Matakishi's Tea House
A simple little site...
French-Indian War- August-September 2006
The Plan
1 Unit of regular troops Redoubt (F&I 210, 211, 212)
1 group of Supply wagons and pack animals Front Rank (2x EQ15, EQ16, EQ31, GP1, GP2, EH1A, 2x EH1B, EH2A, 2x OX1)
Personalities: (Last of the Mohicans set) Redoubt (F&I 11), Mounted Officer Front Rank (AWBSP1, AWBSP2, LT1A, LT1B)
Flags
French
1 Unit of regular troops Redoubt (F&I 110, 111, 112)
1 group of Coureurs de Bois Redoubt (F&I 49, 51)
Personalities: Mounted Officer Front Rank (FIF P1, LT2A) Redoubt (FIX 5)
Flags
Total cost
Redoubt Enterprises: £183.50
Front Rank Figurines: £57.85
Grand Total: £236.35
Requirements
A 'Unit' will be about 12 figures
Indians
2 Units of woodland Indians Redoubt (F&I 1, 7, 8, 12)
1 group of Indian villagers Redoubt (F&I 22) need more
Personalities: Chiefs Redoubt (F&I 9) Raiders with torches (F&I
10)
Americans
1 Unit of Rangers Redoubt (F&I 34, 38)
1 Unit of Militia Redoubt (F&I 24, 25, 27)
1 Piece of Militia Artillery Redoubt (F&I
23)
1 group of civilians Redoubt (Settlers pack F&I 6 and F&I 14 and Blockhouse F&I 5) Front
Rank (GP3, GP4)
Personalities: Trapper in canoe Redoubt (F&I 28)
1 Unit of regular troops Redoubt (F&I 210, 211, 212)
1 group of Supply wagons and pack animals Front Rank (2x EQ15, EQ16, EQ31, GP1, GP2, EH1A, 2x EH1B, EH2A, 2x OX1)
Personalities: (Last of the Mohicans set) Redoubt (F&I 11), Mounted Officer Front Rank (AWBSP1, AWBSP2, LT1A, LT1B)
Flags
French
1 Unit of regular troops Redoubt (F&I 110, 111, 112)
1 group of Coureurs de Bois Redoubt (F&I 49, 51)
Personalities: Mounted Officer Front Rank (FIF P1, LT2A) Redoubt (FIX 5)
Flags
Total cost
Redoubt Enterprises: £183.50
Front Rank Figurines: £57.85
Grand Total: £236.35
Figures
I've received figure packs or samples from all three prospective ranges now. The picture above shows them next to each other, the lines behind the figures are 10mm apart and their feet, not bases, are aligned with the bottom line.
As you can see, the Front Rank figures are the shortest but have a decent bulk. They are going to be used for civilians and mounted officers so they will be fine. The Conquest Indians and the Redoubt soldier are almost the same height, the Redoubt figure has more bulk but is clothed so I'm happy to mix all three figure ranges, especially since the different units in the game are each from a seperate range.
The Foundry figure is just there 'because'. I'm going to paint him up though, I never thought I would when I got him (he's a freebie).
I've revised 'the Plan' above after some more consideration and removed the Conquest figures from the list. I'm not happy to have done this as it was the Conquest range that sparked my interest in the first place and I much prefer the poses of their Indians to the Redoubt alternatives. However, on closer inspection, I think the Conquest miniatures are too finely detailed for me to paint comfortably (much like Hasslefree figures) and I wouldn't be happy with my results. Since this is a hobby and not a job, I don't feel like putting myself through the stress and so I've substituted Redoubt figures instead. The plus side of this is that the Redoubt figures are cheaper and so I've included more of them. It's the middle of June at the moment and I will be sending of my orders for the figures at the end of the month, the big day is approaching.....
The Rules
I've decided to use the FIW rules from Iron Ivan Games called 'This Very Ground'. I bought 'Brother against Brother' too because I had a very good FIW game using these many years ago but 'This Very Ground' are much better at giving the type of game I want, at least they seem to be on a couple of read-throughs. The proof will be in the playing.Painting the figures
After three weeks 24 Indians are done, that's both units, and the Militia is nearly finished with the 12 figures completed and the gun and crew to finish off. I have two weeks before my summer break finishes and I'm hoping to get both the British and French regulars done before I return to work and therefore have less time to paint. Both regular units have 24 men each and will hopefully look suitably impressive on the tabletop.
