IHA-mag-001-201707

CONTRIBUTORS

Marion Ball needs no introduction, a Grand Master and winner of so many medals it would be easier to list those she has not won. We sat for a chat and she showed us a glimpse into her hobby life with her equally talented husband Alan

Matt Wellhouser hails from sunny California with a penchant for military subjects and was happy to provide the explanation behind his paint job on this iconic Stormtrooper bust

2 The Illustrated Historical Figure Artist 07.2017

Maria Alberta Iaia is a prolific figure painter from Rome whose subjects of interest are varied, in this issue she provides a glimpse into her process for painting a beautiful bust of a somewhat flawed figure and cult hero, Lawrence

Sergey Popovichenko is a Russian Artist whose style is instantly recognisable for its gritty realism and brutal characterisation! A box art producer for several, high quality, figure companies specialising in historical pieces

David Powell is an Ben Curry is a figure incredibly talented painter whose and humble artist development has from Los Angeles been astounding! In a series aimed at Here he paints for covering the BASICS us Nuts Planet’s he explains his process Saladin bust, the for painting the most best painted version important part of any I have seen in my kit, the face! opinion. Ben leaves no stone unturned in this account

Paul Homer is agood friend, hobbyist and rookie painter who in a short time has developed somewhat of a obsession with all things Latorre and here provides us with an expose on the legendary Raul Garcia Latorre!

WELCOME

H

ere at e Illustrated Historical Artist, we really wanted to create something that went beyond a coffee table Art book or magazine. We wanted to create something both inspirational and aspirational. We approached the magazine design in such a way that it’s content should be useful to painters of all standards. Not only that but we hope that the quality of its design and layout makes this a must have collectible magazine for anyone with an historical interest, so that over time it will become an invaluable resource. Why, How in addition to What

is initial release, as you have just found out, was FREE to download! We made the decision to do this so that you, the discerning hobbyist/Artist could see for yourself, without having to make the leap in faith and purchase a new product, the quality and depth of our content. To decide for yourself what is Figurementors possible with e Illustrated team are: Historical Artist. David Powell We believe it’s important that Dmitry Fesechko our collaborating Artists provide Jay Martin the Why’s and How’s to what Kristian Simonsen they did in addition to What Kyle Kolbe they did. is means that rather Nils Holmbergh than just being told What to do, you will develop your own Steve Bodycomb skill set through understanding Steve Cornish and learning how to replicate

We believe that the moment any artist decides that they wish to improve then they are embarking on a journey techniques and just as importantly why you do X over Y. Inside this first issue you will find in-depth articles by Sergey Popovichenko, Matt Wellhouser, David Powell and more. In addition we present an insightful conversation with one of the true legends of our little world, Marion Ball and a fellow hobbyist Paul Homer provides a knowledgable tribute to Raul Garcia Latorre. We hope you will thoroughly enjoy this our first offering and support us going forward, helping us to truly create a modelling magazine for modellers by

full of learning, practice, successes but more importantly failures. It’s remembering this concept; it will give you the newfound belief in what you are doing, it’s a journey we all hope to share together, through the website and here.

modellers. As you will see we have also encouraged our readers to send in their finished historical projects for inclusion in our Readers Gallery, it will be really interesting to see development in our readers style and skill over time. Just like our figurementors. com site, we aim to continue the theme that surrounds the fable of “e Journey”. It is an underlying tenet to all that we do, both in the magazine and on the site. We believe that the moment any Modeller/Painter decides that they wish to improve then they are embarking on a journey, a journey

influx of the war gamer, Games Workshop and the incredible Golden Demon competitions made the Fantasy genre the most attractive for many painters around the World. We hope that showcasing some of the greatest talents, presenting and challenging new techniques and liing the lid on the Historical genre we can breathe new life into this rich, historical tapestry. anks for being here! Let’s go!

