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Green Stuff and Gallifrey: Making Doctor Who figure miniatures to travel through time and space

Doctor Who figure miniatures made from Green Stuffy Modelling Putty

For many fans, Doctor Who is more than a TV show – it is a universe which can be brought to life by sculpting figure miniatures of Time Lords, Daleks, Cybermen and Sea Devils using a mix of Green Stuff Modelling Putty and ingenuity. One model maker who has delved deep into Gallifrey and beyond to create his own unique collection of figurines and dioramas based on the Doctor’s adventures through time and space is Andrew Trenear-Harvey.

Regular readers of our SylCreate Showcase section may remember Andrew. We previously featured another of his projects, which involved using Green Stuff to recreate dinosaurs.

“I just love dinosaurs and any other long vanished animals,” said Andrew when we spoke to him about sculpting Triceratops and Velociraptor. “Apart from watching the birds in one’s garden, art and model making are really the only way we can see them as they once were.”

The beauty of sculpting dinosaurs is that it allows you to reflect changes in what we know about these fascinating creatures. Models can be adapted when new knowledge is gained; for example, the 2004 discovery in China of a tyrannosaur with fossilised feathers.

Scientists now believe every member of the tyrannosaur family had feathers, including the mighty Tyrannosaurus rex. Whilst the original 1993 Jurassic Park movie is never likely to undergo a reedit covering the Tyrannosaurus rex in feathers, Andrew can modify his existing models of the dinosaur or sculpt new ones to make them more accurate.

Fans of Doctor Who from William Hartnell to Ncuti Gatwa, Tom Baker to David Tennant, Sylvester McCoy to Jodie Whitaker can no doubt see how model making’s ability to adapt an existing figure might come in useful when dealing with an alien capable of regeneration.

Making Doctor Who – and enemy – figure miniatures from Green Stuff

Andrew uses Green Stuff on wire armature to create a master Doctor Who figure. These base figures can then be converted into whichever of Doctors 1 through 15 (plus the War Doctor, Fugitive Doctor, etc) Andrew feels like making at any given time. Not to mention whoever takes over the role once Ncuti Gatwa leaves…

Green Stuff is stickier than other putties, remains slightly malleable when set and holds really fine details. It is popular with war gamers for sculpting goblins and other intricate creatures. And it is also well-used by military modellers for tiny pieces of insignia and other conversions.

Every regeneration has its own quirks and details which need to be accurately captured to recreate the true essence of that Doctor. Which makes Green Stuff the perfect modelling putty for any Doctor Who miniature figure.

Doctor Who figure of First Doctor William Hartnell and companion K9 made from Green Stuff
Doctor Who figure of Second Doctor Patrick Troughton made from Green Stuff
Doctor Who figure of Third Doctor Jon Pertwee and companion Jo Grant made from Green Stuff
Doctor Who figure of Fourth Doctor Tom Baker and companion K9 made from Green Stuff
The First, Second, Third and Fourth Doctors – along with companions Jo Grant and K9 – sculpted using Green Stuff

Andrew has tackled Tom Baker with his distinctive hair and scarf, alongside companions Sarah Jane Smith and K9. William Hartnell and his hat. Patrick Troughton complete with handkerchief falling from pocket.

Jon Pertwee is Andrew’s favourite Doctor to sculpt. “Pertwee had such an interesting face. A gift to an artist or sculptor.” Alongside the Third Doctor, Andrew also made a figure of companion Jo Grant.

Included in Andrew’s collection is a Doctor fans will not recognise. A future regeneration, perhaps? Or a Doctor from the past forgotten by incarnations 1 to 15, as the Fugitive Doctor was before running into the Thirteenth Doctor? Who is it?

“I have used my own face as a sort of ‘any-old-Doctor’ on a couple of them, a middle-aged man in Victoria clothes,” explains Andrew. “More for the amusement of myself and my friends than anything else. Although I might use them for a comic strip down the line.”

The Doctor would be nothing without his enemies, of course. Andrew also makes Cybermen, Sea Devils, Kraals and Krynoids in 1/48th scale. One particularly challenging sculpt saw him recreate lichen, responsible for wiping out human colonists on a planet visited by the Seventh Doctor and Ace.

Doctor Who figure collection of Cybermen made from Green Stuff Modelling Putty
Andrew also sculpts classic Doctor Who enemies – including a planet covered with lichen which attacked the Seventh Doctor, Ace and the TARDIS

“I once saw an illustration of a Silurian riding a dinosaur in a Doctor Who book. One day, I would like to recreate that,” Andrew says. And no Doctor Who collection could be complete without the greatest foe of all…

Daleks, the time vortex… and ashtrays

Befitting the race whom the Doctor fought the Time War against, the Daleks get their own spaceship. Built out of card, Andrew included a string of white Christmas lights and puffed cigarette smoke inside before photographing the finished creation. The effect is chilling.

Some creative photography combined with fairy lights, a resin table and ashtrays helps Andrew create a chilling Dalek spaceship and the TARDIS travelling through the time vortex

Beyond figurines, Andrew experiments with creating time vortex backgrounds as the TARDIS flies from one planet and century to another.

