Hovercrash
Premiere: Thursday, September 8 at 10PM e/p
At Jimmy’s Junk two inventors need help turning a fridge into a beer launcher, and Hale lands himself in hot water. Later a high school class’s hopes may go crashing into a watery grave when they ask Jimmy to come up with an engine for their hovercraft.

THE PREP

Cutting metal for the ramps that will load the cannon

3am the day of filming, Ryan checks the fridge, Jay considers the code.

THE SHOW

Here are shots from the airing on The Science Channel. How Ryan and Josh got everything integrated in Jimmy’s Junkyard, and used stuff from the yard to make it work is nothing short of a miracle! I can confirm it involved coding in the car, and one very tired Ryan driving up to New York.

Josh wheels the fridge in while Ryan looks on cautiously.

Jimmy “The Junk Genius” Ruocco

My favorite shot: From my whiteboard, to a build, back to a whiteboard for TV.

Behold the fridge in its glory!

Cannon, ioBridge, and the careful observer will see a Construx piece on the power circuit.

Three brave souls face the firing squad without blindfolds.

Jimmy preparing to fire. Josh is thinking: "Please don't crash, software", and Ryan hoping the PSI is not going to kill Jimmy.

First Launch: Shower time

2nd Launch: Great snag by Ryan Rusnak!

This build was a lot of fun, but reinforces several of lifes important rules:

1- Never send 4 software engineers to do a Mechanical Engineer’s job

2- Never send 4 software engineers to do an Electrical Engineer’s job

3- Whatever your estimates are for working out the motors/mechanical and getting into “just software”: Multiply them by at least 3.14159 (thank “Making things Move” for that observation)

4- When an air cannon with too much PSI goes off at 2am in your neighborhood and sounds like the Horn of Gondor, and nobody complains, you know you’ve got good neighbors (thanks Ken, and Jeff).

5- Building things together is a hell of a lot of fun.

6- Rule 5 is all that matters.

Thanks to Ryan for roping me and Jay@TheCapacity into this build.  My dremmel was collecting dust, and my garage needed to be turned into a lab for a little while.

Post your best caption for this awkward cutscene shot below in comments

Link to Article

http://annandale.wusa9.com/news/news/super-nova-innovative-spirit-annandale-resident-builds-device-aid-blind/57964

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Nothing new here. We’ve been taught size and scale throughout our lives.  Then, when quantities are sufficiently small or large, our perception loses a handle on something to keep it in relative perspective. You take photo of a statue with someone next to it and say “wow, that’s a big statue”.  What is 1 x 10^100 vs 10 x 6.022 x 20^23?  They are just big numbers.  We can talk about them, but lose sight of how big they are.  Well, take some time to watch the two following links in succession.  Study them and really try to keep their relative sizes in the working store of your mind.  Compared to the carbon atom, how big are we humans?  Compared to Betelgeuse, what is the amount of atoms we contain?

I showed these two links to my department at work to open a meeting. Some commented on feeling insignificant afterwards, others amazed that they could look up that night and see many of the stars called out (Betelgeuse, Pollux, Aldebaran, Sirius). They all seemed to again reflect on where we fit in the scheme of things.

The universe is a big place.  There is a lot out there to try to understand.  Why not start here?

Let’s Start Small
http://learn.genetics.utah.edu/content/begin/cells/scale/

Let’s Try Something Larger

www.youtube.com/watch?v=BS88G5WBcfQ

As a kid growing up in Western Pennsylvania, we always seemed to have shoots of a particular weed growing up ahead of the grass in the spring.  Obviously being an inquisitive (and foolish?) kid, I would pick it up, and immediately noticed a strong garlic or onion aroma. Not long after, I would nibble on the shoot, and it tasted like chives.   Every once in a while as I was idling through the woods, I would pick up a shoot of this wild garlic and nibble on it.

I have since moved to Virginia, and my new lawn has more than its fair share of wild garlic (and acorns).  Rather than fight it, I figured I would embrace it and use it for a nice garlic soup!