Basing the Figures
I make my bases out of 60thou platicard. Plasticard is easy to cut and relatively cheap considering how many bases you can get from a single sheet. It isn’t affected by paint, doesn’t warp and is easy to glue. I prefer it over wood, metal or card.
The best way to cut plasticard is to use a sharp knife like a scalpel or an X-acto and a metal ruler. Score the plasticard with several light passes of the blade and it is easy to snap apart.
For this project I have chosen to use 30mm square bases for individual figures, 30mm x 60mm for mounted figures or similar and 60mm x 60mm for guns. Wagons will be on a 60mm wide base and the depth will be dependant on what’s required. I will keep the depth to multiples of 30mm though for the sake of neatness when figures are ranked up.
Figures in regular units that will look odd if spaced out this way are going to be based differently in groups. The diagram below shows the typical basing layout. I am hoping this will allow me to remove figures as casualties and still keep the unit looking like a densely packed body of men.
The first casualty will be shown by removing a Sgt, as will the second. When three casualties have been sustained the Sgts will return and a base of three infantry will be removed. This will continue as needed. The Officer is on a separate base because he can become a casualty at any time.
Since I am going with larger bases for this project than I would normally choose I decided to combine my two standard basing techniques into one to see whether it would be worth the effort in future.
Most of my figures that are based individually are on 2p pieces and the bases are ‘terrained’ by adding a layer of Basetex, drybrushing in a sand colour and finally adding clumps of static grass. Examples of this style of basing can be seen in my Boxer Rebellion project.
Figures destined for an arid climate are Basetexed, sprinkled with grit and drybrushed in two sand colours. Examples of this kind of basing can be seen in my Sudan project.
Here is the process described in detail. I am going to use the cannon to illustrate this because its base is the biggest. All the smaller bases are done the same way.
Stage One:
I glue the figures to the plasticard with superglue. The cannon is not glued down, nor is anything else without a cast-on base. In this instance it’s just the cannon, but if I had a pile of shot or a water bucket they would not be glued down at this stage either. It is a good idea to have the cannon on the base to ensure the figures are positioned accurately but it should be removed before stage two.
Stage Two:
I apply a layer of Basetex to the base. In this case it is ‘Dried Earth’ colour. Basetex is a basing medium made up of paint, grit and glue. It can be applied with a variety of tools, I use a small palette knife, and serves as a textured and coloured ground cover that disguises the integral bases of the figures. Basetex is made by Colour Party and can be ordered from Irregular Miniatures.
While the Basetex is still wet, it takes a couple of hours to dry but leaving it overnight is best, I sprinkle on some railway ballast from Woodland Scenics. This is basically ground up stone and comes in a variety of colours. It is available from any model shop. In this instance I am using a medium coarse grey scatter. It is applied sparingly.
Finally for this stage any loose objects such as the cannon are placed on the base. Putting the cannon on after the Basetex is applied is far easier than gluing it down first and applying the Basetex around it. The Basetex will hold it in place very firmly when it dries and you will be able to lift the whole piece just by holding the gun.
Here is the gun and crew at the end of stage two:
Stage Three:
Once the Basetex has dried it’s time to apply the paint. I use Foundry Base Sand 10A as my colour. However, Foundry paint is expensive and so I took some to my local hardware supplier and got a litre of household matt emulsion made up to match it for under £10.00 which I have been using for nearly two years now without its level dropping noticeably.
This colour is applied as a solid colour to the base edges and drybrushed fairly heavily across the top. I use a size 6 nylon brush for this and the later painting stage.
Here is the figure at the end of stage three:
Stage Four:
The next paint is a lighter sand colour. I use Foundry Base Sand 10C. This stage uses so little paint that I use the actual Foundry paint from their little pot. This is drybrushed over the grit that was applied earlier. I usually do a bit of the surrounding area too so the grit is blended in a little but you should make sure you don’t cover the whole base or paint the edges.
Here we are after stage four:
Stage Five:
The last part is to add the static grass. Static grass is available from any model shop, even Games Workshop supply it although theirs is much more expensive than anywhere else.