“My friend has a table made of resins with different coloured dyes. I use it to take close up photograph with the TARDIS, which come out really well. Another trick is to use a coloured ashtray I have with oily translucence.”

The Doctor’s TARDIS

As for the most loyal companion of all to the Doctor, that is the TARDIS. Andrew has spent years making many Police Boxes to different scales, all based on original Mackenzie-Trench designs.

He has even adapted different versions of Police Boxes for different regions, including the distinctive Glasgow Police Boxes with their unique front panels.

These custom Police Boxes range from traditional model builds to inventive takes like a hollow, clear resin version lit from inside with an LED salvaged from a cigarette lighter.

Andrew has built an extensive collection of different Police Boxes

“I have thought several times of making a TARDIS kit which could be cast in resin, white metal or even cement on a larger scale,” reveals Andrew.

That would represent a new branch for Andrew’s model making beyond personal amusement and collaborative storytelling. What Andrew has done so far is show how far a little Green Stuff can take you in the world of Doctor Who.

If you would like more information about Green Stuff or any other SylCreate products, please email sales@sylmasta.com or phone us on +44 (0)1444 831 459 to speak to one of our technicians.

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ProCreate Putty is no more – so what alternatives are out there?

Green Stuff and Magic Sculp can provide an alternative to discontinued ProCreate Putty

The SylCreate inbox has been inundated with a steady stream of emails over recent months. “They stopped making ProCreate Putty… what can you recommend as an alternative?” The answer – like almost every question when it comes to model making and sculpting – lies in experimentation and personal preference.

Work it out for yourself is perhaps not the most helpful insinuation from the opening paragraph of an article professing to help the reader find an alternative to a much-loved-but-now-discontinued putty. But if you are still reading by this point, then stick with it. It gets better. I promise…

Because we cannot just recommend one alternative epoxy modelling material to ProCreate Putty. Anyone who has used different putties knows that each has different properties. This is what sets them apart from each other.

ProCreate was so popular because there was not anything else like it. If you enjoyed working with it and found it ideal for whatever miniatures, sculpts or custom figures you were creating, then it was the putty for you. In the same way Green Stuff, Brown Stuff and Magic Sculp all have their fans based on how those putties perform for them.

So, rather than tell you one or the other is the best alternative, we have compared four other epoxy modelling putties to ProCreate Putty. Listing the pros and cons. The similarities and differences.

Hopefully, this will be of some use in your search to fill the spot previously occupied by ProCreate on your workbench. A good starting point for the experimentation process needed to find the putty which works best for you.

Green Stuff

Having said we would not tell you which is the best alternative to ProCreate Putty… our own personal sales experience suggests it is Kneadatite Green Stuff.

Most feedback we have had from those customers making the switch is the modelling putty popular amongst war gamers is the best bet.

Green Stuff is stickier than most epoxy putties, including ProCreate. It remains slightly malleable when set and holds really fine details.

Hence its popularity with war gamers for sculpting goblins and other creatures. It is also well-used by military modellers creating tiny pieces of insignia and other conversions.

Pros of Green Stuff:

  • Known for its versatility in sculpting fine details.
  • Malleable when set.
  • Similar stickiness for those used to working with ProCreate

Cons of Green Stuff:

  • 90 minute to two-hour work time is slightly shorter compared to ProCreate.
  • It can be harder to smooth out initially but does firm up as it begins to cure.

Green Stuff is sold in two different formats. The 90cm reel comes with the resin and hardener side-by-side. To use, you simply cut the putty from the reel and mix by hand.

Similar to ProCreate is the Green Stuff Stick, featuring totally separate components of resin and hardener. This allows greater control over the mixing quantities.

By adjusting the ratio of hardener to filler, it is possible to change the stickiness and cure time of Green Stuff.

Green Stuff Reel (90cm)

Green Stuff Reel (90cm)

£14.21 inc. VAT
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Green Stuff Stick

Green Stuff Stick

£16.58 inc. VAT
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Magic Sculp

Magic Sculp is known for its smooth consistency and long working time. It is popular with scuptors and restorers for its ultra-smooth finish and non-cracking propertites – even when formed in large structures.

The somewhat creamy texture of Magic Sculp when mixed makes it easy to mould, shape and carve. It cures rock hard. It is supplied as a two-part epoxy modelling putty, requiring measuring out and mixing from separate components of resin and hardener.

Pros of Magic Sculp:

  • Cure time of up to three hours, ideal for larger projects.
  • Easy to use and allows for fine details.
  • Perfect for both sculpting and repairing models.

Cons of Magic Sculp:

  • Might require some experimentation to find the right consistency compared to ProCreate.
  • Much finer consistency than ProCreate.
Magic Sculp

Magic Sculp

£17.35 – £1,830.98 inc. VAT
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Geomfix Original

Sitting somewhere between Green Stuff and Magic Sculp is Geomfix Original. Geomfix is ceramic-filled, meaning it sets harder than any other epoxy putty on the market.

This enables intricate details like Green Stuff. At the same time, it can be formed and shaped in bulk for large-scale models and repairs, similar tp Magic Sculp. It bonds to all materials and can even be applied to wet surfaces or underwater.

