Building an Aztec Cityscape – Part 3: Revetments, Lily Pads, and Cattails

The city of Tenochtitlan, the capital of the Aztec Empire, rose out of Lake Texcoco on an island. This island was connected to the mainland by a series of causeways. Reclaiming land from a water body usually involves building up a surface of large stones on its bottom. These would build up into a dry surface, and would usually be supported and protected by revetments. In the case of my Aztec cityscape, the pavements’ sides that I made of MDF had nothing on the edges (except paint) next to the waterline – and I thought that needed a bit of work.

Speaking of work and the pavements, if you are new to this 5-part series on my Aztec cityscape build, you can view the previous two parts by clicking on these links:

This post will cover the revetments that I made for the cityscape, as well as some HO scale lily pad and cattail bases that I added as eye candy (and possible obscuration of gaps and even MDF warpage). As before, I will similarly share my WIP photos as well as my lessons learned.

Readers of this blog know that I like a plan before building anything. I needed to figure out how many revetments to build – as I may or may not use all of my causeways or even my pavement tiles. Also, I had to figure out the sizes of inner corners versus outer corners (since they are differently sized up against the pavement tiles – so you just need to measure the side against the tiles).

My updated plan for building the cityscape.

I ended up following the same type of build and painting scheme as I did for the causeways – after all they had to match too aesthetically. As far as quantity, I ended up deciding to build 48 on 1/2″ strips of balsa. The breakout from the plan above came out to be:

  • 6″ sections (10)
  • 5″ sections (10)
  • 4″ sections (10)
  • 2″ sections (4)
  • 1″ sections (2)
  • External 1″ x 1″ corners (8)
  • Internal 1″ x 1″ corners (4)

I made templates from 3′ x 5″ cards and used them to size and cut up some basswood (balsa like but stronger and denser) into the strips for gluing the rocks.

The basswood.
Here you can see my templates, and the WIP. My inventory is building up in the top left.
After I cut a few, I dry-fitted them around a couple of pavement tiles and compared them to the causeways as well for width. It looked good at this juncture to continue.

Once the bass wood pieces were all cut, the gluing began, similar to the process I used on the causeways. Each pebble had to be glued one at a time in 2-3 courses of different sizes – while letting each course dry before moving on to the next one. In terms of pebbles, I estimate that for the 184 linear inches that I put about 10-15 pebbles per inch. That means for the revetments alone I glued an estimated 1,840 – 2,760 pebbles/rocks!! Add in the six two-sided foot-long causeways, and that makes an estimated 4,720 – 7,080 pebbles that I glued down. Ok, now I know why these took so long!

Mid-project showing different levels of rock-laying completion. Here are 48 – including two more 6″ prototypes.
Close up shot of progress later on in the project.

After all had dried, it was on to painting the two-tone colors, and adding slime and shade to the rocks.

After the two-tone priming.
Completed revetments.

Next, I made some lily pads and cattails on some acrylic bases. These were HO scale from JTT Scenics that I got on Amazon. The link for the lily pads is here and the link for the cattails is here. I wanted to be able to further differentiate the lake and to have some verticality of structure along the waterline – such as you see in the picture below.

A painting of Cortes at the Battle of Tenochtitlan (from Britannica). Note the cattails.

I bought some 2″ clear acrylic bases years ago (2017), and had some in storage. I thought they would work well for the lily pads. They come with removable protective paper over them so that they had no scratches.

Acrylic base – there are many suppliers on Amazon. Here is where I got mine.
The lily pads here are upside-down. The lily pads and their flowers are made on thin wire wound together – so if you cut the wire they all just fall apart. Initially, I used Gorilla Glue on the prototype, but decided to change course and fill the bottom of the wires and the holes with Vallejo “Transparent Water” Environmental Effect. Being careful not to overfill, this worked well and allowed me to cut the wires afterwards with no problems. I then used the water effect on the surface of the lily pads’ discs.
The lily pads after the surfaces got the water treatment. They are still pretty clear, and will be good on either a water or a swamp mat.

The cattails bases were basically half-moons I cut away (removing the center hole) with my scroll saw. Then I drilled holes to put 4 in each base. I used the Vallejo “Transparent Water” Environmental Effect in a similar way as the lily pads, and after I cut the cattail wires I placed the excess on the base as cattails that had fallen over.

The product – I had 24 cattails that I put on 6 discs.
Finished cattail bases.

Now, let’s see how they look on the gaming mat!

Pavement with revetments.
Revetments, lily pads and the cattails on the mat.
Extreme close up shot of the intersection of pavements, causeways, revetments, and cattails.

My goal with these was to create a visual distraction form the MDF edges. I think that they work fine – and of course you can let me know in the comments section if I am off-base (really, you can) or how you might have proceeded differently. Again, I tried meet the Aztec criteria of symmetry.