Harvesting

WARNING: Always positively ID a plant before consumption. There are two varieties of wild plant that look like Wild Garlic or Wild Onion, and are dangerous (Star of Bethlehem, and Death Camas). I did not know this until I did some net research.

I went to my front yard where the garlic was growing in early spring. It grows in little clusters shooting up through the grass.

Wild garlic coming up through grass

Wild garlic garden

Dug-up clumps of garlic

Garlic bulbs dug up

Preparation

Now that I had a full bag picked in very short order, I selected out the largest of the bulbs (probably not required) for preparation.  This consisted of teasing out the grass that had been dug out along with wilted or dried debris.  Then the bulbs were washed free of dirt and I cut the stringy beard of the garlic off and removed the outer layer of the bulb.  Once the knife hit the garlic, the aromatic part of preparation was in full swing.  It was not nearly as strong in scent or eye-watering as cutting through a pile of red onion making salsa, but has a subtle onion odor.

Cleaned Garlic Bulbs

Chopping the garlic

Making the Soup

Now.. I am not a great cook.  I am not even a good cook!  I have my 3-4 go-to dishes that I am sure my friends and wife are sick of, but that is all I am really comfortable with.  I do love soups in the winter, and would like to get better about making it and reheating it for a warm bowl of deliciousness when I want it.  I scanned the web for a recipe making vegetable broth.  I did not want to use beef or chicken stock because I figured this would overpower the star of the show, our Garlic.  I selected some “neutral” ingredients that I thought would work well together.

• Wild Garlic (shocker, I know)
• Water
• Salt
• Pepper
• Bay Leaves
• Carrots
• Mushrooms
• Potatoes

I diced the carrots and cut the potatoes into nice chunks.  I brought the water, garlic bulbs, salt, pepper, carrots, and bay leaves to a boil and let them simmer for about 25 minutes.  After that, I added the potatoes, mushrooms for another 30 or so minutes.  At the end, I threw in a handful of the chopped up garlic shoots for more flavor and texture so as to not soften them too much in a long simmer.  Pull out the bay leaves, and we are done!

Time for soup

Simmer down!

Bon Appetite!

And with that, a little bay leaf for presentation, and we are ready to enjoy.  I think it turned out nicely.  I perhaps over-peppered and salted and perhaps not long enough simmering the broth, but there was not a lot of other flavors to compete with the garlic.  They were very mild in the soup, and I would have to say it was good enough to have another bowl of, and another a couple days later.  The garlic is versatile and people comment on throwing it in salads, on top of fresh tomatoes and mozzarella, or other foods.   It’s not good enough to crack into the standard 4 meals I prepare, but it’s good to get outside of the comfort zone, and like the acorn flour, enjoy something from the grocery store feet from my house.

Finished product

As engineers we can create the function, shuttle bits and bytes down the wires in an orchestra of logic, model the forces at play, but often create a product cold to the touch and to the eye. Artists and designers, by contrast, can create something that calls out to be interacted with, that evokes an emotional response, and a lasting connection to a product. However, artists are not always trained in microcontrollers and physics.

In recent travels to North Carolina and Lexington Kentucky, I was amazed at some of the kinetic sculptures and ceiling fans designed in their airports. Many engineers could create the motion, but could not easily create the experience that caused me to smile, to ponder, to stop and admire the work. That is what an artist did, and this is why the world needs collaborations of artists and engineers.

(Courtesy Jeremy Stern: www.jeremysternart.com)

Our Collaboration

I was contacted by artist Jeremy Stern who had seen my motion-feedback instructables.com project towards the end of last year. He was planning an installation for his Masters in Fine Arts that would, if possible, incorporate an element I had used in my project. He reached out for assistance, and I was thrilled to help.