The versatility of Geomfix makes it popular with a range of customers. Model makers, war gamers, sculptors and restorers all use Geomfix. It is suitable for major DIY and renovation tasks, including brick repair.

Geomfix has even been used in the restoration of a 19th century cast iron pit wheel at a corn mill in Herefordshire, United Kingdom. Imagine using ProCreate for something like that!

Pros:

  • Sets ultra-smooth and rock hard, enabling it to preserve extremely fine details.
  • Excellent adhesion to many materials including wood, metal, stone, ceramic, plastic and wet surfaces.
  • Very durable once cured, making it ideal for outdoor use.
  • Sold in cost-effective quantities up to 50kg for large-scale projects.

Cons:

  • Slower work time than ProCreate, setting in two hours.
  • Has a more putty-like texture compared to the clay-like feel of ProCreate.

Geomfix comes as either a two-part epoxy putty or in a pre-formatted stick. The two-part version is packaged the same as Magic Sculp, with separate components of resin and hardener which require measuring out both mixing.

A Geomfix Stick has resin on the outside and hardener in the middle in an exact 50-50 ratio. Instead of measuring out from Part A and Part B, you simply cut the required amount of putty from the stick and mix it by hand.

Geomfix Original A+B Epoxy Modelling Putty

Geomfix Original A+B Epoxy Modelling Putty

£12.01 – £481.88 inc. VAT
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Geomfix Original Epoxy Modelling Putty Stick

Geomfix Original Epoxy Modelling Putty Stick

£15.76 – £266.80 inc. VAT
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Milliput

Milliput is one of the most well-known epoxy putties on the market and a reliable alternative to ProCreate. It comes in a variety of formulations and colours, meaning there is a Milliput for almost every possible application.

Superfine White is the closest alternative in the Milliput range to ProCreate Putty. It offers a smooth, clay-like finish which is ideal for delicate sculpting.

Other variations include Milliput Metallic, which cures to look like a shiny metal. Turquoise-Blue is popular with wood turners. Terracotta, sets to a copper colour for the repair and sculpting of pots and other outdoor items.

Milliput is supplied like Green Stuff Stick as separate sticks of resin and hardener. It is sold in 113g packs and comes with an extended work time of three to four hours.

Pros:

  • Highly durable for use in outdoor repairs.
  • Accepts paints well, making it ideal for detailed finishing work.
  • Can be mixed to a variety of consistencies, from soft to firm.

Cons:

  • More liable to cracking than other putties.
  • Four hour work time can seem at times too long.
Milliput Superfine White

Milliput Superfine White

£6.23 inc. VAT
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Milliput Metallic

Milliput Metallic

£5.70 inc. VAT
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Mixing Epoxy Modelling Putties

There is one more alternative to ProCreate Putty, should none of the above end up floating your boat. (Incidentally, Geomfix has been used to refloat a sunken dock before. Don’t ask me how. The science went straight over my head).

Mixing modelling putties together creates a unique putty with customised properties. Say you are working on a fantasy figure which required the detailing Green Stuff provides, as well as the stiffness of Magic Sculp.

Add Green Stuff and Magic Sculp together during the mixing process and Bob’s your uncle. When it comes to a ProCreate alternative, get the mix right and you may find yourself making a much closer match to our fallen friend than any standalone epoxy putty on the market.

Again, it all comes down to experimentation. Just like we said at the start. And if experimentation is the road you end up going down, do let us know how you get on and what you find.

If you would like more information on any of the epoxy modelling putties we sell at SylCreate, please email sales@sylmasta.com or phone us on +44 (0)1444 831 459 to speak to one of our technicians.

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Antique alabaster repair, panic at the auction house and Hxtal NYL-1 saving the day

Broken Antique alabaster sculpture having undergone repair using Hxtal NYL-1 Epoxy Adhesive after being accidentally smashed

Picture the scene. You work in an auction house. An item is on the move when disaster strikes. A trip, a stumble, an accidental drop. Suddenly, you are faced with the prospect of a broken, smashed antique alabaster sculpture needing repair. The panic and guilt is very real… until Hxtal NYL-1 comes along and saves the day.

Jane Chambless Wright is no stranger to repairing broken antiques and ornaments. An eclectic career has taken her from children’s book illustrator in her native New York to living in a restored stone schoolhouse in County Leitrim, from where she repairs items on behalf of several auction houses in northwest Ireland.

“I get a lot of weird, broken things,” says Jane. “I specialise in the ‘Whoops!’, the ‘Uh-Oh!’, and the ‘I don’t even know what this thing is SUPPOSED to look like!’… it all ends up on my table eventually.”

“I clean and restore antique oil paintings and their frames. Victorian taxidermy shows up fairly often. Antique clocks, furniture, and ephemera – old prints and advertising display items. It’s all interesting, and I love bringing things back to usefulness and beauty.”

Jane’s journey to restorer began when the illustration scene was changed forever by the arrival of computer-based art programmes. As a result, she moved into the picture frame industry and a second career working with many high-profile clients, including art collectors, museums and art galleries.

“I managed a couple of factories filled with incredible crafts people – gilders, carvers, woodworkers – who gave me some of the best years of my life,” explains Jane. Then came the biggest change of all.

