Privateer Insider

Wow! Lock & Load GameFest 2012 is only a week away! Needless to say, Privateer Press HQ is busy preparing for the single largest convergence of Privateer Press fans ever. Everyone here works very hard to make Lock & Load a success, and the show’s growth from last year is a testament to that work paying off.


In only a couple of months, WARMACHINE: Colossals will be unleashed upon the world! To celebrate the release of this awesome new addition to the WARMACHINE arsenal, we’ve created a special piece of organized play for everyone to enjoy.


In previous blogs, I’ve talked about how we go from sketch to final design, but I recently realized that I’ve never talked about how we actually build those designs. So, I thought today I’d introduce my three best Photoshop-pals—layers, masks, and styles—and show you how they helped bring the WARMACHINE: Colossals logo to life.


Most of you know me as the editorial expert here at Privateer Press, the person who loves to hunt down comma splices, put dangling modifiers in their place, and eviscerate rambling text to get to the good stuff. I won’t deny it—there’s a reason my forum avatar carries a scythe—but that’s actually only one part of my day. One of the other things I get to do is work with the staff writers to shape and develop the text, whatever its purpose or setting. What an adventure it can be!


Western Immoren is a big place, big enough that we’ve set three games there: WARMACHINE, HORDES, and the Iron Kingdoms Full Metal Fantasy Role Playing Game. In a world so vast, complex, and detailed, each of our games needs to tell a variety of stories, and the new RPG is no different.


One of the perks of designing assets for games like Heap is getting to be a part of playtesting. Playing the game and watching how people hold and play their cards had a big influence on how we ended up with our final layout.


Now that Heap has been officially announced and previewed, I’m excited to take the opportunity to talk about it in the Insider blog.


Once we decide to make a new video and what message that video is meant to communicate, it’s my job to create a plan, gather the necessary materials, and then assemble them into a finished production.


For this week’s blog, I thought I’d do another design walkthrough and show you how we bodged together the Heap logo.


Here’s the progress so far on my organic sculpting project. I haven't spent much time working on this since it's a side project; my current studio project is the priority right now.

It's coming along well; the boots and pants are done, and the tunic has been "roughed out." I'll probably put more detail on the boots; they look a bit plain. Maybe some straps and buckles on the side with a steel toe or shin armor.


Recently at AdeptiCon 2012, I found myself thinking about my favorite sort of player. I get asked fairly often about my favorite faction, favorite model, favorite theme force, favorite project I’ve worked on, and so forth, but I don’t think anyone’s ever asked me about my favorite type of player.


In my last blog, I discussed the basics of color theory. In this blog, I’ll define different color schemes used in art and design and then show you how to apply this knowledge to miniature painting. We should begin by noting that color schemes should be dictated by color harmonies. This is how colors work with one another to create a pleasing color scheme.


I was asked the other day, "Would you paint cavalry riders separately from their horses? If so, how would you do it?" I told this individual I would paint the riders separately from their mounts, and this is how I would do it.


In No Quarter #42, the latest battle report features colossals, showing the Kraken and the Conquest in action. Creative director Ed Bourelle and director of business development Will Shick even used their own fully painted forces for the occasion. Working on the battle report is always tricky business. However, thanks to copious amounts of photos, and Editor in Chief Aeryn Rudel’s diligent note-taking, confusion is usually kept to a minimum.


No Quarter Magazine issue #42 hits the shelves this May and is chock full of exciting content including the first ever WARMACHINE Colossals battle report. Get a sneak peek at the Khador army of Director of Business Development Will Shick and the Cryx army of Creative Director Ed Bourelle, their pre-fight strategies, and how they each plan to use the might of their faction's colossal to storm their way to victory in the Colossal Clash Weigh In video below!


They say good things come to those who wait. I say waiting is overrated. So we are doing Friday’s Insider a little early this week!

Say hello to the Mountain King!


Let me present to you two proven scientific facts and how they relate to each other:


The best thing about my job here at Privateer Press is that I get to speak one-on-one with retailers every day. The hobby and gaming industry is home to some of the hardest working people in the world, not to mention some of the liveliest people you’ll ever meet. There are countless stores that work tirelessly to make sure our players have a community they can call their own.


I may work as the video producer at Privateer Press, but I’m also a hobbyist. I love painting minis and strive to make each one cool to look at while I’m losing yet another game of WARMACHINE.

One thing I constantly struggle with as a painter is choosing paint colors and color schemes for my minis. There are a ton of great colors in the Formula P3 range, and I have my favorites, but when I want to change it up, having so many choices is a bit overwhelming.


I recently finished working on the Cryx colossal, and I'm very happy with the results. Unleash the Kraken!

Of the three colossals I've had the fortune of sculpting, the Kraken was by far the most challenging. Digital sculpting with CAD-based software lends itself very well to simple geometry—straight lines and flat surfaces. As you can see just by looking at the Kraken, there are few straight lines or flat surfaces. As such, it took a while to nail down the bulky plates of the torso and other curved structures, but in the end it proved to be well worth the effort.