Quality and depth

We sincerely hope you will enjoy today’s read and come back for more when we release the next issue. We will endeavour to offer a competitive price, a price that reflects the quality and depth of our new magazine. In many ways the love of fantasy along with the

Jay

07.2017 The Illustrated Historical Figure Artist 3

TAKE

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This issue’s Cover Story sees Sergey Popovichenko putting oil on water-based paint to create calming effects on Romeo Models Roman Commander,

sculpted byViktor Konnov


Cover story І Roman Centurion І Painted by Sergey Popovichenko

BRIEF HISTORICAL DIGRESSION he Roman Centurion is one of the most striking and impressive figures of ancient history. Don’t try to find any compassion in these people, War does not cultivate a gentleness of manners and wars of those times even more so. Absolute power over the defeated enemy gave the winner plenty of scope for the fiercest of rampant and

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very high. Near Dyrrhachium there were some 960 soldiers and 32 Centurions killed; near Pharsalia — 290 soldiers and 30 centurions, i.e. half of all the centurions of a legion, if not more, and a quarter of soldiers therein. Before a battle for Pharsalia,the old Centurion Kristin said goodbye to Caesar with the words “alive or dead, but today you’ll

basest lusts. It’s hard to remember at least one Roman commander, who acted graciously. e soldiers did not fall behind their commanders, and the centurions were no exception. During a merciless massacre, which resulted in the seizing of Avarice, the soldiers were indiscriminately murdering children, women, and the elderly — anyone who caught the eye and tucked under the arm, of course, the centurions, were not just simple spectators. e atrocious Caesar’s command “cut off the hands of all Ukseladun defenders” was undoubtedly executed under the supervision of centurions, and probably with their participation. To

thank me, Emperor”, because he knew what he was signing up to, and went fearlessly. Aer the battle near Dyrrhachium, Caesar was shown the shield of one of the Centurions, Scaeva, it was pierced in one hundred and twenty places.

the credit of the fighting centurions of Caesar, it should be noted thatmurder committed not in the battle, did not sit comfortably upon their shoulders.

Once during a seemingly friendly meeting, one such Centurion was supposed to kill one of the most tenacious and evasive of Caesar’s enemies, Comeau, stabbing him in the back, but the murderer’s hand trembled, “probably, – the author notes, – because such an unusual task touched him”. Sometimes in the rush of a battle, the centurion could lose his head and turn from a rational and prudent chief into a reckless

a centurion was not just a soldier but a leader which was supposed to be clever and rational enough, able to order and plan how to harm the enemy more but to lose less. He was obliged to have a “clear head” in combat situations, immediately taking into account all the changes, benefit from enemies’ misses and straightaway rush for help. He needed to be quickminded, alert, skilled in making rapid and correct decisions. ese cruel and greedy people were rather ambitious and envious. e rivalry between Titus Pullo and Lucius Vorenus had been entertaining Gallic legions of Caesar for a long time. e Centurion had

daredevil, who, being headless, not only led himself but also his soldiers to a certain death. Fabius for instance climbed the scary walls of Gergovia, he did not realise a definite and senseless death cavorted before him. Centurion sometimes happened to be reckless in his courage and perfectly brave as usual. Caesar, noting the loss of his troops, almost always allocated losses of the centurions: they were invariably

neither education nor a broad mind; “his thoughts usually did not fly beyond the moat the soldiers had created around their camp”. e Centurions from the 1st century BC, contemporaries ofVarro and Lucretius, Catullus and Cicero knew nothing about the intellectual trends and cultural values of that time. Herennius, who brutally killed Cicero, had no idea “what his hand was laid on.”

Reckless daredevil

Cruel and greedy people

e case when the centurion declined to participate in the battle under the pretext of a camp protection, firmly stuck in the mind of the Roman people as something out of the ordinary. Yet the Romans expected not only personal courage from a centurion, even a simple soldier could fight in epic battles. However,

Pic 3


Cover story І Roman Centurion І Painted by Sergey Popovichenko INTRODUCTION

I had painted this figure some time ago, and you could see it on the Internet however, the photos of the process had been kept waiting for the occasion until my friend Jay Martin offered to write an article for his magazine. What can be said about the figure? It is beautiful and one of my favourites. e sculptor Viktor Konnov created an impressive and remarkable image of the Roman commander and the 90 mm figure size allowed me to work out every detail of the equipment perfectly. e figure is manufactured by Romeo Models. I would say, the Centurion might well be considered a classic of military historical miniatures. PREPARATION

As a rule, the moulding by Romeo is of an excellent quality and the figure requires minimal preparation. However, this step is required if you want to achieve the best possible result. To remove moulding seams I use needle files, a knife with a replaceable blade, and fine-grained sandpaper. e figure surface is smoothed out with a round synthetic brush, clamped in a holder of a high-speed mini-drill. To make the fit of the figure parts perfect and secure I use metal pins at the joins

Pic 1

(Pic 1). For the following painting of such a figure, it is convenient to leave the arm with the shield not glued and do it at the final stage. Before priming it is necessary to degrease the surface and I do this with the help of white spirit. I fitted the figure parts with two component Poxipol, but you can use any kind of glue. It has easy-to-use pastelike consistency and becomes stiff in a matter of minutes. It takes not much but enough time to adjust the parts correctly. I prime the figures using matt grey primer spray Champion (Pics 2-5).