Firstly I apply areas of white glue to the base. Any white glue will do, PVA is fine but I tend to use woodworking glue which is resin based. As long as it dries clear it doesn’t matter what you use. The glue should be applied as randomly as you can manage and not on the gritted areas. Make sure you leave some areas of the un-gritted dirt showing too.
I tend to apply both the grit and the grass in diagonals, preferably grossing the figure and going between its legs. It is very important that your grit and/or grass touch the figures so that the impression is given that they are actually standing in the landscape and not that it is arranged around them.
Once the glue is down you just need to dump a load of static grass onto it. Don’t put the base in a tub of grass and swirl it around as this will disturb the glue you’ve carefully placed. I use some blunt tweezers to pick up a substantial amount of static grass and drop it where it’s needed. Shake the excess off into a container so you can reclaim it for later use. It usually takes a couple of applications before there is a thick enough covering of grass and you can’t see the glue showing through but it only takes a minute to do each base. Once you have enough static grass applied hold the figure upside down over a container and tap the underside of the base. This will get rid of the last excess grass and make the rest stand up so you avoid the strange swirly, clumpy look some people get.
That’s it, all finished except for the varnishing. If you brush varnish you will want to add the grass after this. Here is the gun and crew finished:
And here are a couple of the individual figures based the same way:
The best way to cut plasticard is to use a sharp knife like a scalpel or an X-acto and a metal ruler. Score the plasticard with several light passes of the blade and it is easy to snap apart.
For this project I have chosen to use 30mm square bases for individual figures, 30mm x 60mm for mounted figures or similar and 60mm x 60mm for guns. Wagons will be on a 60mm wide base and the depth will be dependant on what’s required. I will keep the depth to multiples of 30mm though for the sake of neatness when figures are ranked up.
Figures in regular units that will look odd if spaced out this way are going to be based differently in groups. The diagram below shows the typical basing layout. I am hoping this will allow me to remove figures as casualties and still keep the unit looking like a densely packed body of men.
The first casualty will be shown by removing a Sgt, as will the second. When three casualties have been sustained the Sgts will return and a base of three infantry will be removed. This will continue as needed. The Officer is on a separate base because he can become a casualty at any time.
Since I am going with larger bases for this project than I would normally choose I decided to combine my two standard basing techniques into one to see whether it would be worth the effort in future.
Most of my figures that are based individually are on 2p pieces and the bases are ‘terrained’ by adding a layer of Basetex, drybrushing in a sand colour and finally adding clumps of static grass. Examples of this style of basing can be seen in my Boxer Rebellion project.
Figures destined for an arid climate are Basetexed, sprinkled with grit and drybrushed in two sand colours. Examples of this kind of basing can be seen in my Sudan project.
Here is the process described in detail. I am going to use the cannon to illustrate this because its base is the biggest. All the smaller bases are done the same way.
Stage One:
I glue the figures to the plasticard with superglue. The cannon is not glued down, nor is anything else without a cast-on base. In this instance it’s just the cannon, but if I had a pile of shot or a water bucket they would not be glued down at this stage either. It is a good idea to have the cannon on the base to ensure the figures are positioned accurately but it should be removed before stage two.
Stage Two:
I apply a layer of Basetex to the base. In this case it is ‘Dried Earth’ colour. Basetex is a basing medium made up of paint, grit and glue. It can be applied with a variety of tools, I use a small palette knife, and serves as a textured and coloured ground cover that disguises the integral bases of the figures. Basetex is made by Colour Party and can be ordered from Irregular Miniatures.
While the Basetex is still wet, it takes a couple of hours to dry but leaving it overnight is best, I sprinkle on some railway ballast from Woodland Scenics. This is basically ground up stone and comes in a variety of colours. It is available from any model shop. In this instance I am using a medium coarse grey scatter. It is applied sparingly.
Finally for this stage any loose objects such as the cannon are placed on the base. Putting the cannon on after the Basetex is applied is far easier than gluing it down first and applying the Basetex around it. The Basetex will hold it in place very firmly when it dries and you will be able to lift the whole piece just by holding the gun.
Here is the gun and crew at the end of stage two:
Stage Three:
Once the Basetex has dried it’s time to apply the paint. I use Foundry Base Sand 10A as my colour. However, Foundry paint is expensive and so I took some to my local hardware supplier and got a litre of household matt emulsion made up to match it for under £10.00 which I have been using for nearly two years now without its level dropping noticeably.