In 2015, Jane and her husband bought their current home in Ireland online without ever seeing it in person. They sold everything they owned, jumped on a plane and moved over 3,000 miles to the other side of the Atlantic.

“A wild ride,” is how Jane describes it. It did not take long for her restoration skills to impress on the Emerald Isle; all Jane’s commissions come via word-of-mouth, as she has no website promoting her work. After all, you cannot showcase repairing items nobody is meant to know are broken.

“My value is in doing repairs and restoration which are pretty much undetectable – things look as though they’ve been sitting quietly in an attic, just waiting to be discovered. The truth is, I’m often handed a bucket-of-bits and have to figure out what the thing was supposed to look like in the first place!”

One such bucket-of-bits Jane was handed contained a sackful of arms, legs and other body parts from an antique alabaster sculpture. The figure and its base were not joined together. As one of the lads at the auction house went to pick it up by the base, the statue went flying.

Disaster… the broken antique alabaster sculpture Jane was presented with after the figure was accidentally smashed into pieces

The smashed antique statue presented Jane with a new challenge – alabaster repair. Alabaster is a soft, fine-grained marble-like variety of gypsum. Its softness enables it to be carved readily into elaborate forms, making it a popular material for sculpture and interior ornamental stonework.

Colour-wise, alabaster is either white or a high, translucent gloss. It can be polished to achieve translucency, after which the surface looks deceptively hard and glass-like. As the unfortunate lad at the auction house found it, it is anything but hard.

The properties of alabaster make it difficult to repair, as Jane explains when discussing the smashed antique sculpture the auction house had subsequently scooped into a sack and delivered to her door.

“Alabaster is transparent, soft, and the statue had been broken into so many different pieces. The transparency and number of bond lines meant a clear resin was required. It couldn’t turn yellow or be globby, like epoxy. So, I did a little research and found SylCreate.”

Or to be more specific, Jane found Hxtal NYL-1. Used by professional curators and restorers around the world, Hxtal NYL-1 is a crystal clear epoxy adhesive with exceptional non-yellowing qualities used mainly for the bonding and repair of ceramic and glass.

The 72 hour initial cure of Hxtal NYL-1 allows time for pieces being bonded back together to be adjusted and fitted seamlessly. The British Museum famously used Hxtal NYL-1 to restore the broken Portland Vase after 144 years, earning the epoxy a deserved reputation as the world’s best antique restoration adhesive.

One 60g bottle of Hxtal NYL-1 was sent from SylCreate HQ in West Sussex to Jane in County Leitrim. It was now down to her to work her magic, repair the antique alabaster sculpture and return it to the auction house.

Antique alabaster sculpture after repair with Hxtal NYL-1
Hxtal NYL-1 seamlessly repaired the sculpture, before it was returned to the auction house to go under the hammer

“Adhesives are critical; they can’t look new or out of place. It all must look original and unaltered,” explains Jane. “This was the first time I had ever used a resin-based adhesive. Hxtal was the perfect choice as the transparency of the alabaster was maintained and the seams of the breaks joined perfectly.”

“Both of the figure’s hands had been missing for many years. He will have to go without them for the next few as well, there wasn’t much I could do about that.”

“I did take the opportunity to fix the problem which caused the smash in the first piece, adhering the base and the figure together to prevent any future ‘Oops!‘ moments. Hopefully, the poor auction lad felt a bit better when he saw the repair. It really wasn’t his fault.”

“The piece will be sold with full disclosure that it has been professionally repaired – and I hope that it can be enjoyed by whoever gets to bring it home.”

Jane might not have a website – but she does have an email address. You can contact her here to discuss any restoration projects or potential commissions.

If you would like more information on Hxtal NYL-1 or any other SylCreate products, please email sales@sylmasta.com or phone us on +44 (0)1444 831 459 to speak to one of our technicians.

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Epoxy and the gnome: Geomfix Original used in the restoration of family heirloom gnome

Geomfix Original Epoxy Modelling Putty used in the restoration of a 90-year-old garden gnome

Weddings. Births. Lost loved ones. House moves. The fella standing 810mm and weighing six stone had seen it all in his near 100-years as part of the family. His age though meant he was now past his best and that left two sisters asking themselves a difficult question… how to carry out a gnome restoration?

Having contacted the popular BBC programme The Repair Shop twice but receiving no reply, Penny Turner began carrying out her own research. Her older sister had asked her to restore the concrete gnome, which had fallen into serious disrepair. That led Penny to the door of SylCreate via the discovery of Geomfix Original Epoxy Modelling Putty.

“I originally looked into restoring him with concrete,” says Penny as she takes up the story. “But I quickly found out concrete would possibly crack when drying and so would need to be constantly sprayed with water.”

“After trawling the internet, I came across Geomfix. Being a smooth, hard wearing epoxy putty which would not set too fast meaning I could take more time moulding it as I worked, it seemed ideal. I contacted SylCreate and asked for some advice.”

This is always the most fun part of our job here at SylCreate. Not only do we get to help formulate repair plans, but we also find out the reason why an item is being restored. And nine times out of 10, the story behind it is fascinating.

Penny’s gnome restoration was no different. The gnome had been bought by her grandparents at some point in the 1930s when they moved south to Essex. He soon had a central part of family life.

