Weekend Seminar ahead!

by Roman aka jar


Today I am  is starting to teach
Jar's Advanced Class in Augsburg, Germany.
In german language still, but later this year it will be presented in english language.
Check the roadmap 2018 for details.

Here is a little info on the class via my curriculum:

Instructor: Roman Lappat
Duration: Friday/Saturday/Sunday (2.5 days)

My Advanced miniature painting class, a class that takes my students deeper into my brain, after the famous Beginner's Class.
The subjects are getting more complex in this class. It took me about three years to extract the concept out of my own learning process to make this class another eye opener for every miniature painter who wants to raise his skills.

Main topics:
- Learn to paint atmosphere in a Miniature Project
- Learn to keep everything in your project balanced in harmony
- Doing a simple, but effective conversion to make your model unique
- Learn quick and effective rules creating amazing gaming bases
- Learn to paint skintones
- Learn to paint the colors 'black' and 'white'
- Advanced Color Theory
- Advanced Blending Techniques
- Advanced Happy Painting Methods
- and more!

Student level: Advanced
For this class you should be prepared with an advanced skill level. You should know about zenital light,basic color theory, contrast range and how to create a blending.

Jar's Advanced Class in Blumberg, Achdorf, Germany
Jar's Advanced Class in Augsburg, Germany

If you want to know more about upcoming Massive Voodoo Seminars,
check the Seminar roadmap  for 2018 and do not hesitate to join up!

Happy Painting awaits!

Review: Private Coaching with Stefan

by Roman aka jar

Time for another private coaching review.
Told you, there are some articles to write up for the jungle :D

This time Stefan from Austria visited the MV studio for a two day private coaching with me.

I know Stefan since a long time now.
As a member of the cool Pumpkin Painters from Graz, as a student on two of my beginner seminars and it was his wife's idea to set up the coaching as a Christmas gift.

Subject of our two day coaching was built around my advanced topic "atmosphere" that I teach often nowadays. But this coaching was not only about this. It went much deeper. My goal was to help Stefan being a happier painter. To understand that painting is something you can heal with. Not something that stresses you out and puts pressure on you. There is enough of this sort out there in life, when you are not sitting at the painting table.

We tweaked the base that Stefan had as homework a little bit before we jumped into some theory of colors, moods, atmosphere and in depth talks about life and painting philosophy.

Pushing through all the theory ...

When we started painting I wanted to chill out Stefan and he was eager to follow my lead to start painting the base with his fingers for sketching. Sounds wrong in terms of high quality miniature painting, but it ain't. It just depends on how much time you invest after this. Just the same with brushwork, but when you start a project and can laugh and paint like a five year old our inner child gets happy :)

We approached the model under the terms of painting dramatic atmosphere to the piece. Just do not look at the basic skin color and try to understand. You have to trick the brain at this point.

When Stefan continued the picture of our ambience began to show up. While painting and speaking about happy painting philosophy our topics were really interesting. We were able to mainly work out the upper area on the model. The project is not finished yet as going through the theory that leads to this and makes the "why" accesable for my student takes time. Some painters are faster, others slower. As a teacher I was very proud of Stefan's result in the the upper body area and I hope he will finish this piece.

We ended this coaching with some winter barbecue :)
It was truely close to the best winter barbecue I ever had.

Thank you, Stefan for two really amazing and interesting days :)
As a teacher I am really proud of what we both went through and I know that painting will be understood as something that heals, not puts pressure on you.

Best Wishes to beautiful Graz!
Keep on happy painting!

Feel free to contact me for your private coaching!
I am quite packed up with dates for two day private coachings at the moment for the second half of the year of 2018, but might be able to find a spot for you. Of course plans for 2019 can slowly start too. I am looking forward to meet you in Augsburg and do some happy hands on painting with you. Additionally check back with the MV roadmap of weekend seminars to certain topics.

You want to support Massive Voodoo? 
If you like to support or say thanks the monkeys of Massive Voodoo in what they do, please feel invited to drop a jungle donation in their direction via paypal or check their miniatures they got on sale here.

