Model: Berliner Dom
Scale: 1:300
Publisher: Schreiber-Bogen 630
Designer: Przemyslaw Tabernacki
Today, I received Berliner Dom in the mail from Lighthouse Model Art. When I broke the wrap and separated the five brown card sheets from the printed pages, my breath was taken away. Tabernacki has done it again! Like his Frauenkirche Dresden and St. Michaelis in Hamburg models, this one is outstanding. The model was commissioned to commemorate the church's 100th Jubilee.
The artwork has to be seen to be believed. Just as one example, the colours and detail of the religious painting in the tympanum (the arched panel above the main door) is so beautiful.
Two things give this model top marks for me. First is the attention to shadow detail. A door or pillar may be printed two-dimensionally, but the offset of the shadow makes the feature literally pop out in the third dimension. Tracery details are meticulously picked with highlight and shadow.
Second, the colour. The patina of metal and the age of stone is realistically printed on the paper. A copper roof for example is depicted with a beautiful green colour of oxidation.
This model is stunning as flat printed sheets. I am preaching to the converted here on this site, but work like this reinforces why we model with printed paper.
J.L.
Scale: 1:300
Publisher: Schreiber-Bogen 630
Designer: Przemyslaw Tabernacki
Today, I received Berliner Dom in the mail from Lighthouse Model Art. When I broke the wrap and separated the five brown card sheets from the printed pages, my breath was taken away. Tabernacki has done it again! Like his Frauenkirche Dresden and St. Michaelis in Hamburg models, this one is outstanding. The model was commissioned to commemorate the church's 100th Jubilee.
The artwork has to be seen to be believed. Just as one example, the colours and detail of the religious painting in the tympanum (the arched panel above the main door) is so beautiful.
Two things give this model top marks for me. First is the attention to shadow detail. A door or pillar may be printed two-dimensionally, but the offset of the shadow makes the feature literally pop out in the third dimension. Tracery details are meticulously picked with highlight and shadow.
Second, the colour. The patina of metal and the age of stone is realistically printed on the paper. A copper roof for example is depicted with a beautiful green colour of oxidation.
This model is stunning as flat printed sheets. I am preaching to the converted here on this site, but work like this reinforces why we model with printed paper.
J.L.