How central? Well, he appears in the wedding photo of Penny’s aunt. Penny’s cousins remember him fondly. When her grandparents passed away, the gnome was transferred into the care of Penny’s father.

The gnome had been in the family since the 1930s, witnessing numerous milestones and even popping up in the odd photo

The gnome was painted regularly by Penny’s father, ensuring he remained in tip-top condition. When the family moved to Suffolk, there was no question that the gnome was going with them.

His next destination was to Penny’s sister’s after their parents sadly passed away. Here, the gnome became somewhat damaged. The passage of time began to take its toll, and he also fell foul of an accidental clattering with a spade by Penny’s niece.

The biggest problem besetting the gnome, however, was concrete cancer. Concrete cancer occurs when steel reinforcements inside of concrete start to corrode. This causes the steel to expand, cracking the surrounding concrete and causing lumps to fall away and disintegrate.

A steel armature inside the gnome had resulted in him losing huge chunks of his legs through concrete cancer, exposing the metal frame inside. He was also missing extremities like fingers and thumbs, where concrete had again crumbled off the frame.

Time had not been kind to the gnome, with his legs in particular badly impacted by concrete cancer

There were other chips and damages across his body and much of the paintwork had flaked away. By the time the family decided to carry out a restoration, it was easy to understand why they felt they needed the help of The Repair Shop to bring the gnome back to life.

But with no help forthcoming, it fell to the skill and patience of Penny, 2kg of Geomfix Original and many hours of work carried out from her home in Wiltshire (another move for the gnome) to complete the restoration – starting with the preparation and running through to a new lick of paint.

“All the old paint had to be painstakingly removed along with any loose bits and dust. My father probably used lead-based paint, so I was careful to wear a mask whilst doing the preparation.”

Geomfix Original offers a high-strength bond to most materials, including concrete, metal, plastics, glass, stone, wood, ceramic, jewellery and fabric. It is this versatility which makes it so popular. To improve the putty’s adhesion to the concrete gnome, Penny sanded him down further to finish the preparation stage.

She then used Geomfix Original to rebuild the areas of damage caused by concrete cancer, starting with his legs. Part A and Part B were mixed together in equal measures, then moulded and shaped to replace the chunks of missing concrete.

Geomfix Original Epoxy Modelling Putty used in the restoration of a gnome
Geomfix Original rebuilt all the areas of concrete which had crumbled away, filled gaps and cracks and was moulded to create replacement fingers and toes

Because Geomfix Original is ceramic-filled and so hard-wearing, it offers excellent chemical and corrosion resistance. It is also waterproof. Not only was it rebuilding the gnome, but it was protecting it.

Applying it around the metal armature would prevent moisture coming into contact with the steel, reduce the chances of the metalwork becoming corroded, and significantly lessen the likelihood of future concrete cancer.

Once the legs were repaired, it was onto the rest of the damage across the body. For this, Penny received some technical help from our team. “The advice to add water to thin the putty was very helpful as it made it easier to smooth it into thinner cracks.” Lastly, Penny shaped and moulded Geomfix into new fingers and thumbs to replace the missing parts.

After successfully rebuilding the gnome using Geomfix, the final stage of the restoration was to repaint him. Cured Geomfix can be filed, sanded, drilled, tapped, screwed and directly painted onto – although in this instance Penny opted to use primer.

The full restoration of the gnome completed using Geomfix Original Epoxy Modelling Putty
White primer was used on top of the epoxy putty before the gnome was given a new coat of paint in keeping with how he originally looked

“I used a quick drying white primer and undercoat. Then a mixture of gloss and satin in the colours which my local hardware store had. The only enamel paint I used was grey for his beard. I wanted to reflect his fine old age.”

The result is a gnome unrecognisable from the tired, weathered and broken fella who Penny first started work on. “I have had a great time doing the project and the family and myself are pleased with him.”

“Due to his uniqueness and his sentimental value, he now resides by my patio doors, looking out into the garden.” There should be many more weddings and births yet for the gnome thanks to Geomfix Original Epoxy Putty.

If you have a repair or restoration project you would like SylCreate to advise on, please email sales@sylmasta.com or phone us on +44 (0)1444 831 459 to speak to one of our technicians.

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Green Stuff brings the dinosaurs and other long-vanished animals back to life… as models

Antrodemus part of a series of dinosaur models sculpted in 1:48 scale using Green Stuff

“Art and model making are really the only way those of us living in the present day might see dinosaurs and other long vanished animals as they were.” Those are the words of Andrew Trenear-Harvey, whose love of extinct creatures and desire to understand them has led to him creating a series of dinosaur models using Green Stuff.

Andrew is an artist and model maker from Cornwall and talking to him is rather fascinating. He spends hours sculpting and creating purely for his own enjoyment.

His model making does not really extend beyond that, although he does discuss with a friend down his local pub the most important matters of the day… namely, Airfix and how best to convert an existing figure into Tom Baker’s version of Doctor Who.

Today though, we are talking dinosaurs: “The animals are for nothing other than my own pleasure. I just love dinosaurs and any other long vanished animals,” says Andrew. “Apart from watching the birds in one’s garden, art and model making are really the only way we can see them as they once were.”