Review: Private Coaching with This

by Roman aka jar

Time machine back to the early months of 2018.
It was cold. Beautifully cold.

Welcome to another private coaching review.
Quite the things to catch up with on the blog, but the pace is good and life goes on.
On the other hand it also means, if the mood is right to write something, there is plenty of material.

This from Switzerland visited Roman in the MV studio
for a two day private coaching session. This wanted to learn to be more free while painting, to paint more instead of cooking color recipes. The main topic student and teacher agreed on was learning to paint atmosphere and contents from my Advanced Class. I am happy to predict the outcome of this seminar in the meantime and I am happy to know that it opens painters eyes to the magic that is outthere to understand and to be painted. 

Main part on day one was theory. Tons.
We only started to prepare the bust with basic colors this first day. Theory is as important in understanding colors and how they play with eachother from application to harmony aspects.

This approached a model by Pedro Fernandez Works.
A sad looking Ogre. Timewise we did not finish the bust in the two day coaching, but tons of knowledge was gathered. From advanced color theory, a useful painting process order and painting techniques to in depth happy painting philosphy.

"In der Tat habe ich 2 wunderschöne und kreative Tage mit Dir verbringen dürfen. Der Kurs wird mir lange in Erinnerung bleiben." - This

A big thanks to This for two splendid days.
Not only the painting aspect was levelled up. Speaking from the perspective of a teacher I can say you always learn something new and refreshing yourself when spending two days together in the MV studio. We enjoyed some really deep conversations about life and I want to thank This for his wisdom he shared with me.

While This learned about painting, I learned about patience
and the meaning
of time.

Keep on happy painting!

Feel free to contact me for your private coaching!
I am quite packed up with dates for two day private coachings at the moment for the second half of the year of 2018, but might be able to find a spot for you. Of course plans for 2019 can slowly start too. I am looking forward to meet you in Augsburg and do some happy hands on painting with you. Additionally check back with the MV roadmap of weekend seminars to certain topics.

You want to support Massive Voodoo? 
If you like to support or say thanks the monkeys of Massive Voodoo in what they do, please feel invited to drop a jungle donation in their direction via paypal or check their miniatures they got on sale here.

MV Challenge 2018

by Roman aka jar

Hello Jungle painters, 
it has been far too long since we challenged you, right?

MV Challenge 2017 was the last contest we held here in the jungle, aimed for you to make new experiences with waterbases and cool kids toys to paint. MV challenges will always aim to push you forward and by taking part we garantuee you to gain so much progress and happy hobby joy.

We ask you to show your creativity, show us your skills and put your knowledge to test, but most important: All levels of painters on their journeys are invited to take part. This ain't about winning cash prizes, this is about heart. Paint like you are and happy painting are the guiding words for this contest, but the topics are quite uncommon again.

Let us introduce these two challenges to you:

Josua and Roman came to the conclusion to set this up once more, this time in collaberation and support of Mr. Lee's Miniatures.

Both topics are very different in topics, but this time similar at the same time. It is all about
STORYTELLING. Marie Fleur and the Penguins.
These are the subjects. You create the stories.
You can participate in both in the given timeframe with one entry per category.

We will now guide you through the ruleset of this contest and of course show you what you can win if you pick up your brushes and basing skills for this magnificant tsunami of fun. In the end of this announcement you will find the overall rules for this event and MV's prizes that we got ready for you.