Products such as ioBridge and Arduino make technology available to everyone as a language in which to voice their creativity. It just takes a little time from someone who has done it before. It helps when there are engineers who can show that the concepts are not intimidating, just the words may be. It’s not “analog and digital”, think of it as a light switch vs. a dimmer. It’s not binary 0 and 1 and how many bits, its how many combinations of heads and tails you can have with a couple pennies. By the end of the project a soldering, wiring artist had been let loose.

“Response to the project was extremely positive, and many agreed that the water and traffic portions were the most noticeable in terms of how their movements corresponded with playback. Thanks again for all your help, Steve, working with you was definitely one of the highlights of the entire project for me.”

Jeremy and I worked several times via email and over video chat and put together a design that would function for a portion of the audio elements for his project. I would like to congratulate him on his successful project “Following”, and subsequent award of Outstanding Graduating Graduate Student from UNR. Perhaps some time he’ll encounter an tinkerer/engineer who really needs help bringing her metal and plastic construction to creative life in a way that will ignite a users imagination. Perhaps he will use his considerable eye and creativity to make that happen in a future collaboration. We engineers need help from artists like Jeremy.

“Following”

“Video documentation of different visitors to the Sheppard Fine Arts Gallery, at the University of Nevada, Reno, interacting with an artwork entitled “In Concert,” as part of Jeremy Stern’s MFA thesis exhibition, “Following,” on view March 7 – 11, 2011. This exhibition explored the reconciliation of personal experience with mapped information by using the gallery’s own systems (cameras, 4-channel ceiling-mounted speakers, ceramic tile floor, hidden door, and lights) to transform the place of the gallery into an impression of the space of Reno/Sparks through a sampling and live mixing of site-specific sounds.

“In Concert” utilized two systems to measure visitor movement through the entire gallery space and play back sounds of the larger Reno/Sparks environment in which the gallery also sits. One system, co-developed with Steve Struebing of www.polymythic.com, used 3 PIR sensors per device to trigger changes in environmental sounds through an Arduino controlled mp3 player. Two devices were active in this system: one that controlled water flow of the Truckee River where normally loud sound diminished with increased movement along the sensors’ range; and another that increased the normally diminished sounds of auto traffic with increased movement along the sensors.

The second system, Eyecon, used 4 computers, each with a webcam pointed at the gallery’s 8-channel security monitor, whose cameras were angled at the grid of the gallery’s ceramic tile floor. The 8 x 12 square grid was transposed onto a Rand McNally road map of Reno/Sparks, and site specific sounds were gathered from locations on that map, within that grid. Using Eyecon, these site-specific recordings were programmed to drop down over top of anyone entering the view of the security cameras through the gallery’s 4-channel, 8-speaker sound system. The result was that visitors walking across the gallery became literal giants in the Reno/Sparks landscape, and based on how slow or fast they moved through a tile/mapped space, one might hear a brief clip or a lengthy environmental recording identifying that abstract sound as a specific location.

This work was collaboratively made with Anthony Alston, Joseph DeLappe and the Digital Media Department of UNR, Greg Gartella, Shelly Goodin, Audrey Love, Jean-Paul Perrotte, Clint Sleeper and Frieder Weiss.”

The results were published, and I am honored to have won the Assistive Tech Grand Prize.  I would like to thank everyone for voting at www.instructables.com.  I would like to say a big thank you to Humana for hosting the competition, and congratulations to everyone else who entered.  There were some spectacular entries, especially in the area of Autism.  Right in line with my interests, both high and low tech demonstrated innovative thinking.

Excerpt from Post:

“The Grand Prize for Assistive Technology went to Steve Struebing from Annandale, Va., for his Haptic Assisted Locating of Obstacles, or Project HALO. Struebing used simple sensors and vibrating motors to help people with reduced vision identify and avoid obstacles, and navigate the world more safely.”

“Humana is thrilled with the responses of so many individuals who offered well-being innovations on Instructables.com,” said Raja Rajamannar, chief innovation and marketing officer for Humana. “The many entries we received were excellent examples of how individual ingenuity can enhance health and well-being for people facing challenges.”

