FDM Fantasy Ruins Printed Support-Free and Weathered

Oct 20, 2026 Last reply: 1 day ago 4 Replies
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Most tabletop ruins you come across lean on resin for crisp stonework, so a set pulled off a plain desktop FDM printer is a refreshing change of pace. iPaintSmallThings prints a Forgotten Towns collection of fantasy ruins in black filament at a 0.14 mm layer height through a 0.4 mm nozzle, and the whole set is fabricated without supports, with thick bridges switched on in the slicer. Getting ruin geometry through FDM that way, straight onto a Mordheim board, is the kind of result that makes the usual resin argument look shaky.



The finishing sequence is thorough. A zenithal prime starts with gray automotive primer sprayed at a 45-degree angle, then white paint straight down from above. Stonework gets airbrushed tints of red and light blue, and wall sections are built up with a stippled sepia and white mix for a stucco effect. Wooden beams and boards are coated in heavily thinned burnt umber with a broad flat brush, while roof shingles carry patches of red, blue, and yellow. Metal accents receive a jet exhaust color, weathered with stippled rust paint.



The step that stands out to me is the finisher: a very heavy pass of parchment paint applied with a large utility brush. Per the maker, that heavy drybrush unifies the separate elements and accentuates the details, and on ruined masonry that heavy-handed approach reads as mortar and dust rather than a shortcut. A strong tone wash is then airbrushed into shadows, crevices, and lower foundations to show grime.



One open point: it is not stated how those thick, support-free bridges actually came off the printer, and no fixes or failures are mentioned anywhere. Credit where due, the maker also thanks the designer of the models and a paint company for supplying the acrylics, and describes the pieces as suited to Mordheim, Frostgrave, Sunrot, Turnip28, Age of Sigmar, and more.



Project by iPaintSmallThings. Watch it on their YouTube channel:

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Printing an entire ruin set with zero supports seems like the boldest call here. In my view it trades a little geometry freedom for clean wall faces with no scars to fill before priming, which pays off once the stucco stippling goes on. Enabling thick bridges in the slicer appears to be the piece that makes the support-free approach workable on wider spans.

The stucco texture on the wall sections looks really convincing. How exactly was that effect applied? Was it brushed on, sponged, or something else, and did the stippling happen before or after the airbrushed stone tints went down?

From what the maker shared, the wall sections receive a stippled sepia and white mixture that creates the stucco effect, and the stonework itself is tinted with airbrushed red and light blue acrylics. The order in the process runs from priming to the airbrushed tints, so the stippling sits on top of that stage. Anything beyond that about technique has not been stated.

For the shingle patches, I would try laying a warm pink coat under the yellow patches before they go on. Sitting on a darker primed surface, yellow can read a bit dull, and a pink undercoat tends to make it glow without hiding the patchy, mismatched look. It would take almost no extra time on the next piece in the collection.

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