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Pi c


Pic 4

5

Pic


Pic 6

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Pic 7

PAINTING

Viktor Konnov has created a remarkable image of a Roman centurion. He looks confident, calm and gloomy. His posture seems to have come out of the battle with victory. So it is perfect for my favourite style of painting. I will use muted shades, add dirt, scratches on the shield, and of course the obligatory application of blood. Paints used: acrylic and metallic acrylic Maimeri Polycolor (Italy); oil paints Masterclass (Russia).

Pic 8

is time I decided to begin with a shield painting. It is painted throughout with acrylics. Having applied a base layer (Pic 6), I illuminated the upper part of the shield; I also highlighted the vertical bars on the inward surface (Pics 7, 8). It was achieved with a light shade of a base layer. I did it in strokes using an old brush and a piece of polyurethane foam. I wanted to make the shield dimensional and worn.

along the edging and umbo even darker. With a very dark tincture of a base layer using a piece of polyurethane foam, I add some texture and rubbing marks right upon the surface of the pattern. Base (acrylics): Burnt Sienna + Red + a small amount of White and Pic Black. Highlights: Base mix + more White. Shadows(acrylics): Base mix + more Black.

I used the same technique to make some parts darker. I tried to focus them in the upper part of the shield, along the edges and in an umbo zone Aer the emblem on the shield is painted, I will be able to work out final marks of dirt and emphasise the dimension/volume. en I did the painting itself. It is always a pleasure for me to paint a Roman shield. However,

Preliminary marking: Burnt Sienna + more Black. Working out and illumination: Yellow chre + White. e umbo is covered with an acrylic mixture of Silver + Black. Darkening was done with black oil paint, and illumination with pure silver acrylic (Pic 13). e shield trimming was painted with Bronze acrylic, the rivets and edges of the lines in Gold.

II

SHIELD

Pic 9

repetitive symmetric elements require precision and considerable periods of time. I began with making a schematic marking (Pics 9-11). Next, I mapped out the general shape, sizing and positioning of the feathers on the wings with a lighter mixture and illuminated other elements. e shades on the emblem I worked out with a great amount of black paint (Pic 12). When the emblem was ready, I made zones

It’s always a pleasure to paint a Roman shield

Pic 10

Pic 11

12

Pic 13



All flakes of the jambart were outlined with pure gold

Pic 15 Pic 14

III ARMOUR

Painting on metal, I try to achieve maximum contrast and tonal gradients on surfaces, from maximum light to maximum dark hue. us I emphasised deepening (contouring) as well Pic as highlighted all the edges of the armour or weapons (edging). Painting a helm I used acrylic and oil paints. e base is done in acrylic Maimeri Policolorsilver + a bit

16

Pic 17

of black (Pics 14,15). en I continued with oil paints. e most darkened zones were done with strokes of a paintbrush and stumped with a dry brush (Pic 16). Such detailed items as decorations and Pic 20 scabbards were cast with black oil paint mixed with white spirit. en I highlighted shaped parts with pure silver (Pic 17). e base layer of a coat of mail was done with an acrylic mixture Sienna Raw + Black. e base layer of a jambart is golden acrylic (Pic 18, 19). e greaves were worked out with oil paints. e mixture for shadows is Black + Mars Brown applied in the same technique as that used for the helm. Paint strokes in relevant zones were stumped with a dry brush (Pic 20). All flakes of the jambart were outlined with pure gold (Pic 21). 8 The Illustrated Historical Figure Artist 07.2017

Pic 18

Pic 19

Pic 21 Pic 22

e base layer of Pteriges is acrylic White+ Burnt Umber + Black (Photo 28). Illumination is achieved with a base mixture + a great amount of white paint (Pics 22, 23). e fringe on the Pteriges is contrast-enhanced with mixture Yellow Ochre + White.

Pic 23

Paint strokes in relevant zones were stumped with a dry brush


IV TABARD

I painted the Centurion’s tabard using the glazing technique mostly using acrylic. I brushed on semi-transparent layers of paint one by one to achieve desired deepness of each shade. ere were applied finger-tip brush strokes to imitate the rough texture of the fabric. e main paint mixtures and techniques are as follows

Pic 24

Pic 25

Pic 26

Pic 29

It will make the tabard more vivid and imitate a dirtier and worn look.