- Create and tell a story with penguins
- You are allowed to tell whatever story you want in creating small, big, wild or calm dioramas and small scenes. Your imagination is the only limit. Go crazy, go melancholic, go wild, go abstract, go beautiful in your creation.
- You are not limited in the size or shape of your base and can basicly  do whatever you like, if there is at least one penguin included. You can add other figures to your scene.
-You can use every penguin sculpt you want or even sculpt your own. If you want to support a good cause head over to Mr. Lee's Minis, grab a handful of Emporer Penguins and help us support sealeagcy.org

Design and Sculpt by Benjamin Taylor
Cast by Hysterical Games
Mr Lee's Minis is proud to bring another charity project to the community. Alongside Roman Lappat, and Josui Lai, we will donate £1 from each sale to https://www.sealegacy.org/donate for the conservation efforts of sealife! We will also put together a small contest to go along with these pieces in the near future! Cast in high quality resin, and supplied as 2 pieces. The large penguin is 30mm and the smaller one 20mm in size. Due to the size, some clean up or bubbles might need to be filled


- Create and tell a story with the sculpt of "Marie Fleur", sculpted by Benedikt Sedlmair
- You are allowed to tell whatever story you want in creating small, big, wild or calm dioramas and small scenes. Your imagination is the only limit. Go crazy, go melancholic, go wild, go abstract, go beautiful in your creation.
- You are not limited in the size or shape of your base and can basicly do whatever you like, if there is at least one "Marie Fleur" sculpt included. You can add other figures to your scene.
- For some inspiration you can check back with Roman's version of Marie Fleur.

Overall Challenge Rules

- Sent your entries in until October 15th 2018,
as soon as the calender hits the 16th on Roman's time (located in Augsburg, Germany) entries are not accepted. You will recieve a confirmation mail once your entry was checked. Please write your full name and adress to the email. We need this in case you will win a prize.

- For each challenge entry sent a minimum of three photos and maximum five photos to
   jarhead---at---massivevoodoo---dot---com- Please know that we are judging from your photos, give your best to present your entry and do decent photos.
Entries who have been published in their final version before the contest ends are not participating.
- You are allowed to show work in progress photos.
- You are allowed to take part in both categories, but only with one entry per category.
Judging both challenges will be judged by the team of this contest, Josua, Kyle and Roman. 
All three are not allowed to take part in the challenge or if they want, then they participate "out of competition". Every other person interested in taking part is allowed to. Except Roman, Kyle and Josua, members of the MV-Team who are not included in the organisation are not starting out of competition and can participate legally.

We judge your creativity and the beauty of your entry in both categories.

By entering this contest you allow Massive Voodoo to use your photos for articles about this contest. You still own the copyrights, but you allow MV to handle them through their platforms. 


We have tons of prizes waiting for you. A big random prize pool prepared, but we will not drop everything at once at you.We will update the random prize pool during the active competition time.

Very important for us:
Speaking about the MV challenge: If you are someone still missing a challenge prize from last years challenge please write an email with your adress to: jarhead(at)massivevoodoo(dot)com

Life kicked me(Roman) in the nuts earlier this year and I put this task far aside as I was just not able to ship the last couple remaining parcels as I had significant other priorities. I am very sorry for this, but it is time to get things sorted out and if you drop me your adress again I get things rolling. Thank you for your patience on this! The jungle never forgets.


In each of the challenge categories we will hand out three Massive Voodoo Medals:
Gold, Silver, Bronze. This makes six medals overall.


The gold winner of the category "Penguin" 
will also receive the original artwork to the contest banners, framed and signed by Roman as a special super gift:

The gold winner of the category "Marie Fleur" 
will also receive the original artwork to the contest banners, done and signed by Roman as a special super gift:

Special Jungle Raffle
Everyone who is taking part in one or both of the challenges will automaticly take part in a special jungle raffle to be able to win one of these prizes:


2x Set of four of Roman's miniature art posters (two times)

Jungle Surprise Boxes 
Packed with love and passion we give away crazy jungle surprise boxes. Packed with tons of hobby stuff, miniature candy, colors and stuff you definatly find pleasing. This time we will introduce each box to you and part of its content during the next couple of weeks. Just a part of it as the rest is a surprise. Stay tuned!

You want to support Massive Voodoo? 
If you like to support or say thanks the monkeys of Massive Voodoo in what they do, please feel invited to drop a jungle donation in their direction via paypal or check their miniatures they got on sale here.

