I have been keeping a series of sketchbook/journals for over 30 years now. These are kept on those thick black hardbound sketchbooks that you see in art supply stores. The kind that have acid free archival paper that is supposed to last for years and years…. I went through the collected books and scanned and cleaned up the drawings. Some pages were a little smudged from years of friends thumbing through them. I’m glad that I took the time, since even on archival paper these drawings might eventually be lost to time…. I hope that you will enjoy this uncensored collection of drawings and that you will enjoy this chance to explore a little bit of my imagination… over 200 pages of pencil and pen and ink drawings–Fairies, goblins, fantasy characters. Some of the work is explicit, so keep on the top shelf.
After working on my Caves project, I started thinking about all of the different “locking” options that are being used to connect the terrain tiles on the tabletop. I had an idea of interlocking the tiles with a jigsaw puzzle connection, which would be identical on every side. That would allow you to lift a tile from the table and replace it with a “trap” tile or “secret door” tile without disturbing the rest of the dungeon!
I started with a standard 2″ tile (50.8mm), and started working out the geometry for different polygons: 4-sided, 6-sided, 3-sided, etc. to allow the most flexibility for laying out a dungeon…
Regarding scale, I wanted the walls shorter than the standard 2″ height, because terrain blocking line of sight for the miniatures was one of the complaints that I read in the Facebook group (3D Printing for Gaming Terrain). I decided to design the walls about 32mm tall, which would be about 8′ tall at 28mm scale. This should leave enough height to detail the terrain, but give greater visibility to the miniatures.
Another thing that I noticed when I looked at other terrain systems, was that the details and the “dungeon dressing” of many props was not at a consistent scale. For 28mm miniatures, the scale is supposedly 6′ from the soles of the feet to the top of the head (for a human sized miniature). That scale (1:56) is 4.17mm per scale foot.
Using this as a guide for my measurements, I hope that this terrain will look better with the 28mm miniatures that players are using for D&D, Pathfinder or similar RPG.
The Caves system that I already designed, also works well with a puzzle-lock. And since the hexagon is designed with 2″ sides, the caverns will easily work with the dungeon tiles.
The puzzle-lock system should work with any type of tabletop terrain tile, such as sewers, burrows, etc. My plan is to finish up my own set of puzzle-lock .STL terrain files, and then launch a Kickstarter campaign to sell it. Part of the set will be the basic puzzle-lock shapes, which can be used to adapt existing terrain .STL files to this system using Meshmixer! So if you have already purchased .STL terrain for your game, you will be able to modify it.
I would also like to make the shapes available to other designers, so that they can offer a puzzle-lock version of their 3D printable terrain.
PuzzleLock Caves are now a part of the Caves terrain set available on DriveThruRPG:
One of the strengths of 3D printing is the ability to create shapes that cannot be manufactured with traditional methods like injection-molding. I want to try and create miniatures that take advantage of this, rather than cut up the model as if it were going to be molded.
Since my last project was 3D printable Caves for tabletop gaming, I decided to create some miniatures to populate those caverns, and to design them for small SLA printers like Anycubic Photon and Sparkmaker to take advantage of the amazing level of detail that they can reproduce.
The “Drider” is a creature familiar to players of Dungeons & Dragons or Pathfinder. It is part dark elf and part spider. Driders are often portrayed as a “spider centaur” with the upper body very human (or elf), but I decided that my cave driders were especially cursed–even their faces transformed into a spider!
I have 3 different weapon poses, and also a Dead Drider option–so that the Dungeon Master can switch out miniatures rather than tipping over the dead monsters.
This Bundle of STL files is available for only $10 at Cults3D
When I started working on a graphic novel about TAR of Zandoria, I experimented with a few techniques in digital painting that I studied. For many comics, colorists start by “flatting”. This is basically filling in all of the color areas of a line drawing, then rendering shadows, highlights, etc above that color layer.
During my experiments with all of the various blending modes between layers in digital painting, I got an idea that probably has its roots in my years with CG animation and rendering. If I start with 50% gray on a layer set to hard light, it has zero effect on the color on the layer beneath it. But on that grayscale layer, when I draw with black and white ( and darker and lighter shades of gray), whatever is darker than neutral gray will multiply with the color beneath it, and whatever is lighter than gray will lighten the color beneath it.
The grayscale drawing can then control all of the values and lighting, combining with a color painting beneath it which controls the diffuse color everything. This is not the same thing as just painting on a layer set to “color” above a grayscale painting. If you were using that approach, you will find it difficult to control tints and shades of color, because the color blending mode is only using the hue information to color the values beneath it. With this new approach, you can just paint the object colors in their flat pure color and the hard light layer will render the correct shading in hightlights and shadows. When drawing, it helps me to think of of the objects form, not the final look.
Here is a stage by stage example, starting with just a rough layout. I have brought in my lettering from Pages and moved it into position.
My “pencil” drawing in blue gets more refined. This is on a separate layer that will be hidden later. It doesn’t need to be in blue, of course, since this is all digital. (This is just a nod to the past, when you would do layout in non-repro blue, and then ink with black. The blue pencil would be invisible to the process camera…)
On a new layer I start my “ink” drawing. This line layer is basically the contours of the drawing. I’m actually using a digital brush that simulates vine charcoal, rather than a pen. (just a preference for the “look”). This layer is set to “multiply” and will darken everything beneath it.