(Pics 24 - 28) Base (acrylics): Black + White + a small amount of Raw Sienna. Shadows (acrylics): Black + Raw Sienn. en in some zones, I deepened shadows even more with black acrylic paint. Highlights 1 (acrylics): Raw Sienna + Black + more White. Highlights 2 (acrylics): mix for Highlights 1 + more White. I achieved the desired illumination in some steps adding little portions of white and filling the upper part of the tabard with lighter

shades. Performing a final stage I diluted Raw Sienna oil paint with white spirit to make it very thin and did some fillings/washes. It will make the tabard more vivid and imitate a dirtier and worn look. I should note some peculiarities of the whole tonal gradient. ere should be more aggressive illumination in the upper part, while the bottom ones should be enriched with deeper shades. Also, the tonal gradient is applied in vertical pleats.

Pic 28

Pic 27

Pic 30

Pic 31

SWORD Similarly to the armour, the sword is painted with oil (Pics 29-31). e base layer is silver acrylic. e darkening on the downward planes and edges of the sword is done with black oil paint. 07.2017 The Illustrated Historical Figure Artist 9


The stand should add to and put emphasis on the figure

Pic 35

Pic 37


e figure with its initial base was glued to a wooden stand previously protected with painter’s tape. e level difference was smoothed with filler (Pics 32, 33). e stand should supplement and put emphasis on the figure as well as to be in harmony with it regarding their overall painting, for instance the colour palette and textures. is time I decided to imitate clods of wet dirt mixed with branches, roots and fallen leaves. It is not very difficult to imitate dirt. I prepared

useful), I made a thick layer of highgloss acrylic lacquer. e work is completed. Now, it is time to remove painter’s tape from the stand and enjoy the results of your own work. Pic 3

Pic 32

STAND PROCESSING

the mixture of sand and PVA glue. It is necessary to consider the proper ratio to keep crumb-like structure and prevent it from becoming shapeless. ere could be added a bit of brown paint or earthy pigment, leaves (imitation products), grass for modelling, and tiny roots. is mixture I applied on the stand trying to make it as dimensional as possible. I soiled the tabard, sword and feet of the figure. I added dead leaves and a few blades of grass to the shield and tabard (Pics 34, 35). e clods of dirt were illuminated with sand acrylic using the “dry brush” technique. Before the dirt became stiff, I pressed upon it some lengths of debris such as roots and branches (Pics 36, 37). At the final stage, I darkened the hollows filling them with highly diluted black acrylic. Aer the dirt became stiff (to hasten this a hairdryer can be

Pic 33

Pic 36

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CONCLUSION I have tried to describe the main stages of the figure painting, although I only feel some nuances and apply them, and they might have remained unmentioned. e most important thing as an Artist and a connoisseur of military-historical miniatures is to remember – neither a thick book on the painting will replace the many hours of personal practice and experience. Try, experiment, create!


It is beautiful and one of my favourites.



I would say, the Centurion might well be considered a classic of military historical miniatures


A perfect

Storm Matt Wellhouser’s

interpretation ofGerman Stormtrooper by Andrea Miniatures in No-Man’s Land on the Western Front during the First World War. Through his brushwork he tells the story of a worn-out soldier’s journey through the mud; always ready for a gas attack.


Step by step І German Stormtrooper І Painted by Matt Wellhouser

No Man’s Land… The Abode of Madness e quote pretty much sums up trench warfare in the First World War. It was brutal- cold, hot, wet, dirty and everything in between. Andreas’ bust of the WW1 Storm

helmet was a little so- the liner rivets on the outside were not clearly defined, so I made new ones out of plastic rod. I also rebuilt the lower edge of the

trooper has been on the market for a while and is moulded in white metal and resin. I have only done three other WW1 figures, all of a smaller scale. I was contacted by a collector who wanted me to paint this kit. e process took a few months to completepartly because I have other projects, and partly because I work very slowly. e collector had a bunch of great ideas on how to display and finish this piece. We worked together and the modifications he suggested worked beautifully. Andrea’s kit consists of 5 parts although the bust itself is one piece sculpted with the head, with