Once again, these all more of my entries into Dave’s Season of Scenery Challenge!

Thanks so much for looking – I hope it was helpful or at least interesting!

My next post will cover Cortes’ War Wagons that he employed with his troops in their breakout/ escape from Tenochtitlan during La Noche Triste.

For all of my previous posts on games, units, and other projects for my 16th Century Spanish Conquest supplement for Feudal Patrol™ – “Civilizations Collide” – please see this page.


  1. Basswood (1/16″ x 3″ x 24″ pieces) (on revetments)
  2. Ashland Decorative Filler (rocks) (on revetments)
  3. Elmer’s PVA Glue (on revetments)
  4. Vallejo “Surface Primer Grey” (on revetments)
  5. Reaper MSP “Black Primer” (on revetments)
  6. Citadel “Nuln Oil” (shade) (on revetments)
  7. Vallejo Environment “Slime Green Dark” (on revetments)
  8. JTT Scenery Products HO Scale Lily pads
  9. Gorilla Glue
  10. Clear 2″ Acrylic Bases with center holes
  11. Vallejo Weathering Effects “Transparent Water” (on acrylic bases)
  12. JTT Scenery Products HO Scale Lily pads

Building an Aztec Cityscape – Part 2: Pavements

An Aztec cityscape gaming table would be incomplete without the use of proper pavements. Tenochtitlan was not built to look hardscrabble. These pavements would need to go under the massive buildings I had to represent the city of Tenochtitlan, the capital of the Aztec Empire.  This post will cover the pavements I made for the cityscape. As I shared in my previous post, Building an Aztec Cityscape – Part 1: Causeways, Lifting Piers, and Removable Bridge Sections, I will similarly share my WIP photos as well as my lessons learned.

Many contemporary images of Tenochtitlan show a brilliantly white city. I am not convinced that this was its actual appearance. Much of the rock used would have been basaltic or limestone-like in quality. Both are subject to oxidation, and turn brownish-grey over time. That would be particularly true for pavements that were exposed daily to the intense rays of the sun. The painting below reinforced my decision not to go with a white/bleached appearance of stone structures for this project. I went more brownish/grayish.

A painting of Cortes at the Battle of Tenochtitlan (from Britannica). Note the brownish appearance of the masonry.

As with the causeways that I built, I used the MDF sheets I bought from Home Depot. They were 1/4″ thick sheets of 2′ by 4′ that Jeff Smith helped me to cut into ten 1’x 1′ and ten 6″ x 6″ sections. Then I laid them out to see if my initial layout concept would work. It did. But, unlike the causeways, I had an idea that the pavements should look weathered, and have some patterns sculpted onto them – Aztec patterns.

A few months prior I had learned from a friend in Maryland (Greg Priebe) that he had a surplus Aztec Roller from Green Stuff World (see it here). I was deep into painting the figures that I had at that point – but I traded some Ral Partha Vikings to him for it – with some idea that I would use it when I got to the point of building a cityscape – somehow. (THANKS GREG!!)

I was not going to like just having the MDF just be painted, I wanted a more tactile, almost 3D effect on them.

However, we are talking about 15 square feet of surface! I considered using green stuff and Apoxie Sculpt (both too expensive and potentially difficult for a huge build like this). I considered using modeling clay and then baking it and passed as that would end up potentially with either MDF on fire or a cause for my wife to terminate my existence for using her stove or both. After perusing YouTube for some ideas on sculpting on the MDF, I found this video from a guy named Luke in the UK where he used DAS clay mixed with PVA glue to use with Green Stuff Rollers. I decided that I would give that approach a go. I bought this DAS in white at Michaels.

Before I started, I needed to test and practice with the roller itself. It has a rectangular pattern, but it is a roller. Therefore, I would need to know where to start and where to stop. The solution came in borrowing some of my granddaughter Tabitha’s Play-Doh and marking a start and stop point on the roller with a Sharpie (and then returning the Play-Doh of course). This also let me figure out how large the imprint would be.

The roller pattern on Play-Doh as a test pattern.

The next step was to figure out the marking/sculpting plan for each pavement. I decided that having 3″ x 3″ squares would work well with both the larger and smaller MDF tiles. I needed to have a properly-sized template for the Aztec roller such that I could center it on the sculpted tiles. I planned to do 6 large tiles with the roller imprint, 4 without, and 9 small tiles without the roller imprint, and one with it. The roller imprint would be approximately 3″ x 5.5″.

Designing the larger (1′ x 1′) tile with the roller imprint centered.

It was now time to, well, get all messy and sticky with DAS and PVA. I used a smooth pastry roller (my own thank you not my wife’s), and a carpenter’s square (also mine!) to smooth out the DAS/PVA as well as to score lines in the mix at 3″ intervals. I used separate plastic tubs to mix the DAS/PVA and to clean my tools.