And our knowledge of what these magnificent creatures were is changing all the time. Something which model making and art can reflect better than most mediums; dinosaur models can be adapted and modified for accurate representations which update our impressions.

1/48th scale Antrodemus sculpted using wire armature and Green Stuff. Andrew then paints his models… but only when has decent paintbrushes

Take the famous Tyrannosaurus rex, for example. When you picture T. rex in your mind, do you imagine it with feathers? Because you should. T. rex is part of the tyrannosaur family and in 2004, another member was discovered in China.

Dilong paradoxus was the first tyrannosaur to be found with fossilised feathers. Subsequent studies and further discoveries over the past two decades mean scientists now believe that all tyrannosaurs came with feathers, including the T. rex.

A one-year-old T. rex would have been the size of a goose and covered in feathers. Not many of this apex predator made it beyond that age; they were small enough to be eaten by other carnivorous dinosaurs.

Those who did survive grew quickly, piling on 100 pounds a month or more whilst losing some of its plumage. But even by the time T. rex reached its 20s and was fully grown into a 9 ton beast, it would still have patches of feathers.

Head of Triceratops sculpted in 1/48th scale using Green Stuff as part of a dinosaur models project
Triceratops in 1/48th scale. Andrew uses flattened lumps of putty to pepper the body, creating a scale effect

How about Velociraptor? Most people think of ‘raptors as a human-sized, lighting quick predator, thanks mainly to the way it is portrayed in the Jurassic Park franchise and the torment it causes Sam Neill and his Hollywood co-stars in the 1993 original film.

In reality, Velociraptor was barely half a metre high. Like Tyrannosaurus, it was also covered in feathers – something not discovered until 2007, 14 years after Steven Spielberg’s Oscar-winning epic brought Velociraptor into the hearts and nightmares of modern-day humanity.

Whereas Spielberg cannot go back and change the original Jurassic Park movie to reflect what we now know about T. rex and Velociraptor, Andrew is constantly creating new models so that his dinosaurs are as accurate as possible up to current knowledge.

Ichthyostega, one of the earliest four-limbed vertebrates ever expertly recreated with Green Stuff

He studies closely Palaeontological papers, looks at pictures of fossils and reads up on a great deal of anatomical detail to get the animals just right. This desire for accuracy extends to his 1/48th scale human figures, including the aforementioned Tom Baker and other incarnations of Doctor Who.

“I do not really like the ‘heroic’ scales, with all the disproportionate heads and hands,” says Andrew. “I think it was John Blance of Citadel Miniatures who once wrote that an ordinary person shrunk down to the size of an inch would be a rather boring thing to look at.”

“Therefore, it was up to the artist or model maker to make things more exaggerated to add interest. He was right, but as I am only trying to please myself, I feel there is more of a challenge in getting things right anatomically. For me, one simply must get things right, and keep challenging one’s skills.”

“An Allosaurus I recently sculpted should be bang on with current knowledge. I worked the face out from a science paper that was published a couple of years ago. I still have it somewhere. Somebody did a superb illustration to show how the animal would have looked, and I have tried to be faithful to that.”

Allosaurus dinosaur models in 1/48th scale sculpted from Green Stuff
Andrew studied a science paper before sculpting this 1/48th scale Allosaurus

Andrew has even received help from experts in the field with his models, sketches and paintings: “I have a big oil painting of Stegosaurus awaiting its colours at present. I work in the old way which oils were first used for; black, burnt umber and white under painting, then colours in thin layers.”

“I contacted a palaeontologist some time ago and sent her some of my sketches of Stegosaurus. She said I was almost right, except the neck needed to be longer, but they hadn’t known that until recent new findings. That was encouraging.”

Through his dinosaur models, Andrew is producing a visual record of how our knowledge regarding the animals grows and develops. His most recent Stegosaurus might (nearly) have the seal of approval from an expert, but older efforts reflect the image we once had of one of the more well-known dinosaurs.

“Some of the model Stegosaurus I have made are of the ‘old school’ tail dragger type. These are based on the all the old paintings and illustrations of people like Zdenek Burain. I love his work.”

Stegosaurus dinosaur models sculpted from Green Stuff
Stegosaurus and for some idea of the size of the creature… Stegosaurus and William Hartnell’s Doctor Who

“They have never found a tail drag mark from Stegosaurus among the fossil footprints that cover the world, but as you know, that is how the scientists of yore thought the animals looked.”

The way we think each dinosaur looked might change with surprising frequency, but Andrew’s technique for making his models always remains the same. It combines a familiar approach of Green Stuff and wire armature with some special tricks he has developed to capture the uniqueness of these creatures who ruled the world for 165 million years.

“The bodies of my dinosaur models are all made with wire armature and Green Stuff. For Deinonychus, I fully sculpted it as a skeleton first, then muscles and so on until the feathered skin. Most of the work is lost under all that skin though.”

Deinonychus dinosaur models sculpted from Green Stuff
The feathery skin of Deinonychus required a significant amount of detailing

“There is a lot of sculpting involved. Diplodocus even in 1/48th scale is 22 inches long. It is made from Super Sculpey Polymer Clay, Milliput and Green Stuff, over a wire armature and a lump of foil to bulk out the fat belly.”