helmet- it is a rounded bead edge. is was done by using a hobby knife, sand paper and files. e gas mask was temporarily fitted with a mock-up of the gas mask can. I used measurements from an srcinal example to determine “to scale” dimensions and cut a rough blank with acrylic rod. I used blue tack to hold the sample can in position and I coloured it with magic marker so it would be seen clearly. is allowed me to see how the position would fit with the mask and experiment with different locations. Once we (the collector and I) were satisfied with the

smaller helmet detail parts being metal as well as the gas mask. As this piece was a commission, the collector wanted to display it with the gas mask carrier (can) slung across the front of the bust. We also decided to leave the helmet strap unfastened. Work commenced with cleanup of the figure. I found that the detail on the

layout and position, I started to work on the final product. I used Evergreen styrene rod, sheet and tube to make the basic can. Using the srcinal to copy the details, I added the ribs at the centre and bottom of the can. en I made the top by slicing a short section of the tube and adding a sheet plastic top. e hinges were made from lead foil and the latch from brass wire. I painted the can with Gunze German Field Grey paint and scuffs and scratches were replicated with Vallejo SS Camouflage Black Brown. A final touch was


The process took a few months to completepartly because I work slowly

rubbing some ground up pencil lead (graphite) on the edges of the can, and filters of the base colour lightened with yellow ochre oil paint. e carry strap for the can was fashioned from Kneadatite “Green Stuff ”. I rolled it out with a scrap piece of brass tubing. I added texture to the strap by rolling the knurled part of a Xacto knife over the semi-hardened putty. Green Stuff is more “rubbery” than standard A&B putty. is allowed me to position the strap and can into place without the strap breaking off. Later when the can was positioned aer the bust was painted; I drilled a hole in the figure along with a corresponding hole to the can so I could use a short section of brass wire to hold it in place.

Step by step І German Stormtroacxoper І Painted by Matt Wellhouser

Now that I had the can completed, I could commence painting the bust (sounds a little twisted right?). First the bust was primed. I like to use Tamiya primer in the spray can, which is great stuff. Since the head is sculpted to the torso as a single piece, I started with the face. I wanted a weary look, but also a look that shows the soldier was outside in the elements. Unless noted, all of the colours are Vallejo Model Color. First things first, I painted the eyes, I always do this first when tackling a face it helps me to develop the “look” right from the off. I start with an off-white colour for the basic eyeball- usually Basic Skintone with Off White added, not too much white or he will look pop-eyed. en I add the cornea- coloured part of the eye, starting with black I then add a blue in a medium tone, as the edge of the cornea has a darker tone. As I work towards the centre I gradually add a lighter colour until I am happy and then finally black for the pupil. Keep the paint thin so it’s easy to work with but not so thin that it pools or disperses across the whole eyeball. I edge the eye with a bit of Cadmium Red and Old Rose to simulate the fleshy part of the eye.

When I am done I coat the eyes with Future floor polish. On this figure I added a very small amount of diluted flat red flowed into the eye as a wash to give him a bloodshot eye effect. One great way to teach yourself to paint eyes is to study drawings of eyes, there is a plethora of suitable images

each coat is thin - 80% water and I add more water as I reach a lighter shade. Before I hit my final highlight, I start on the shadows, by adding Burnt Cadmium Red to the base colour. Working with acrylics means you constantly go back and forth and add mid tones, highlights, shadows, to cover the transitions as they do not blend like oil colours, you have to create a transition area between shadows, highlights and base colours with a light mid tone that disguises any “border” between the shades. I

online perfect for reference and plenty of Art books and such like Pick a few and study the placement of the cornea, the size and shape. My basic mix is all Vallejo paint: Brown Sand Base, Basic Skintone, and Burnt Cadmium Red. e face is base coated with Brown Sand and then highlights are added. I add small amounts of Basic Skintone to the base and bring up the highlights,

add black to the Burnt Cadmium Red to create the deepest shadows, these are usually under the chin, under the brow and under the nose. A lighter shadow with black mixed in yet heavily diluted simulates the five o’clock shadow. e hair and eyebrows were a mix of English Uniform and Black. I did “streak” the hair in a few spots with German Camouflage Black Brown mixed with English

Plenty of Art books

Uniform. Most of it can’t be seen because the helmet covers a lot of the area, but when handled or studied closely all of these little touches adds a great deal to the finished project.

