Bramble

Bramble is one of the first Supreme Genesis characters that we have gained capacity to create through running Kickstarter campaigns for Pulp City. She was also a mini I was very much looking forward to tackling as a change of pace from a lot of recent stuff I have finished, especially in terms of colour palette. It has also meant my painting this month has been exclusively for my own Pulp City collection and it has been a long while since I last did that.

I went for a super-simple colour scheme featuring browns and greens for obvious reasons. Once I had laid down base colours I was unable to paint for a couple of weeks, which maybe helped me when it came to finishing her off as I was able to do the main work quite quickly in the end, maybe with fresh eyes.

In game terms Bramble is an Infiltrator affiliated with Settler's Green, and is also a Freelancer. That makes Dead Eye and Dark Solar ideal Leader options for her Team. Her Actions give ranged threat as well as some board control, and I think she will offer some interesting options and surprises for players as they get to grips with her. Hopefully we will be able to add more Supremes to Settler's Green before too long.

Bramble
Hero/Villain, Infiltrator, Level 1, Nature
30 mm

Acorn

18 months after Father Oak first appeared in Pulp City the Heartwood tree called to him once more. Following the voice again the great tree yielded up to him a small child. This was Acorn the daughter of Father Oak and the tree, or so he claims.

This has been the longest time I have taken on my a single mini in my self-imposed challenge from start to finish (thus far). I started Acorn at the same time as I started Father Oak. But whereas I really got into painting Father Oak, every time I picked up Acorn, I would tickle the mini with a dab of paint using the hairy stick, but just couldn't get around to doing a great deal. I don't think it is a bad model, it just hasn't engaged me and I found it awkward to paint in places.

The colour scheme was intended to complement that used with Father Oak (particularly the wood parts, the greenery, the green medallions, the tunics). I will try to photograph both together soon.

In game terms Father Oak and Acorn are very much intended to work together; Acorn can be fragile but can offer some destructive capability in her own way.

The mini was sculpted by Sergio Alonso Leon, who also crafted Father Oak.

Father Oak

I really love this mini. I say 'mini', but that seems an incongruous description - the model is big! That said, it was harder to paint (and photograph) than I originally expected. The Father Oak sculpt is by Sergio Alonso Leon.

Father Oak is a quite literal force of nature, with no particular allegiance (he is a Hero/Villain in Pulp City terms). The model is excellent, and a superb take on a treeman. The concept was half of a winning entry into a contest run by Pulp Monsters (the people behind Pulp City).

Generally with big models that have large(er) surfaces that are not simply flat, I think they tend to be more manageable for painting. What I found with Father Oak was that I had to try to refine certain skills that I have relied on for years. I am not the world's greatest painter, but I like to think my technique is 'adequate bordering on effective' (ie you can 'tell what it is'), but I honestly found Father Oak to be more of a challenge than expected.

Not due to size, but instead due to the textures that are represented (bark, vines and robes), as well as the pallette to use. Trees are rarely just brown as such, even though we often think of them that way, which makes painting a tree or even treeman in a satisfying way something that is worth thinking about. I don't know if I am fully satisfied by the end result, but what I did was use grey as a highlight before using brown washes.