Thank you to the judges of the competition, who are as follows:

• Saul Griffith, PhD – 2007 MacArthur Award recipient, winner of multiple inventor awards
• Matt Herper – senior editor at Forbes magazine, covering medicine and science
• Joan Kelly– director of well-being and innovation, Humana
• Quinn Norton – freelance journalist covering science, technology and medicine
• Aaron Rulseh, MD – editor at Medgadget.com
• Kelly Traver, MD – founder, Healthiest You; author; former medical director, Google
• Tyghe Trimble – online editor, Popular Mechanics
• Eric Wilhelm, PhD – winner of multiple inventor awards, founder/CEO of Instructables

BusinessWire Humana Post

Instructables.com Contest Page

Mols takes the Halo for a spin.

Complete Build Instructions:

Please visit www.instructables.com for the complete build instructions and story.

www.youtube.com/watch?v=hfXs5rhwCfE

Highlights/Features

- Approximate 4 feet of range

- Variable haptic sensation (frequency and intensity of vibrations increase as range decreases)

- Just over 180 degree field of view from 5 Parallax Ping))) Ultrasonic Rangefinders

Background

I have recently been introduced to some new and interesting people with passions for ideas and a belief that our power to be creative with technologies can really make a difference in the world.  I used this as a springboard to create the H.A.L.O. This stands for Haptic (meaning touch) Assisted Location of Obstacles.  I had watched an episode of “Superhumans” which featured a blind man who used a series of clicks, like a bat, to echo locate his surroundings. I got to thinking about other blind people and their ability to navigate freely – perhaps without the use of a guide dog or cane.

The solution uses a series of rangefinders that take input from sensors and output feedback to pulse vibration motors placed on a person’s head. As a person gets closer to an object the intensity and frequency of the vibration increases – it’s directly proportional to the distance of an object. If a region was lacking feedback, then it is safe to proceed in that direction.

Perhaps this can be useful for the visually impaired to have the freedom to possibly move about hands-free without the assistance of a cane or seeing eye dog, or serve as a complementary enhancement to those solutions. Technology has undoubtedly made our daily lives better. By using a few inexpensive components and sensors, I’ve made a device that will allow the blind to navigate their surroundings and avoid collisions.

Great posts and comments over at:

http://hackaday.com/2010/12/17/haptic-feedback-for-the-blind/#comments

http://walyou.com/haptic-assistance-for-the-blind/

http://blog.makezine.com/archive/2010/12/project_halo_helps_you_navigate_wit.html

Photos

HALO and Haptic Headband, with the control package displayed

Wearing the HALO without the Haptic Headband

Wearing the Haptic Headband without the HALO

Arduino Mega 2560, breadboard, LED field, power section, and wiring

The lab in full swing. HALO, microcontroller, and a rats nest of wires.

Marines hold out while sniper provides overwatch

The Paints List:

• Olive Green
• Medium Gray
• Spanish Olive
• Camel
• Desert Sand
• Black
• Twill
• Acorn Brown
• Medium Flesh

1 - Black primer

2- 50/50 Olive Green w/Medium Gray basecoat.

The 50/50 mix is simple.  Just blend 50% Olive Green with 50% Medium Gray.  Swirl them together and drybrush.  This is your basecoat color.

3- Medium flesh on face

4- Spanish Olive dots- 50% coverage

For step 4, you will be using Spanish Olive for the first coverage of camo “dots”.  Cover about 50% of the mini.  Don’t stress over precision.

6- Boots in Camel

Paint the boots solidly in Camel color.

8- Camel Backpack

9- Medium Gray - Gun

Cover the backpack in Camel.  Use top down drybrushing to show some highlighting.  For Step 9, you will use the Medium Gray to drybrush the gun and bring out some of the details against he all black primer.

10- Twill mixed 50/50 with basecoat. Dots - 50%

11- Medium Flesh - Hands

In step 10, take the basecoat mix (50/50 Olive Green and Medium Gray) and mix it with 50% twill.  This will result in 50% twill, 25% Olive Green, 25% Medium Gray.  Use this to dot as you see fit.