As the story I wished to tell was of a soldier a facing a gas attack

Push the narrative

e lips are a combination of Burnt Cadmium Red and Basic Skin tone, you can shade and lighten these as you see fit, or add striations and textures for chapped lips etc. I constantly go back and check for areas that need improvement or touch up. As the story I wished to tell was of a soldier facing a gas attack, he had his gas mask out, and at the ready. I wanted to push that narrative further and suggest maybe he suffered a short exposure, I decided to add more Burnt Cadmium Red to the areas under the eyes to give him a wearier bloodshot eye, to hint at the irritation caused in early stages of exposure. 07.2017 The Illustrated Historical Figure Artist 15

Step by step І German Stormtrooper І Painted by Matt Wellhouser

Progressing to the helmet, I painted the base colour a medium green tone and I used a variety of colours here - Russian Green, Olive Green and Olive Grey. I added a bit of Sunny Skin tone to highlight the base colour. e reddish area is a mix of Leather Brown and Red Leather whilst the yellow area comprises German Yellow, Green Brown and Yellow Ochre. ese were applied using pictures of WW1 helmets as reference to get an idea on the geometric design. e border of the colours is Flat Black. Once dry the helmet was given a wash of Burnt Umber and black oil paints, of which most was wiped off, leaving a “filter”. en German Camo Black Brown was used to simulate scratches and scuffs upon the helmet’s surface. I concentrated on areas that would receive most wear and tear, details and observations like this really add to the realism of the finished piece. Finally the edges of the helmet were given some scuffs with a silver Artists pencil and ground up graphite and a dusting with some various MIG Pigments finished it off. e helmet strap was scratch built from lead sheet and plastic card.

e tunic was a straight forward affair, it was painted a mix of German Field Grey and Neutral Grey. I added black to the mix for

and Vermillion was added for a highlight. e edges of the shoulder boards are a light blue I mixed from blue, white and black and finally the buttons were painted a mix of Citadel Dwarf Bronze and Boltgun Silver. e gasmask was base coated with English Uniform and

I usually don’t add so much mud and

was painted German Field Grey and the straps for the gasmask and can were painted from a mix of Khaki and Olive Green, highlighted with straight Khaki. e gasmask and its container were glued to the chest of the bust and at this point I added pigments and my “homebrew”

shadows and Sunny skin tone and Field Grey for the highlights, with more Sunny Skin tone added for the highest points of light. e piping on the tunic and numbers on the shoulder boards is red, to achieve a nice even red tone, the piping areas were undercoated with Flat White, followed by the red. In some areas I added some Burnt Cadmium Red to create a darker shadow colour

German Camo Medium Brown, with highlights of Base plus Sunny Skintone. e lenses were base coated with a mix of Green Brown and Sand Yellow with a little more Sand Yellow added for highlights. en I coated the lenses with Future floor polish to add additional sheen. I improvised some small scale ships rigging to the mask for the string you oen see attached. e filter portion

dirt, but I took a chance and I think it paid off

mix of mud/pigments mixed with acrylic gel matte medium to the model. I usually don’t add so much mud and dirt, but I took a chance and I think it paid off. Last of all I mounted the bust on a lathe turned aluminum rod which was fitted to a lovely walnut base, the colour of which added extra contrast to the bust and it’s colour scheme.

Additional sheen


Step by step І German Stormtroacxoper І Painted by Matt Wellhouser

This was a great project - a collaboration between myself and the collector. It is also a great kit to hone your painting skills - a small parts count and simple color scheme


Ship to

SHORE In our firstGrand Masters

Jay Martin conversations talks with multi-awarding winning artistMarion Ball ...with occasional further musings from her equally talented husbandAlan


Step by step І Interview: Grand Masters І Jay Martin in conversation with Marion Ball (with occasional musings from husband Alan)

I never had the slightest idea that these “little men“ really existed I believe you’re initial interest was building wooden ships? How did that progress to painting figures? I built my first wooden ship when I was sixteen and for the next ten years I stayed with that. I always loved to work with wood even when I cut my fingers several times. What I always wanted was to man my ship with figures and that was my bridge into miniature figure

painting. When this happened it was more of an accident than anything else. I was at a Placido Domingo concert in Vienna, when I discovered my first figure shop ever. Over the years, I always dreamed to have my own little army of toy soldiers, but I never had the slightest idea that these “little men“ really existed. When I was standing in this little shop