This colour is applied as a solid colour to the base edges and drybrushed fairly heavily across the top. I use a size 6 nylon brush for this and the later painting stage.
Here is the figure at the end of stage three:
Stage Four:
The next paint is a lighter sand colour. I use Foundry Base Sand 10C. This stage uses so little paint that I use the actual Foundry paint from their little pot. This is drybrushed over the grit that was applied earlier. I usually do a bit of the surrounding area too so the grit is blended in a little but you should make sure you don’t cover the whole base or paint the edges.
Here we are after stage four:
Stage Five:
The last part is to add the static grass. Static grass is available from any model shop, even Games Workshop supply it although theirs is much more expensive than anywhere else.
Firstly I apply areas of white glue to the base. Any white glue will do, PVA is fine but I tend to use woodworking glue which is resin based. As long as it dries clear it doesn’t matter what you use. The glue should be applied as randomly as you can manage and not on the gritted areas. Make sure you leave some areas of the un-gritted dirt showing too.
I tend to apply both the grit and the grass in diagonals, preferably grossing the figure and going between its legs. It is very important that your grit and/or grass touch the figures so that the impression is given that they are actually standing in the landscape and not that it is arranged around them.
Once the glue is down you just need to dump a load of static grass onto it. Don’t put the base in a tub of grass and swirl it around as this will disturb the glue you’ve carefully placed. I use some blunt tweezers to pick up a substantial amount of static grass and drop it where it’s needed. Shake the excess off into a container so you can reclaim it for later use. It usually takes a couple of applications before there is a thick enough covering of grass and you can’t see the glue showing through but it only takes a minute to do each base. Once you have enough static grass applied hold the figure upside down over a container and tap the underside of the base. This will get rid of the last excess grass and make the rest stand up so you avoid the strange swirly, clumpy look some people get.
That’s it, all finished except for the varnishing. If you brush varnish you will want to add the grass after this. Here is the gun and crew finished:
And here are a couple of the individual figures based the same way:
Inspiration
The main inspiration for me were the Conquest Indian figures, it's a pity I won't be using them. Hopefully I can paint a few when there won't be a deadline to complete the project, some time in the future.
As well as those I've recently been looking around for some visual inspiration and I found the following which you may find enjoyable if you're interested in this period. Images and text are from Deep Discount DVD where I bought 'The War that made America' from.
Last of the Mohicans
Cora (Madeleine Stowe) and her younger sister, Alice (Jodhi May), both recent arrivals to the colonies, are being escorted to their father, Colonel Munro (Maurice Roeves), by a troop of British soldiers. Along the way they are ambushed by a Huron war party led by Magua (Wes Studi), a sinister warrior with a blood vendetta against Munro. Munro's soldiers are wiped out and Cora herself is nearly killed by Magua but is saved at the last moment by Hawkeye (Daniel Day-Lewis), a white trapper raised by the Mohican tribe. Hawkeye promises to take Cora and her sister safely to their father, and along the way Cora and the intense Hawkeye fall in love. Together they must survive wilderness, war, and the relentless pursuit of Magua.
Returning to the theme of a great love threatened by overwhelming circumstances, director Michael Mann hits the mark with an adaptation that captures the essence of the book and its historical details perfectly. Day-Lewis and Stowe are beautiful to watch, delivering moving performances as two people trying to hold on to each other in times of war. In addition, the Native American political activist Russell Means makes an oustanding film debut as Chingachgook, Hawkeye's adopted father and last of the Mohicans.
Drums Along the Mohawk
DRUMS ALONG THE MOHAWK is John Ford's first film in Technicolor (which recently perfected far richer shadings of color than had previously been possible), and the director uses it to stunning effect. The film stars Henry Fonda as Revolutionary War-era farmer Gilbert Martin, who, in 1776, has returned with his well-born wife, Lana (Claudette Colbert), to his rustic cabin in the increasingly dangerousMohawk River valley.
At first unaccustomed to the harsh physical challenges of frontier life, Lana
adjusts to the work at hand and is soon able to help her husband in the fields.