For drybrushing the hands, remember to go against the features to ensure there is a gap for the individual fingers to show.  Use VERY LITTLE paint, and just keep going over it.  Too much paint and you’ve lost your natural shadows where the primer shows through.

12- Black - Dot goggle centers

13- Glue prep base

Apply two small black dots for the goggle surfaces.  Place your white glue down.  Apply evenly with small coffee stirrer, or the like.

14- Gravel base

15- Acorn brown base coat on base

Base: As in  the previous post, use black glass-like gravel found in Craft/Hobby store (Michaels).  Once the base of Acorn Brown has been applied, it will form a nice base coat.

16- Desert Sand on base

Final step!  Take your Desert Sand and highlight the base texture with very light drybrushing.

And there you have it!  I hope you give boardgames and wargames a try.  This truly is an opportunity to have an old fashioned good time without the need to plug anything in or even know what “log on” means.  It is fun, engages the imagination, and hones the skill of detail orientation and making something with your hands.  Drop me a line and let me know how your painting goes.  Also, if you have a great technique you use, let me know.  I am always interested in other people’s hard-learned simple techniques.  See you at the table, my friends….

Completed Front View - Marine

Completed Back View - Marine

Welcome to the third installment of our wargaming series (focusing on Ambush Alley).  Just a note before I begin about 15mm miniatures.  There are tons of people out there who can make stunning, photo-realistic, perfect minis even at 15mm.  28mm minis can show a lot of detail and painting errors on the table top.  However, 15mm minis are more forgiving (and are less expensive to get lots of figures out there).  The world is zoomed out just a bit more in that scale.  A perfectly painted table top is ALWAYS better, but I don’t have that kind of skill, so this is about how to get that pack of shimmering lead-free lead on the table and made “field grade”, as I call it (as opposed to “demo grade”).  It’s not perfect, but at a glance, its good enough.

Miniatures Source:

The minis I am using here are from Rebel Minis.   This is where I have also purchased my Regulars troops (the good guys).

Tools/Techniques:

The primary technique used is called “drybrushing”.  The intent is that you lightly brush on a LITTLE BIT of paint onto the high areas as the light would naturally fall on the higher regions of the model.  Google “Drybrushing” or watch youtube.  There are probably 1000 videos out there to get you started.  The rule: dip your brush, and brush away virtually ALL of the paint.  Then start lightly feathering on the paint across the grain of the high regions.  If there are vertical bars raised, brush horizontal, for example.

3 colors of depth look really good, but I use 2 plus the black primer.  The trick is using progressively less paint and lighter colors as you move up to the highest surfaces of the mini.  Also, the rule is work from the inside out when painting the mini.

You’ll need

• Fairly fine paint brush
• Fine black stone (craft store.  Looks almost like ground up volcanic glass)
• Black spray primer (hobby store)
• Penny (for the miniature base)
• Elmer’s glue for the mini/penny
• Minis
• Assortment of acrylic paint (get it at any craft store)
• Spray sealer (hobby store)

Here is the full assortment of paint I used for this mini:

Assortment of paints used

• Pure White
• Black
• Dusty Khaki
• Ocean Blue
• Blue
• Medium Gray
• Quaker Gray
• Medium Flesh
• Acorn Brown (oops, didn’t make it into the picture)

Mini Prep

Cut away any of that extra metal hanging off the mini that is a result of the casting process.  That crap is called flash.  Next glue the mini onto the center of your penny.  After the glue has dried, use your black primer.  A couple coats sparingly, but cover fully.

1- Prepped Mini

2- Medium Gray base coat on pants

3- Blue basecoat on shirt (hard to see but its there)

4- Flesh on face slit through ski mask

5- Ocean blue highlight on shirt

6- Quaker Gray highlight on the pants

7- Dusty khaki on head mask

8- Acorn brown (very light) on gun to set off details

9- Flesh highlights on hands (be careful across fingers!)