Are you ready? Now tell your unqiue story!
Tell your friends, tackle some paintpots and keep on happy painting!
Got some questions? Ask them via commenting this post.
We can only answer your questions here! To easily find back to this announcement we will link it up to the upper right corner of the Massive Voodoo blog. Soon!

Responsibility on this event: Roman & Josua

Anonmious 2.0

by Roman aka jar

Good Monday Morning Jungle,

while I teach private coachings and weekend seminars I am always working on some projects for proper explanations. This one was a lot of joy to explain atmosphere on.

Sculpted by Alfonso Giraldes this bust is yet simple on the first look, but to be frank these 'easy' busts make a great canvas for wonderful color explorational paintjobs. Alfonso's bust, called "Anonimous 1.0" reached world wide fame as many painters outthere joined the train to paint up one with their personal touch.  Alfonso brings out version 2.0 now and expectations are high to see many great versions of this in the future.


I enjoyed painting mine and as I was a little bit out of painting training I used it for pure #happypainting color explorations. Of course with an interesting light situation to feel a little challenge.

Anonimous 2.0

If you want to see more photos, check back with

This bust is for sale.
If you want to support me in my passion, work and art feel invited to have a look into my PDF cataloge:

I was checking back with the work in progress photos I did if I got enough for an article and well ... no ... but I will show them anyway. Hope you enjoy!

Keep on happy painting!

SBS: The Barbarian King of Autumn, by Trent Denison

by Roman aka jar

Ahoi Jungle,

the final preparations for the 2018 MV Challenge are in progress. 

Not much longer, now. While I am working on this and heading towards teaching another one of my well known Beginner Classes to spread the word and knowledge about #happypainting over the upcoming weekend in Augsburg to a big group of students I got something dropping in the jungle that flew all the way from Australia.

A big bomb of paint, a wonderful article to read and learning about painting by ...

Trent Denison
asked to help support the MV jungle with some articles during its silent days and of course the jungle decided to give it a go as the article is splendid as is the Trent's result. Trent is a really uprising miniature painter from Australia that is always focusing on evolving his skillset. He puts himsel to a lot of painting challenges to understand new things and is very talented in doing so. Always great to see more and more of his work and the amazing steps he takes with painting a lot:

Always planning the next project - such a painting machine:

We hope you will enjoy the article and we give big thanks to Trent for his great help!
If you want to read more of these be patient and stick to your jungle.


The Barbarian King of Autumn
A Step by Step by Trent Denison

Hello from sunny Brisbane, in Australia!

I feel very fortunate to be able to contribute to Massive Voodoo, a blog that has inspired and assisted me in my journey as a painter, and am very grateful to Roman for the opportunity. Whilst I certainly am not anywhere near the same level as some of the other incredible painters who feature on this site, hopefully I can add some value in showcasing some of the techniques I use that allow me to paint models very quickly.

In this article I will be doing a step by step breakdown of a model I painted a little while ago, the Barbarian King by Joaquin Palacios Studio. This is a wonderful piece, Conan is such a recognizable and powerful presence, and I wanted to paint it as well as I could to reflect that!

I buy models all the time that I find inspiring.
Unfortunately, sometimes they sit on my shelf; I lose interest in them for whatever reason, or aesthetically I've found something similar that I enjoy more. Occasionally I buy a model and when it arrives I dislike the sculpt. But usually when I buy a model and it turns up I get super excited and put it on my shelf of models to paint.

I decided one day to paint this piece, so I knocked it together and had a think about it. It reminded me of old school pieces of artwork from like Frank Frazetta and Boris Vallejo, guys whose artwork made my eyes boggle when I was a young lad. I have been aiming to push myself more and try more difficult techniques on each piece, and this model felt like a good chance to try painting something that was in a similar vein to their artwork: vivid, full of colour and depth and atmosphere. Or at least, I would try to replicate that!