Beneath the line layer, I fill in all of the objects with 50% gray using a solid brush. And then lock the alpha transparency (this keeps me inside the lines, without having to think about it). I then start laying in the shading and cast shadows with a darker gray. I switch to a light gray to render the sunlit side of the objects. And lastly, I will draw with pure black and pure white to hit the deepest shadows and the specular highlights.
Now that I’m ready to paint the color, I make a selection based on the alpha of my last layer and fill a new layer with a dull brown, and lock the transparency. I do this so that I can paint the characters only, and then paint the sky separately on a layer beneath. The alpha lock saves time so I don’t have to keep making selections to keep from painting outside the lines.
I’ve made a custom palette, where I’ve saved color swatches of the different colors of the characters clothing, and gear to save time and to keep the color consistent page to page. Using a solid airbrush, I paint in all of the colors. Looking at a reference photo I sampled some colors from the sky, and loosely painted the sky background behind all of the other elements.
After I’m done with the color painting, I finish up the balloons with a black pen and fill them with white. This is done on a layer between the lettering and the rest of the artwork. Likewise, the panel borders are drawn above the art (in this case with a block charcoal brush)
I showed some of this to a local group of friends who are also working on their own comics, and since the layers and blending modes were a bit mysterious to them, I thought it would be a good subject for a tutorial…
This art was all done in Procreate on my iPad, but the technique would apply the same in all digital paint programs like Photoshop.
If this was interesting, and you would like to keep up with what I’m working on, please signup to my email list!
When I first played Dungeons & Dragons as a teenager, the first adventure was the Keep on the Borderlands. The monsters were in an area of the map called The Caves of Chaos! I have a lot of great memories of those years, so when I started thinking about designing some 3D printable terrain for table-top gaming I naturally started think of those caves….
There are a number of kickstarted companies that are selling .STL files for 3D printing. I realized when I started checking them out, that the gaming community has eagerly adopted this technology, and there might be an opportunity for me in this area.
Before 3D printing, a company called Dwarven Forge was already making a very high-quality hand-sculpted and hand-cast resin terrain for gaming, but it is very expensive. What I noticed right away about the designs from these newer companies is that they were basically copying the designs of Dwarven Forge– The tiles were all 2″ squares, about a half inch thick, in all sorts of configurations to help you layout your dungeon.
However 3D printed PLA plastic is a lot lighter than Dwarvenite resin… So the 3D printed pieces have to be clipped or glued together so they don’t get scattered all over the table. I felt that the designers had failed to approach the problem from scratch with the strengths of 3D printing in mind. On top of that, the Caverns and caves were all rectangular and ugly….
I decided that I would start from scratch. One of the strengths of 3D printing is the ability to create complicated shapes that would be difficult or impossible to create through traditional manufacturing. I wanted to build complete pieces that were ready to paint and play, with no assembly. Instead of squares, I started with a hexagon and began to calculate the number of possible passageways that could come in and out of a 6-sided tile.
The biggest tile that I can print on my Printrbot is 6″, though that is pretty small compared to a lot of FDM printers, which would be big enough to not get knocked over during play. Since it doesn’t have to attach to the other tiles for stability, That gives you the freedom to rotate the tiles and quickly reconfigure the game map. Because the 3D print is starting from the ground, and there is no need for the additional structure to clip tiles together, I decided to make the floor 1/8″ thick–thick enough to be sturdy, but not wasting plastic.
I kept the 2″ standard for the openings of the passages, and the 2″ overall height (taller than that interferes with visibility of the miniatures).
My wife and I visited Cumberland Caverns in McMinnville Tennessee, which is the largest cave complex in our state, for some inspiration.
Once I was back home in the studio, I opened ZBrush and created a template for the tiles, ensuring that I could make all of the tiles mate up perfectly when printed.
I ended up creating 22 Hex tiles, which could create and endless cavern across the tabletop. The tiles print with no support, and require no assembly.
Here is just a quick sample of the types of cavern layouts you can create:
Once I had the pieces sculpted, I decimated the models to create a high-resolution polygon mesh, and exported the .STL files.
Edit: I have gone back an added some Cave Entrances as well as Hex rings with OpenLOCK and Magnetic connection (because people kept asking for it), and an OpenLOCK compatible dungeon entrance so that you can connect these Caves to the rest of your dungeon:
If you are a gamer, and would like to print your own endless caverns and caves, you can get the set of .STL files here:
Another work-in-progress of my Hyena villain. I’m just learning to use Fibermesh in ZBrush, but I think looks pretty cool!
I was setting up a Matter Control Touch to run my Printrbot Simple Metal so that I don’t have to have my computer connected to it, and I had to give my printer a nickname. I named it “The Hot Mess”.
The reality of 3D printing is that for every really cool awesome print that I can’t wait to show everyone, there seems to be half a dozen failed prints and wads of PLA spaghetti…
I guess that’s why it so exciting when it turns out nice.