resin casting or are looking for inspiration for your next project, then give him a follow. It is always a thrill to see a master at work.

Dr Alex Clark’s three books on scale models are available to buy from Osprey Publishing.