I began by working on the base.
I have a lovely wooden plinth from a local in Brisbane called Jim that I planned to use for this guy. I didn't want to risk getting any sand or paint on the plinth, so rather than masking it off, I used a plasticard base to use as the surface for everything, with plans to glue it to the plinth after it was finished. I've glued the original rock structure that comes with Conan in the centre, and added various bits of forest and debris to the surrounding areas. My plan for this model is a very autumnal scheme, and so the forest will be a lot of soft oranges, leaves and debris.

I painted on Vallejo Sandy Paste onto the base to cover some of the Milliput, and add some texturing to the stones and other areas. I also added a horn from a bust by Raffa of FER Miniatures that I had spare, as a rams horn or something. And with that, left it to dry overnight!

Onto painting of the model itself. Cue the crazy balls deep starting point:

I had airbrushed some really basic colours and shades onto the model, all very desaturated. The plan was to use wet in wet technique to create some colour and interesting volumes to begin with. I added some drying retarder and mixing medium to the colours so that I could spend a bit more time blending and fusing the colours all together. After I mucked around with that, I then used a hairdryer to dry it off, and use some more fleshtone to paint on some highlights.

You can see I have already got a lot of volumes in there with the blending and highlights, as well as a few different colours and tones. One of the techniques I use I call airbrush glazing, so after this crazy wild beginning, I tone everything back down. But because it reduces the overall contrast, what you see here is not enough contrast. I pulled out a pure white and cream colour and added even more crazy light points.

One of my mantras these days, stolen directly from Bob Ross himself is:
"There are no mistakes, only happy accidents".

Sounds amusing, but when you actually start to live and breathe this mantra within your painting, you find yourself with more freedom and creativity. You can always, always fix a bit of paint in the wrong area, or a colour choice not quite right, or a textural mistake or whatever, so why not go crazy and push things and see how it all comes together?

Using my airbrush, I glazed multiple thin coats of mid tone paint over the entirety of the model, softening the transitions and colours and harmonising it all. This is a technique I am using more and more, just in the early stages of my pieces, because I can go crazy large on highlights, knowing that it will be softened.

This is what it looks like after I use the airbrush for around ten dilute glazes. You can see the huge difference between the two models, and what is probably most interesting is that to get to that second stage took me all of about five minutes? In fact, this entire process was less than an hour, because I am not worrying about precision and refinement, just actually getting value and tones where I want them. You can see that I need to bring more contrast back in, and add a few more colours and tonal interests. Red on the knees, elbows, nose and armpits is usually where I start, and then some cooler blues and purples in the deep recesses.

The next step then is block in some of the colours on the rest of the model. It is so crucial to have the rest of the colours at least blocked in, because the contrast and relative value of any part of a model relies on everything else surrounding it. The best example of this is when you paint the edges of a base black. Having the base black makes the model pop more, because the higher value of the painted model is more visible. This is also the case with colours on a model.
I pulled out my trusty Panzer Putty, covered the skin and then airbrushed an orange onto the cloak. The orange I planned to be like a dry leather, with a bit of texture on there.

I pulled off the Panzer, painted the loin cloth in blue, the complementary colour for orange, but kept it very dark. Painted the hair, and suddenly the model looked a lot more accurate to what I was going to be ending up with.

Another thing that the best painters do which I've been trying to use more and more is shade and highlight with complementary colours. It adds more richness and diversity to the piece, so I started with blue and purple/red to shade the cloak with. I was pretty heavy handed early on, even though the airbrush creates that really nice effect, adding some actual texture is a part of the plan down the track. I painted in some of the browns and leather areas. You can see it is starting to come alive now, as each area starts breaking apart the model.

I went back in and worked a bit more on the skin, smoothing the face details and so on. I kept trying to get the balance right between skin texture, smoothness, colour and contrast. It is still not where I want it, but you can see it is getting close. I also mixed in the orange from the cloak, and some ivory, into the blue of the loincloth. This create a really interesting desaturated green, which I used. It still has some of the hints of blue so I think still works with the orange.

