Barrel Talks – Golden Demon Edition: Florian Wienand
The Underhive has seen many legends, but only a handful rise to Golden Demon glory.
Florian Wienand did exactly that — taking first place in the Necromunda category with a diorama that stunned both judges and the community!
And if you want to see his award-winning piece the way he intended it to be seen — with the right lighting, color balance and detail — you can view it on his Instagram: florian_wienand_art
The Artist and the Winning Project
Photography by Florian Wienand. Artwork and image rights belong to the artist.
Florian, we’ve seen your stunning Golden Demon entry — now let’s meet the person behind the brush. Who are you, and what’s your story?
Usually when people ask me who I am, I introduce myself as a mathematician. But of course I am also a miniature painter. I started back in 2010, when I first read a ‘How to paint citadel miniatures’ book and was instantly hooked. Since then I've won a Youngbloods trophy, painted two or three armies and of course just won a golden Golden Demon trophy.
First of all — congratulations on your Golden Demon win! How did it feel to hear your name called?
I will never forget that! There was a flash of my mini on the big screen just before the name was called and then everything was just a blur. I never could have imagined I could go toe to toe with Hendarion, Ben Komets and NRM and win a Gold trophy but it really happened. It's an experience that completely justified all the hours invested in the project for me!
Tell us about the winning entry. What was the concept behind it, and why did you choose House Ty as your subject?
Oh boy, where do I start 😁 I think the very first spark was that I wanted to create something very unusual; Something people have never seen before and that will genuinely inspire. Necromunda has such a nice palette of whacky models and the ones from House Ty are no exception. They really invite you to be bold and show different emotions, a different painting philosophy and lots of strange patterns that you would just not see otherwise. From there, I did my best to make no creative shortcuts and portray these models in a dignified but still grim tone.
Before or during the project, did you dive into the lore of House Ty? Were you trying to stay true to the Necromunda setting — especially the aristocratic vibe — or was it more about building your own narrative and atmosphere around the models?
Very good question! I did read a bit into the lore and was very concerned with creating something that is true to the underhive setting. I really wanted to balance the beauty of a japanese garden with the gunk of Necromunda. On that note, the model with the white robe is actually barefoot and it really made my fantasy go wild: How could such a place in the Necromunda universe look like, where you can walk barefoot? In the end I came up with this decaying run-down techno-japanese garden. Also I wanted to stay true to the GW IP and respect the japanese culture as a whole and avoid clichés, so there was a lot to balance there.
In the Guilders-Ford Radio podcast, you mentioned that the diorama took around 300 hours to complete. That’s an incredible commitment. What did your day-to-day look like? Did you paint after work? Did you ever lose momentum, or did the motivation stay consistent throughout the process?
I finished my exams at Uni and then immediately got to it, after I conceptualized the idea over weeks before. I worked nonstop on it, often deep into the night, losing sleep and sanity. I was in a mania in which I did absolutely nothing else, even eating became an afterthought.
Regarding motivation, there were roadblocks but I got through them just fine. There was a moment when the resin pour went haywire and I literally couldn't take the strain anymore and I broke down for a couple hours but I quickly got back on my feet. I really found out through this project that it really is not only about technique but also so much about the mental game.
“It really is not only about technique but also so much about the mental game”
— a line that resonates deeply with the world of Necromunda, a place where willpower, nerve, and mental resilience often matter just as much as any weapon.
So, what happens to a Golden Demon winner once the dust settles? Is your diorama proudly shown off somewhere, or just quietly sitting in your studio? And would you ever sell it — or is it too close to your heart?
Again such a nice question! It currently sits in a showcase in my home and I keep looking at it every day with love. It's such an amazing source of pride and love to me. But there is a plan to hand it over to a museum in the future. While I love the piece, I think it would be only natural to have it accessible to everyone. I think if art could talk and communicate what it wants, that's what it would tell you.
Storytelling, Details & Presentation
You’ve also spoken about the symbolism and storytelling that can be embedded in miniature art. What story or message were you hoping to express through this diorama?