A tile without an imprint.
This shows how I sculpted the tile surfaces for the roller. The DAS/PVA mix is on top – and I used a roller and wet fingers to smooth the top. Then I marked off 3″ squares and drew the edge of the carpenter’s square across as a tool. If there was to be an imprint, I placed and traced the template as you see here. Then, I would use the Aztec roller to make the imprint.
An example of the rolled imprint. It was not always perfect, but I was able to smooth out the edges as best as I could. I expected to be able to make them work – and in the end they did. This was the worst example – I got better over time. In any case, when I was dry brushing I was able to make all look pretty good (though you can be the final judge).

The roller worked fairly well, though there was a learning curve to be sure. I definitely needed to have a tub of water, a brush, and microfiber towels to clean it (and my tools) constantly. The DAS/PVA on the MDF was left to dry over 24 hours. On a few of the larger tiles, I was surprised to see some of the MDF had a bit of warp from the drying clay/glue combo. The smaller pieces had none. Lesson learned. Certainly, finding enough flat surface for all 15 square feet to dry was not easy. I ended up using multiple card tables in the cellar. Yes, the wife was annoyed again. This whole process used up three packs of DAS – that’s 3 kilograms/6.6 pounds – of the stuff.

Drying tiles.

Once they had dried, the next question was how to paint them? I decided to use up my cans of Army Painter Strong Tone and Soft Tone (the dip), as they would be otherwise gathering dust in my paint shed. They theoretically would provide a bit of protection as well. Again, I also needed 24 hours of drying after application – yet again.

The Army Painter “dip” drying.
After the dip dried. I was happy with the way the pavements looked, except for the glossy effect.

Normally, I do not use spray varnishes, but these large pieces were good candidates for a spray of Krylon matte varnish. It was warm outside, so I gave them a coat. All went well – until some of the pieces – mainly one – started bubbling up like a cheese pizza. AHHHHH!

From what I could figure out, that was caused by the aerosolized solvent in the can vaporizing in the DAS and trying to release through the varnish and the dip surface. Luckily it was only on one large tile, but that tile took a rework and made this last at least a week or two longer as I tried to find the right combination to recreate a similar color. This took me into mid-July.

More drying time needed! Hell, drying SPACE. 15 square feet to go on a 24 square foot mat is a lot!

I then brush varnished and shaded all of the tiles. At this time I moved on to dry brushing the imprints with Citadel “Astorath Red”. I also darkened the edges with DecoArt “Raw Umber”. The tiles line up together on the lines nicely. Though some warp is visible, it is not horrible. I also went over all of the tiles and shaded them as needed so that the colors were similar and no untouched DAS/PVA was visible.

A comparison of the imprints before and after on the pavement tiles.
All six tiles with imprints.
Close up shot of a completed tile.
An imprinted tile with some Aztec warriors for comparison.

Of course, when you see the completed cityscape, you will be able to better judge how all of these came out. As they are modular, I should be able to use them in many ways. They certainly meet the Aztec criteria of symmetry. Also, these all can be part of Dave’s Season of Scenery Challenge!

At this point in the project, I noticed how the edges of the tiles were a distraction and needed some attention. I thought that seeing bare 90 degree edges and MDF sides coming out of a lake (or swamp) was a less than aesthetically correct situation for my cityscape. People would have built the city up from the lake – and that would have involved reclaiming the lake as dry ground. How? Well, I am sure that the Aztecs would have used slave labor to haul and deposit tons upon tons of rocks on the water’s edge.

My fix was to build some revetments around the cityscape’s edge plus some lily pads, and cattails – which will be the next installment in this series!

I hope that you enjoyed this part 2 and that you stay tuned for the rest – let me know your thoughts in the comments section and I appreciate your giving this a read!

For all of my previous posts on games, units, and other projects for my 16th Century Spanish Conquest supplement for Feudal Patrol™ – “Civilizations Collide” – please see this page.


  1. 2′ x 4′ MDF sheets – 1/4″ thick
  2. White DAS Air Dry Modeling Clay
  3. Elmer’s PVA Glue
  4. Army Painter “Strong Tone” (the “dip”)
  5. Army Painter “Soft Tone” (the “dip”)
  6. Krylon “Clear Matte” (spray varnish)
  7. Army Painter “Mid Brown” (wash)
  8. Citadel “Agrax Earthshade” (shade)
  9. Americana “Bleached Sand”
  10. Army Painter “Strong Tone” (wash)
  11. DecoArt “Raw Umber”
  12. Citadel “Astorath Red”
  13. Vallejo “Airbrush Thinner”
  14. Vallejo Mecha Varnish “Matt Varnish”
  15. Citadel “Nuln Oil” (shade)