Shortly after they learn that the colonies are at war with the British, their
farmhouse is attacked and burned to the ground by a party of Tory-led Indians. The
feisty Widow McKlennar (Edna May Oliver) provides temporary shelter for the
couple, but it's only a matter of time before the Indians launch a more brutal
assault. Save for THE QUIET MAN, DRUMS ALONG THE MOHAWK contains the richest
passages of pastoral imagery in Ford's entire canon, the visual beauty nearly
upstaging the spectacular and terrifying Indian battles. The performances,
particularly Oliver (who garnered an Oscar nomination) as the vinegary widow
and the superbly stoic Fonda, enable Ford to again demonstrate the heroism and
limitations of rugged individualism. The scenes of an Indian prisoner spread-eagled
on a wagon and Gilbert's escape are repeated almost exactly in the 1982 dystopian
classic THE ROAD WARRIOR.
The War that made America
"The War that Made America" brings to life a vastly important time in American history, when events set forces in motion that would culminate in the American Revolution. The dramatic documentary tells the story of the French and Indian War (1754-1763), which began in the wilderness of the Pennsylvania frontier and spread throughout the colonies, into Canada, and ultimately around the world.
"The War That Made America" combines a commitment to accuracy with a compelling portrayal of the dangerous world of the 18th-century frontier. A central figure is George Washington, a brash and ambitious young officer in his twenties hoping to make his reputation in the military -- and whose blunders inadvertently trigger the war.
A primary focus of the series, and a story that has been distorted or long forgotten, is the critical military importance and strategic diplomacy of Native Americans in the conflict between the English and French. It was a war the British won, but the fruit of their victory contained the seeds of the Revolutionary War.
The program is narrated and hosted by Graham Greene, the Academy-Award nominated actor for "Dances With Wolves" and an Oneida Indian whose ancestors fought in the French and Indian War.
As well as those I've recently been looking around for some visual inspiration and I found the following which you may find enjoyable if you're interested in this period. Images and text are from Deep Discount DVD where I bought 'The War that made America' from.
Last of the MohicansCora (Madeleine Stowe) and her younger sister, Alice (Jodhi May), both recent arrivals to the colonies, are being escorted to their father, Colonel Munro (Maurice Roeves), by a troop of British soldiers. Along the way they are ambushed by a Huron war party led by Magua (Wes Studi), a sinister warrior with a blood vendetta against Munro. Munro's soldiers are wiped out and Cora herself is nearly killed by Magua but is saved at the last moment by Hawkeye (Daniel Day-Lewis), a white trapper raised by the Mohican tribe. Hawkeye promises to take Cora and her sister safely to their father, and along the way Cora and the intense Hawkeye fall in love. Together they must survive wilderness, war, and the relentless pursuit of Magua.
Returning to the theme of a great love threatened by overwhelming circumstances, director Michael Mann hits the mark with an adaptation that captures the essence of the book and its historical details perfectly. Day-Lewis and Stowe are beautiful to watch, delivering moving performances as two people trying to hold on to each other in times of war. In addition, the Native American political activist Russell Means makes an oustanding film debut as Chingachgook, Hawkeye's adopted father and last of the Mohicans.
Drums Along the MohawkDRUMS ALONG THE MOHAWK is John Ford's first film in Technicolor (which recently perfected far richer shadings of color than had previously been possible), and the director uses it to stunning effect. The film stars Henry Fonda as Revolutionary War-era farmer Gilbert Martin, who, in 1776, has returned with his well-born wife, Lana (Claudette Colbert), to his rustic cabin in the increasingly dangerous
The War that made America"The War that Made America" brings to life a vastly important time in American history, when events set forces in motion that would culminate in the American Revolution. The dramatic documentary tells the story of the French and Indian War (1754-1763), which began in the wilderness of the Pennsylvania frontier and spread throughout the colonies, into Canada, and ultimately around the world.
"The War That Made America" combines a commitment to accuracy with a compelling portrayal of the dangerous world of the 18th-century frontier. A central figure is George Washington, a brash and ambitious young officer in his twenties hoping to make his reputation in the military -- and whose blunders inadvertently trigger the war.
A primary focus of the series, and a story that has been distorted or long forgotten, is the critical military importance and strategic diplomacy of Native Americans in the conflict between the English and French. It was a war the British won, but the fruit of their victory contained the seeds of the Revolutionary War.
The program is narrated and hosted by Graham Greene, the Academy-Award nominated actor for "Dances With Wolves" and an Oneida Indian whose ancestors fought in the French and Indian War.