Completing the Miniature Base

A little bit of work really goes a long way towards the overall look of the miniature.  It gives the figure a real world look, and sets up a nice contrast for the rest of the mini detail.  I’ve chosen fine black stone, and will dry brush 2 “sand” types of colors over the top.

10- Glue across base . Not on feet.

11- Apply stone to feet and let dry overnight.

12- Rub off loose stone, and anything around penny edges.

13- Drybrush acorn brown on base.

14- Mix a bit of white with brown, highlight base.

Completed Figure

Front View - Note painting of flesh on face

Back View - Pack is Dusty Khaki

Paint black around penny edge, yellow to mark him as a "leader" in the game, and seal the mini. Done.

And there we have it.  You can use all different mixes of pants and shirts colors.  Mine are a good mix.  Also, the minis are good to do in batches because you can be working on the next mini as one dries.  It’s  kind of a like an assembly line where you do all the same parts that are the same colors at once.  You’ll have your baddies on the table in no time!  Good luck!

Full city ready for some wargaming

In the last post, we got a simple sense of what this whole wargaming thing is, and have our own 2 feet solidly beneath us (for those paying attention, its a 2 feet by 2 feet board).  Now, lets get on to arguably the most fun part of the whole deal: Making Terrain.

As I mentioned in the last article, my grandfathers were great at modeling life in miniature.  This is the appeal of meticulously detailed model railroads.  While non static, once they are set up they are set up.  This is where wargaming is set apart.  You can reconfigure, and use the terrain to play a game.   Well, let’s get cracking here.  We have a city to build.

Foam Board Selection

The first step is foam board for building our houses.  Pick it up at local craft store.  Lots of colors available, but brown, tan, black, and white are probably the best for you (depending on the region you want to model for your wargaming).

Foam board used. Buy at any craft store.

Available in several colors. Most used for this game are white and tan or brown.

Cutting Foam and Scale of Minis

First, a note on scale.  I am sure that it’s well posted somewhere, and there are lengthy dissertations on the matter, but I homegrew scale.  First, I took a look at an upright standing 15mm miniature, and he measures approximately 3/4 of an inch.  If an average man is 6 feet tall for these purposes, then its 2 feet per 1/4 inch.  Thus, for a one story building at 10 feet per story, it should be 1 1/4 inches per story.

Prescribed Cutting Widths:

• 1 1/4 inches (for the reason noted above.  For 1 story buildings.)
• 2 1/2 inches (for 2 story buildings)
• 4 inches (for roofs for buildings that are 4 inches long and wide)

Set the bandsaw and cut lots of strips of prescribed widths. Have a good stockpile.

Three prescribed widths: 1 1/4 inch, 2 1/2 inch, 4 inch

A bandsaw is simply magic for cutting foamboard.  It is loud as hell indoors, so wear ear protection, but it cuts perfectly every time.

Measuring, Cutting, and Scoring the Foam

In this example, we are going to walk through the creation of a 4 inch square, one story building.

• T-Square
• X-Acto Knife
• Cutting Surface
• Measuring device (ruler, whatever)

Take one of your 1 1/4 inch strips and for the FIRST measurement, mark 4 inches, plus 3/16 inch.  This little extra is to account for the thickness of the cardboard when you fold your box so it will be perfectly square.  This only has to be done for the first wall, because the additional 3/16 inch will glue to the opposite wall (covered later).  Just remember the 3/16 inch for the thickness of the foam.  You’ve got to account for it in several places.

Making the measurements and marking 4 3/16 inch, 4 inch, 4 inch, 4 inch.

Cut the remaining bit off. Should be 16 3/16 inch long total.

Now the scoring bit.  This is to cut through the outer layer of paper and a bit of foam so you can bend it at an angle.  DO NOT CUT ALL THE WAY THROUGH!

Scored - use a metal brace, don't freehand it. This is just showing the depth.

Now you can bend each at the corner because of the scoring.