I saw on a top shelf two Poste Militaire figures standing there and I was completely hooked by them. I still can remember the excitement when I discovered my dream came true. So very quickly I bought my first two figures and I couldn’t wait to go home and start to paint them. Can you describe some of the advances you’ve seen in figure kits since the days of Historex and Post Militaire? e advances in creating figure kits the last twenty years are insane. At my time the only real animated figures came from Poste Militaire, Phoenix, Barton and my absolute favourite ones from R. Almond. Beside of them almost all figures were lacking movement. When you were lucky to find some in an action pose then they were



There is rarely a single reason why we choose a subject or subjects

either having a le arm up or a right arm up or one foot slightly moved forward or bent at the knee. e sculpting and casting quality was sometimes poor yet at that time I was happy with what I got then because I did not know anything else. Today for every painter not having any modelling skills the figure world is just like a big candy store where everybody can find his goodies. e companies raised the quality and variety so high that there are no limits any more. Alan: Poste Militaire is still something that has much to show us in the use of metals in casting, even today, not many metal kits use metals which are as flexible as those used by Post Militaire, some of their kit engineering practices and casting techniques were as 20 The Illustrated Historical Figure Artist 07.2017

The figure world is just like a big candy store

detailed and pleasing as many resin kits . Historex were many people’s first contact with the whole idea of detailed kits and converting them to a more anatomically correct form, while making use of the many detail pieces included was (and still can be) a bit of an adventure. Having said that, things have moved on, and what these two firms in particular introduced has now become the basis of what good figures should be, well cast, with fine detail (though the Historex kit moulds now are obviously showing their age). Pegaso added to all this with the introduction of a great feel for anatomy and pose (the heroic style ). All of these, good casting, good detail and a feel for anatomy and pose, are the basis for all we have, and

what will follow whether it’s hand sculpted or 3D printed (which will still depend on how good the person wielding the computer is). Can you describe the creative process shared between yourself and your husband Alan and why you choose particular subjects? is question I better let Alan answer for both of us.

is is going to be about generalities, because there is rarely a single reason why we choose a subject or subjects and what weighs into making a choice to do any particular subject oen varies. For instance period doesn’t play much of a part oen, who it’s meant to be isn’t always important, neither is where it’s set, it’s generally the overall


Even with single pieces there has to be some point to doing it, otherwise you simply have a mannequin idea or story that’s the driving force, whether it makes sense to anyone else, we normally are taken by some aspect of the story being told .

essential story tight and as clear as possible, you don’t want to distract from, or lose the story in a mass of irrelevance (all that irrelevance simply adds

Marion oen finds paintings or illustrations that spark an interest in what’s being shown; the execution of Lady Jane Grey or the Cossacks letter to the Sultan for instance, we look at how we can incorporate the feeling of the story, sometimes everything is changed bar the story, sometimes we do it as is, because it has the impact of being based on something true. Oen times we have to “edit” the story a bit to make it feasible as a 3 dimensional piece, you can’t always get the expanse of setting or mass of participants you want to show

extra work, for no real benefit and may even harm the overall effectiveness of the project). Even with single pieces there has to be some point to doing it, otherwise you simply have a mannequin, showcasing a uniform, pick something for your rational to do a figure that says something to you, and focus on that, rather than simply just someone standing there. All that makes the actual work of doing a figure or vignette a lot more worthwhile and fun when you see it come together. What makes it even more fun for me

so you need to crop it down to the essentials of the story, pick out what’s important and why. Maybe add something to the important parts that make it clear that it’s only a section of a larger story, maybe discard some of the extraneous people or details which don’t add anything but added backdrop, delete redundant details. e important thing is to keep the

as the sculptor is to see how Marion approaches the piece, oen she will see something in a different light and when she has finished painting, it comes as a slight surprise because she has used different colours than I was expecting... it’s almost like looking at a different piece at times, even though the story and overall effect is exactly what we were trying for. 07.2017 The Illustrated Historical Figure Artist 21


try those paints as well and find out if that would work for me or not. In the beginnings it was really hard to figure out how to use them properly. Sometimes I was so frustrated that I almost gave up because there was nobody near me who could have told me how to use them correctly. You had to try, fail and learn and at one point where I almost gave up the drop fell and I finally understood how to handle them. From that moment on I didn’t go back anymore, or at least not completely. I do still use oils from time to time dependent on my chosen effect I desire. But the advantages of using acrylics, not to sit in a stinky room, waiting until finally everything is dry, achieving matt finishes are just some of the benefits. However, everybody has to work out for himself which painting medium works for him or her best.