“I have made my own small tools for rendering scaly skin using flattened lumps of either Green Stuff or Milliput and peppering the surface with small holes. When pushed into soft modelling putty, they create a satisfying scaly texture. Diplodocus had poppy seeds in its skin too.”

Once sculpted, Andrew then paints his dinosaur models to stunning effect… but only when he has a suitable set of brushes. “We have very few art shops in my area of West Cornwall and I am very fussy about good quality brushes!”

“The one art shop we do have is a good 25 miles away and I rarely ever get the chance to go there. It is only ever open for a short space of time, on very few days as the the proprietor is getting on in years.”

Where Andrew is willing to deviate from his dedication to accuracy is by occasionally introducing people alongside his dinosaur models. Humans as we know them today were yet to walk the Earth when the dinosaurs were wiped out by an asteroid striking the Yucatan Peninsula in what is now Mexico some 66 million years ago.

Even in 1/48th scale, Diplodocus is 22 inches long and dwarves a human female

But Andrew will occasionally include 1:48 scale people he has sculpted alongside his dinosaurs for two reasons. The first is to give some idea of the sheer size of these animals. Whilst everyone knows Diplodocus was big, it is only when it is totally dwarfing a woman that you realise just how big.

The other reason for including people harks back to Andrew’s love of old movies starring dinosaurs, long before Spielberg defined what the modern-day blockbuster should look like.

“Inspired by the old monster films of cave men and dinosaurs having fights, I have often thought of warriors riding them and battling with each other and so on. The make for fine fantasy models and good artwork”

These warriors come from Andrew’s modular figures, made again from Green Stuff and wire armature. He sculpts both males and females and modifies the base as and when required, building characters to suit the project at hand.

“Doing the figures this way means I can spin off as many different characters as I wish. I just modify them, glue them together and dress them in whatever is required.”

“You can use the figures for any period in time or space, if you know what I mean.” Ah yes, another Doctor Who reference. “I once saw an illustration of a Silurian riding a dinosaur. I thought, one day, I could take that to another level.”

Watch this space.

If you would like more information about Green Stuff or any other SylCreate products, please email sales@sylmasta.com or phone us on +44 (0)1444 831 459 to speak to one of our technicians.

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The Magic to Sculpt: Your guide to making the most of Magic Sculp Epoxy Putty

Magic Sculp Epoxy Putty is used to sculpt, repair and create models

Whether you call it Magic Sculp, Magic Sculpt or any other name starting with A, B, C or D, the one thing that most model makers, sculptors and restorers will agree on is this – that Magic Sculp(t) is a pretty magic epoxy modelling putty.

Our sales figures here at SylCreate tell us as much, with it being one of the most popular products we sell. It is also used in some of the most fascinating and widest ranging examples of work; from modifying existing military figures to creating maquettes to sculpting busts of Captain Maintaining from Dad’s Army.

And that is before we even mention all the uses it has in repair. It fixes chipped and damaged statues and other forms of ceramic. It fills cracks. It resists temperatures to 150°C, so it is suitable for exterior use unless you happen to live on the surface of the planet Mercury. Mixing Magic Sculp with brick dust will even create a putty which seamlessly fills damage to brickwork and stone.

What makes Magic Sculp so popular is the ease with which it can be kneaded by hand, used to sculpt and then cures to a ceramic-like material at room temperature without the need for heat.

The basics are straightforward enough, and yet to help you really make the most of Magic Sculp, we decided to put together this how-to guide which answers some of the most frequently asked questions about the product.

How to mix Magic Sculp

Magic Sculp is supplied as two separate components. The lighter grey is the resin, the darker grey the hardener. When the two are mixed together, a chemical reaction takes place which will slowly turn the soft putty into a rock hard material which can can only be removed by chipping it away.

The recommended mix ratio is 50-50 by volume. Break off equal sized balls of resin and hardener and knead them by hand until they turn a uniform grey colour with no streaks. The putty is then ready to be shaped, moulded and applied as required over the next two or so hours before it cures and becomes unworkable.

Changing the mix ratio of Magic Sculp

Changing the mix ratio of Magic Sculp will reconfigure the properties of the putty. Using more hardener will reduce the cure speed from the standard two hours, also leading the set putty to have higher brittleness.

Conversely, more resin will extend the setting time. This is useful if you are using large quantities of putty and are concerned that it may begin curing before you have had time to work with it.

Colouring Magic Sculp

It is possible to colour Magic Sculp by adding epoxy resin pigments before mixing takes place. Pigments should be in powder form; paints or solutions can impact heavily on the chemical behaviour of the putty, whereas powders are less likely to do so.

We always recommend testing Magic Sculp with your chosen pigments before committing to their use in a full-scale project as some will work better than others. Mix up a small amount of Magic Sculp and leave it to cure for 24 hours to assess what impact there is on the cured material.

Magic Sculp coloured with brick dust creates a seamless repair to a damaged wall

Another option for colouring Magic Sculp is to paint the cured putty. Paint adhesion is improved by using a primer, but it is not necessarily – most paints will take straight to the hardened material.