Test Fit and Cutting Windows/Doors

We’re starting to get somewhere now!  Ok, next just do a fest fit to make sure the corners are square, and you’ll see how the extra 3/16 inch lip fits against the edge of the wall flushly.  For windows, I have a little square stencil I use to draw squares and rectangles.  For windows, put their center about 1/3 up the wall, not at the midpoint.  If you cut them into the midpoint, you will see the roof supports through the window, which is unsightly.  How DARE you.  You could opaque the windows with some tissue paper in the back, but I am not that hardcore.  Just use the damn 1/3 up rule, will ya?

Test Fit. All good. Note top right where extra 3/16 comes in.

Drawing in some windows and a door. Whatever looks nice.

Next cut out the windows and door carefully with your X-Acto knife.

Windows and doors cut.

Becoming a Roofer/Closing the Deal

We’re now at the place where we are going to be prepping the roof supports.  Its nice to have a slightly recessed roof so the minis look like they are down on it, and its nice when you stack other buildings on top.  I recess it about 1/4 inch.  First, we cut roof supports.  These are thin strips that are 4 inches in length or less for this house.  They obviously can’t be longer than a wall because the house won’t fold into a square otherwise.

Cut the little thin strips.

Done! Two roof supports.

Now, mark your lines for where the stips will go.  1/4 down from the top for the recession, 3/16 to account for the width of the roof, and another 3/16 for the width of the roof supports.  I glue them in edge on.

2 opposite walls marked with lines for gluing roof supports.

All glued in on opposite 2 walls. Let it dry a bit.

Now apply glue to wall edge and glue the house closed (meaning into the square)

All held in place with a clamp. This is the PERFECT tool to let it dry in place.

Now, we cut a 4inch x 4 inch roof off our other strip, apply glue to the roof supports, and let it dry.  We are almost all done now.

Cut a 4x4 inch roof.

Apply glue to roof supports, and slide roof into place.

Home Sweet Home

Now, we’ll put the roof on, and admire the handywork as it dries.

A look from the top.

A look from below.

All built and dried it should look like this and be ready to remove from the clamp.

You've got yerself a wee home nah, laddy.

Texture, I didn’t even know her…

Now we apply a textured spray paint to give the house a stone look and feel.

Spray stone textured paint

Dry stone

Home on the Range, building your town.

Well, you’ve done it.  You’ve build your first building.  Now, you can vary number of stories, width, etc., using the same technique.  I really primarily rely on 4 inch, and 2 1/2 inch square buildings.  They stack well, and can create a nice little town.  Enjoy the tour…

Our 4 inch building on our gameboard.

Oh wait? The STACK? This is a 2 1/2 inch square on top. You'll also use the 2 1/2 to roof. It's a good system!

Going into Mass Production, and Building The Metropolis

Build, build, build.  Get creative with walls, decorations, and stuff lying around the house.

Arches, walls, 3 stories, etc.

Accessorize for Realism

I don’t know a lick of Farsi, so I went to my favorite neighborhood kebab place and got a regional newspaper to make signs. The Kebab e-Kubideh was also delicious.   The generally have them there.  Look in the advertisements and cut some out for signage.

All signed up.

Finishing Touches

I grabbed some blocks from a craft store, grabbed some scale cars (N-scale, I think?!!) and have a nice little town where trouble’s-a-brewin.  Happy Hunting!

Looks like a delivery for ol' Polymythic. I hope its some chow. It's been a long day building a city from nothing..

I hope this shows you it really is not hard to get going.  Your creativity will take you a long way.  Look around the craft store.  Imagine some of the things you’re about to throw away spraypainted black.  If the shape is interesting, you can probably use it.  I’m looking forward to taking a virtual tour of your tiny ‘ville sometime soon.  In the next post we’ll paint up some baddies to introduce a little turmoil to our currently placid burg.

The lights are much brighter there, you can forget all your troubles, forget all your cares, and go DOWNTOWN!