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Holy Land Buildings
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These buildings are suitable for Palestine, Syria and most of the 'Fertile Crescent'. The fortifications are suitable for use from the late Bronze Age (which roughly parallels New Kingdom Egypt) to the Iron Age of the Assyrians and Babylonians. The pieces are also suitable for Caananite, Hebrew, Phoenecian, Philistine, Syrian, Assyrian, Elamite, Chaldean, Medean, etc.

This style of 'Ziguratted' castellation reappeared in the Achaemenid and Sassanid Persian styles and also in post-Crusader Islamic styles.and are suitable for periods from 8000BC to 2000AD at any location where adobe buildings exceed a single storey.

HL 25-20 is also suitable for use as a Colonial North West Frontier/Afghan watchtower

Review by Mark Wheeler published in the SOCTW Journal, Issue Twenty-three:

"...Recently received from Monolith Designs were a number of their "Holy Land" resin buildings. Described as 20/25mm, they do seem a little large for most 20mm figures I tried them with, but were ideal for the Wargames Foundry Isreali range. Cast in non brittle resin they are hollow but still hefty pieces with excellent mud brick and plaster effect detailing.

HL 25-11 is a two storey building complete with low balustrade around the flat roof around the base of which can be seen wooden rafter support detailing just jutting out, as if part exposed by the elements. HL 25-12 is a smaller version of this, with fewer doors and windows, and a plain, flat roof. HL 25-13 and 14 are small mud brick kiosks designed to fit on the roofs of larger models or to act as extensions when abutted to the side.

All of the above are finished with detailed mud brick or stone engraving whilst, last but not least, is HL 25-16, a plaster rendered two storey building with wood beam details at the windows and doors. All models are solid with integral (closed) wood panel doors and recessed but solid windows. The weathering effect is achieved by exposing wood rafter and "breaking up" the hard edges at structure corners is especially well done. My samples arrived ready painted to an exceptionally high standard by proprietor Steve Mussared, an additional service provided by Monolith Designs...."

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Holy Land Painting Guide
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Two methods can be used. For both methods, first undercoat the models with white primer and allow to dry.

Method 1:

  • Paint on a thinned layed of raw sienna oil paint then, while it is still wet, wipe it off with a clean, dry sponge. Repeat until the desired effect is achieved, then allow to dry thoroughly.
  • For mud brick buildings (or areas of exposed mud brick) this gives quick and effective results. To create more depth, drybrush with a mixture of raw sienna and white, then again with white.
  • For whitewashed buildings, wetbrush (drybrushing with a fully-charged brush) the required area with acrylic or enamel raw sienna and white.
  • When dry, repeat with white. If a stonework finish is desired, after the first 'wipe off' of raw sienna has dried, repeat the process with burnt sienna.

Method 2:

  • Using enamel or acrylic, undercoat the model with raw sienna and leave to dry.
  • Next, using vertical, even strokes, wetbrush a mixture of raw sienna and white, then leave to dry.
  • Finish off by wetbrushing white.

For both methods:

  • Any exposed woodwork is undercoated with acrylic or enamel burnt sienna and allowed to dry.
  • Finish by drybrushing with white then raw sienna then white again.

External decorative borders around buldings and around doors and windows are known to have been used by, among others, the Bronze Age Egyptians, Minoans and Mycenians, so it is not unreasonable to assume that buildings in adjacent areas would be any different. Allow the model to thoroughly dry, then lightly mark the edges of the borders with a pencil and ruler. Carefully paint to the line with thinned acrylic or oil paint. If desired, a second layer can be added to deepen the colour.

Alternatively, mask with smooth masking tape or frisket and airbrush the coloured lines. If using ink, apply several, very light coats to avoid blobbing and to to ensure proper coverage. If the spraying has been correctly done, the paint should be almost immediately touch-dry and the masking tape can be removed immediately.

Set aside to dry. To weather the decorative paintwork, lightly drybrush over it with white.

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