From print to paint: My Alien Pumpkin

I started by printing the pumpkin in PLA because it’s easy to work with and a good choice for decorative projects. Since I wanted to use the finished model as a candy bowl later, PLA also felt like a practical option for this build.

For the print settings, I used a 0.12 mm layer height as a good balance between detail and print time. I set the model to 2 walls and 5% triangle infill, which was enough because this piece is mostly decorative and doesn’t need to handle any heavy нагрузка. I also used standard tree supports to help with the more complex shapes.

My original plan was to print everything in a skin-toned PLA and finish it with a simple paint job. However, I ran out of filament halfway through the process. Instead of scrapping the idea, I used that problem as an opportunity to change the final concept.

After running out of skin-toned PLA, I decided to rework the top part of the model. My neighbor had an SLA printer available, so I printed the top of the head separately using that machine.

Because I didn’t have enough matching filament left for a consistent color approach, I decided not to chase the original look anymore. Instead, I changed the direction of the project and turned it into a darker, creepier version. This ended up working even better for a Halloween-themed piece.

At this stage, the main goal was to prepare the model for a full repaint and think about how to make the sculpted details stand out more, especially the veins and the slimy organic shapes.

To build the new look, I primed the entire model with The Army Painter Colour Primer Matt Black. This gave me a deep, even base and helped set the dark tone for the final result.

Once the primer was dry, I began working on the base painting. Since I wanted the model to look more eerie and organic, I moved away from a clean or realistic palette and started building a darker color scheme instead. My goal was to make the pumpkin look more sinister and to bring more attention to the bulging veins and surface texture.

For the main paintwork, I used Vallejo acrylic paints and mixed different shades of green, blue, brown, and red to create a darker, more unsettling finish. Rather than relying on a single flat color, I layered and blended tones to add variation and make the surface feel more alive.

A Green Stuff World wet palette (10183) was especially helpful here because it kept the paints workable for longer and made blending easier. I used the darker tones in the recessed areas and around the details, then added lighter highlights to bring out the sculpted texture and give the model more depth. I used nylon brushes in sizes 8, 10, and 12 for painting the different areas and details.

The finishing stage was all about enhancing the creepy look. I focused on emphasizing the veins and adding slimy, organic-looking effects so the final result felt more dramatic and Halloween-ready. To finish everything off, I applied a coat of clear glossy varnish spray to give the model a shiny, slimy-looking finish.