The message I wanted to deliver is ‘not everything needs to be blunt and violent’ and ‘dare to try something new’. The piece is full of ideas and mini-stories and really is an attempt to create art. With it, I also wanted to make a counterpush statement that everything needs to be sterile and smoothly glazed in painting which is a common sentiment among aspiring pro painters in my opinion.
Regarding the story, it goes something like this: Those two figures live in a world full of filth and death. Yet they do their best to live in it with pride and display their values through whichever means they have. I imagine they built the pond, water elements, fence and stacked the stones themselves. They know it will all collapse sooner than later. But while it lasts, they tend to it. And that’s what gives their life meaning in the underhive.
The specific moment portrayed shows how they and the two rats just became aware of intruders to their sacred garden.
What do the judges see in person that we miss in a single online photo? Is there something subtle in the composition that only reveals itself up close?
Let’s look at the details — the skull in the pond, the rodents, the bamboo gutters, the fencing, the tree. What’s happening on the reverse side of the diorama? Could you walk us through some of these elements and their meaning or function?
Yes I think there is quite a lot! For instance the colors of the tree. The tree was airbrushed with magenta, cyan and greens, while in the photos you can only see the golden brown. Also the leaves on the base. They have fallen around the stump of the tree and become less, moving outwards. Or for instance the moss in the water. There is quite a lot to discover!
I think I want to draw attention to how everything is connected thematically on the base. There is a sense of duality in the miniatures, the rodents and the fishes and (!!!) the base itself. The fence divides the diorama in an inanimate part with a bit of life in it (rodents) and an alive part (the minis) with death in it (the tree), following the Yin Yang theme. I will break down the complete symbolic analysis on my Instagram when I have time.
You’ve also raised an interesting point about lighting at events like Golden Demon — how it can misrepresent a piece. Could you talk about that? Do you feel your Instagram photos better reflect how the piece was meant to be seen?
Comparison of both photos—on the left, the photo shown on the Golden Demon website; on the right, the original from Instagram.
Absolutely! Lighting is such an important factor. It can totally change the mood of a model. Just take my photos. One looks like a foreboding intrusion into a sacred space, the other like a leisurely stroll in an autumn garden. But I get that they edited the photos for social media. It's irritating but I have no clever solution to this yet. For some models their approach works, for others it doesn’t.
The Craft, the Mindset & What Comes Next
Were there any parts of the model that were particularly difficult — or particularly satisfying — to paint?
For me a really satisfying part was the hair of the model with the sword. The creamy color transition is quite unique and was really fun to paint. But the freehands were a bit of a pain. It took around 8 iterations of trying and revising to make them look good. And of course you second-doubt your decision to do them all the time, as this is rather uncommon for Golden Demon.
Do you plan your pieces in advance — with sketches, a color palette, and composition — or do you prefer to let the project evolve naturally as you work?
A mix of both! One should definitely have an idea in mind of what you want to do and achieve but sometimes you need to go with the flow, accept the material or just improvise. For me the original sketch was quite different from the final product and that's just how it goes sometimes.
From conceptual sketch to final result
Was this your first time entering Golden Demon? If not, how many times have you competed — and how did this experience compare to the others?
In total I competed three times. Two times for Youngbloods in 2012 and 2013 and then of course this year. Back then the mini world was very different. There was no abundance of tutorials and you needed to figure out so much for yourself. For instance in my first competition I didn't know the plinths were made from wood, so I made one very wonky one myself from clay. That entry didn’t win anything 😁
Also the pressure increased massively. Golden Demon is no longer a nice Hobby event but a global cutthroat competition with drama and heartbreak. But that's not necessarily a bad thing. It just raises the stakes and makes winning so much sweeter.
Did you feel any pressure knowing the level of competition? Or was this more about personal artistic expression than winning a trophy?
Oh, the pressure was intense! I almost fainted when I saw I would go up against Ben Komets. And on the day before handing the piece in, sawing NRM’s models gave me the rest. I set out with my piece to express myself in the beginning but the competitive element was very present and shaped the creation of my piece. I’m sure my models wouldn’t be so refined without the competition and want to prove yourself.