Alternatively, we manufacture Geomfix Colour Epoxy Modelling Putty. Geomfix is a two-part putty with similar properties to Magic Sculp, available in 23 different colours based around Swarovski crystals and used mainly to sculpt and create jewellery. Pre-coloured epoxy putty removes the risk that adding pigments will not work.

Materials Magic Sculp will adhere to

Magic Sculp will adhere to a metal, glass, stone, wood, ceramic, jewellery, fabric and many more materials. Newly mixed putty will also adhere to already cured Magic Sculp, meaning you can return to projects after long gaps between work. If the cured material is especially smooth, sand the surface first to improve adhesion.

Maquettes blocked out with polystyrene and covered in Magic Sculp by sculptor Martin Bushell

The same preparation process is needed when using Magic Sculp with some plastics, like polysterol or stryrene. One alternative to sanding when working with plastics is to apply a thin layer of plastic cement or PVC glue and bond the putty to this instead. Magic Sculp will not adhere to a painted surface. Paint can be removed using sandpaper or by drilling capture holes into larger surfaces.

Creating intricate detail with Magic Sculp

Magic Sculp is ideal for creating tiny pieces with highly intricate details. Paul Wade owns Red Zebra, a company specialising in military models from Middle East conflicts. His smallest sculpt to date using Magic Sculp involved a series of 2mm two hooks for the modification of a wrecker truck.

Tiny hooks sculpted from Magic Sculp by Paul Wade of Red Zebra Models

It can also be rolled to near paper thinness and will still set hard. Multi-award winning military modeller Dr Alex Clark uses Magic Sculp to scratch build military stowage, like tarpaulins and rolled blankets, where such characteristics are vital.

“It rolls very easily into thin sheets without tearing and gives realistic and natural folds and creases,” says Dr Clark. Red Zebra Paul adds: “Magic Sculp isn’t too sticky and even has a bit of a waxy feel. It can be rolled into very thin sections, especially if left to cure for a short while, so that it’s a bit firmer.”

Filling cracks in porcelain and ceramic using Magic Sculp

Because of the cured material’s similarities to ceramic, Magic Sculp is ideal for repairing cracked and broken objects. It can be thinned with a little water and made to penetrate cracks, where it will cure for a seamless repair.

Using a wetted finger or sculpting tool helps create an ultra-smooth finish. David Parker writes in his best-selling book David Parker’s Crew School: “Magic Sculp has a soft consistency with just the right amount of resistance.”

David Parker recreates a famous image from the Adrennes advance

“It can be smoothed and worked by adding a touch of water to the surface. This needs to be very controlled or you can turn it to sludge quite easily but dipping a rubber tipped shaper into water will create a lovely smooth finish to your work.”

Making moulds with Magic Sculp

Magic Sculp can be used to create simple moulds or imprints. Whilst the epoxy is soft, pushing the item into the putty will create an impression of the details which will be maintained as it cures.

Using talc or a mould release agent prevents the Magic Sculp from sticking to the master too much. Talc or mould release agent can also be used to create a two-part mould using Magic Sculp.

The toughness of Magic Sculp

The most important question of all involving Magic Sculp more often than not involves how tough it is, especially amongst restorers and sculpturs making repairs or creating a sculpt which needs to be long-lasting.

And the way we always tend to answer it is by explaining the problems users will have if they want to reverse Magic Sculp. If the putty is not fully cured, it can be dissolved using warm water and soap or isopropanol, depending on how far along the curing process is.

Magic Sculp used to sculpt a scale model of Captain Mainwairing
Magic Sculp used to sculpt a scale model of Gonville Bromhead
The sculpting process of Y Bros Sculpts used to form Captain Mainwairing and Gonville Bromhead

Once Magic Sculp has set, the only way to remove it is to chip away as if working with stone, or use a grinding motor toll. That is how tough it is and why it is is such a popular medium.

One of the only ways Magic Sculp can broken down is by UV rays. Over time, UV impacts polymer resins of the type Magic Sculp consists of. This can be overcome by painting the cured material. Paint offers protection agains UV, enabling the Magic Sculp to last, well, forever barring an unforeseen circumstances.

In terms of general outdoor use, the temperature resistance of Magic Sculp means it will not be harmed by exposure to average temperatures. Frost makes all materials brittle, so if sculpting for outdoor used it is advised to keep enough cross-section in parts.

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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.

Kevin Adams manages to make detailed models from Green Stuff Epoxy Modelling Putty even in the heat of summer

“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.

Stowage used in a country where there is extreme heat from a scale model set sculpted with an epoxy modelling putty

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.”

A soldier in a sleeping bag outside to avoid the heat sculped from Magic Sculp Epoxy Modelling Putty

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.

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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.

  • Last march of the ents from the world of Lord of the Rings sculped from Green Stuff by Spikey Entertainment
Adam from Spikey Entertainment with some D&D and Lord of the Rings creations from Green Stuff Modelling Putty

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.

  • Goblin Band sculpted by Kevin Adams shows the potential from the world of Green Stuff Modelling Putty
The Goblin Master Kevin Adams is one of the best Green Stuff sculptors in the world

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 Sylmasta.com.

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