More highlights on the cloak, painting the fur with some more wet in wet work, the leather strappings, painting the leather belt, and getting the skin smoother again, as well as adding more contrast to the lower areas. Looking at black and white photos using my phone, I could see that I need more contrast within the skin itself.

I have a large up version of the back of the cloak. I've got a lot of different shades in there, but the highlights are consistent orange, to an ochre yellow. The next stage of their highlights will be a cream colour which should make the cloak pop off the model.

I also painted the eyes, a very difficult job on this model as they are inset, and very small. I managed to nail it first time, which I was stoked about. I also added some blue tones to the lower jaw, and a bit more white to his forehead and nose.

Moving forward from here, I used really small micro stippling to add to the stubble effect on his jaw, put even more redness into the nose underneath, work on the hair more so it is more refined, added really bold highlights and texture scratches on the cloak, smoothed the torso skin tones out just a tiny bit more, darken up the leathers on the lower half of the model and made the fur even darker, made the straps and cables around the belt ivory, painted the wooden haft and then I am ready to move into the metallics! The previous picture showed a relatively clean and solid looking barbarian.

I also photoshopped the two stages side by side, so I could see the difference:

Looking critically at the two models, I definitely have more contrast on the model on the right, but the guy on the left looks a little more smooth, and his skin feels a little more alive. The cloak on the right has also lost saturation, gone a little too pale, and I think the hair is far too white. The boots I like the subtle darker shift, driving that intensity up. Overall, the guy on the left looks a little more like he is standing in the sun, the other guy like he is standing in the shade. One thing to keep in mind, the lighting is possibly impacting on these images as well.

Based on that issue with the skin looking a little less soft and smooth, I decided to do a few glazes to try and soften everything out. This is ultra dilute, moreso than I would normally do, because I want to keep most of the contrast, but just smooth it all out. I again used Panzer Putty to cover everything but the skin, and went to town!

I was much happier with the skin after that, and decided to do a bit more glazing on others areas as well. I pulled the Putty off, grabbed some oranges and reds and hit areas of the cloak. This was to increase saturation, and some oranges to smooth out some of that harshness. I was happy with the result, so I did a bit more work to the hair, and painted in some base tones for the metallics.

You can really see the extra red and orange I've got in there now, and I think it brings it all together a lot more. I wasn't worried about bleed over into other areas with the airbrush using red, as it was a very dilute mixture and I was pushing it out at a low PSI. Even if I did get it in other areas a litte, it would just help transitions.

I then painted in the crown, the sword and axe and belt. I used a brass colour for some parts, and steel for the others. I tried to put some oxidising on the brass with a little blue, but it was a little overpowering so I went back in a worked with it a bit. I tried to keep the steel areas very dark, with some cold blues in them. I painted gloss on the eyes, Tamiya X27 on the cuts on his body, and a bit in his mouth, and put him up on a proper background to get a really good photo so I could look at it closely.

Overall, I was pretty pleased with it. I painted the base, glued the model down, and called it done!

I have a number of reflections about this piece All of the colour choices I made reflect nicely the theme I was going for, the scheme has no primary colours and feels a lot more harmonious because of the shading and highlighting colours I chose.

Contrast is something I am always considering and trying to get more of, and I think this was one of the first models it started to come together for me. This model has contrast higher up towards the focal point, whereas the lower areas have lower values. I have a good separation in most areas where I have a low value colour beside a high value colour, and overall the intensity of each section from dark the light is pretty solid. I perhaps needed to consider it a little more with the base, and the cloak colour was maybe too pale compared to the skin.

I wanted to experiment with colour in the skin, and across the model, and I think on the whole it was a successful experiment. Looking back, I definitely didn't push it far enough. I wanted to go really wild with colours, have lots of incredible tones in various areas, but when I glazed and smoothed areas out I lost a lot of that vibrancy. At the time I painted this, I felt it sat in one of the top three or four models I have painted. Since this model was painted I have evolved and improved, but as I pen more articles hopefully you will see my progression.

Onwards and upwards!

Trent “Big Deno” Denison