In the interview you gave on Guilders-Ford Radio, you made an interesting distinction between “miniature painters” and “miniature artists.” Could you tell us more about that? Which of those labels best fits you — or do you feel like both?
Very good! For me a miniature painter strives to paint a miniature as good as he can, while a miniature artist tries to express ideas and emotions through minis. I think the natural progression is to start out as a painter and then you become an artist, once you understand the medium and develop the ability to articulate ideas through miniatures. I would categorize myself as a miniature artist, but I can still appreciate a good paintjob and push myself, for instance on the freehands and faces of the models to paint as well as I can.
Below is a picture of Roman Lappat. Notice how the brushwork is loose but the emotions high. This doesn’t mean he has poor brush control. It means he has moved on from trying to prove his skills and reached a very mature point in his journey as a painter where he only paints how he likes.
Roman Lappat’s work
Do you create full backstories or lore for your pieces, or is your focus more on the mood, composition, and technique?
Definitely just the latter! I think creating your own pieces of lore to an art piece can sometimes backfire. Pieces of art should be an invitation to think about what's going on and not scrutinize the artist's own interpretation. I also don’t usually add music or other exogenous elements to my pieces nowadays, if they don’t add to the viewer experience.
We know you don’t play Necromunda — but do you play any tabletop or digital games at all? Or is miniature painting your sole entry point into this world?
I do have a Custodes and Tomb Kings army! But they have seen very little play. I'm definitely more of a painter than a player. I enjoy chess quite a lot! For anyone into it: Have a look at the Elephant’s Gambit. That's my painting style as a chess opening 🤪
What would you say to someone who wants to take their painting from “good” to “competition-level”?
Find your own voice. Use tutorials and learn from them but don’t copy without thought. Focus on storytelling and emotion. That's what separates a painter from an artist.
Also give coaching a try and harass some pro painters for advice. They are most often happy to help!
Are there any artists — from the miniature hobby or beyond — who influence your work or inspire you creatively?
Of course. Ben Komets was a major inspiration and an idol of mine. He always produces something interesting and introspective. And oh my god, just look at his Necromunda entry. The creativity was just off the charts. He converted his entry with a literal wallnut. I think his style is nowadays really underappreciated but the mini-scene wouldn't be the same without him.
Also Wintergatan and the watchmaker Henri Maillardet! Just look them up.
What’s next for you? Do you plan to enter Golden Demon again in the future? And if so, will it be another Necromunda project — or something entirely different?
I am working on a mega-project now with which I want to go for the Slayer Sword in two years but it's still top secret 😉
Tell us about a funny, weird, or unforgettable moment from your painting journey — whether at your desk, at an event, or online.
I think, for everyone who was around during that time, the Painting Buddha era of miniature painting was just amazing. It was an Initiative by Michael Bartels and Ben Komets back in 2013 that aimed to bring pro-level miniature painting tutoring out at an affordable price through DVDs. Sadly, it wasn’t financially sustainable, but it really defined the space back then.
Michael Bartels is hard to get in contact with today. I hope that, wherever he is, he knows that one of his students just got a proper Golden Demon.
Do you listen to music while painting? If so, what gets you in the zone — any specific genres, albums, or artists?
Oh there's one song I like to share. Technoir by Pertubator https://youtu.be/NWQKiefZ-XI?si=2YnsnHyy390HT_pA and the AMV was such a vibe while painting. It probably made me spiral into the painting mania even deeper but I don't regret anything. Also music by the artist Paradelous. They are excellent if you are in a deep competition mindset.
And finally — you know the drill. Create your own custom Necromunda tactic card. Give it a name, write the rules, and leave your mark in the Hive.
Thank you for your time and for the great interview. Thank you also for contributing to the promotion of this excellent system.
Thank you aswell! Such great questions. I’m looking forward to being interviewed again by you in the future :)
And in the end, maybe the real prize wasn’t the Golden Demon trophy at all…
Florian’s girlfriend secretly prepared a “backup trophy” — just in case things didn’t go as planned — a small, heartfelt reminder that the greatest victories aren’t awarded by judges, but by the people who support your passions and believe in you long before you succeed.