Which of your projects has a special place in your heart and why? at was of course “Cats cradle”. A piece I did together with Alan. On my first trip to an American show I went to a museum killing some spare time and saw an illustration from Norman Rockwell. I fell immediately in love with it and thought that would make a nice little vignette.

So back at home I got in touch with Alan asking if he would sculpt those figures for me and in exchange he could choose one of my figures. Surprisingly he agreed immediately and so we started with this project. What I did not know at that time was that he was already in love with me and that project was his chance to show me his affections. 22 The Illustrated Historical Figure Artist 07.2017

Everybody has to work out which painting medium works best for them

As you can see in the end it worked out and one year later we got married. It was like a movie story very romantic and exciting! is little vignette was destiny for us and brought us together so you can say this is our most important work ever! Did you start painting with Humbrol enamels and if so what are the advantages of Acrylic paint?

I painted the first couple of years with Humbrols and then switched over to oils and stayed there another couple of years before I ended up with Acrylics. I have to admit that I was really comfortable with the two latter mediums and probably wouldn’t have changed to Acrylics if R. Latorre hadn’t shown the figure world what was possible with Acrylics. at was my reason to

I really struggle with the early stages of painting, once I’ve figured out colour palette, volumes etc (I oen get there in a haphazard and uneducated manner) I much prefer the later stages of adding details and tying it altogether. How do you plan and achieve the early stages of each project? When I start a new figure, the first thing I focus on is getting all my colour information together, choosing a proper base and doing the groundwork, I do this first because it is

my least favourite part of the project. Once I have done the groundwork everything else goes very easily. Assembling the whole figure, getting it primed and then starting the painting. I always try to finish every part of my painting session before I go to the next thing. If you skip something thinking I can finish it later you could forget it. So I would say you


have to be disciplined and getting used to your own working rules. You can’t swap around and work a bit there and then there. It is like in real life you have to get organised and controlled what you are doing. I am increasingly concerned the Historic genre is being le behind by the influx of Fantasy painters who had been introduced to the hobby via Wargaming and in p articular Games Workshop. It is the driving principle behind this new magazine, what do you think needs to be done so the genre doesn’t die out with the Grand Masters? at is difficult to answer we had this discussion already twenty years ago and I am sure my previous generation had the same discussion as well. People

Many people from the history group are painting fantasy stuff too

are always worried if something new is coming up but in the end they will adapt and accept it. Yes it is true fantasy groups are growing and getting bigger

the history group are painting fantasy stuff now as well because it is fun and you are not restricted to anything it is just free relaxed painting.

and bigger and we the history groups shrink further into the background. Yet I think it is a normal process like everywhere in the world we have to take it and make it a part of us as well. If we continue to show our work together in competitions, exhibitions, magazines or internet along with fantasy and history we can all go the way together. Many people from

We just have to accept and respect both hobby groups and share our passion. At the moment the history group is smaller but I am convinced that in the future also fantasy people will be interested in our part of the hobby and try out our side. I think as long as we have people in the hobby who are interested in both history and fantasy we are not dying out so easily. 07.2017 The Illustrated Historical Figure Artist 23


Fantasy modellers try many new ideas and concepts that the historical genre can learn from and experiment with Alan: I don’t see a need to worry, the historic genre may be a niche in the hobby as a whole, but it’s one that can develop. Maybe the historical side of

what you are trying to do. I see both the historical and fantasy modellers as part of the same hobby, trying to do pretty much the same thing, to tell a story

the hobby has been stuck in a slight rut for too long, I see a lot of reasons to celebrate the fantasy side and the fantasy painters in the hobby. Fantasy modellers try so many new ideas and concepts that the historical genre can learn from and experiment with, whether it’s painting techniques or ideas of how to display pieces or simply how to focus on

of whatever chosen situation in miniature. Either how people (or whatever) react in (usually) extreme circumstances or as a simple depiction of whoever or whatever is the subject of the piece. Both fantasy and Historical modellers can and in my view should, try to see and embrace the good ideas that come from either side of the same coin.



Can you explain your principle way of working with acrylics? I have a rule of thumb, which I apply to all basics mixtures, whether it is a face, an article of clothing or anything else I paint. I always begin with the middle tone and work up to the “brighter” or highlight, like the structure of

a pyramid. Usually four or five stages are enough for me to get what I want, and get to the brightest highlights. I take a little of the last colour to be used and add that to blend away any obvious lines between the layers of colours. Later I follow the same procedure in the reverse sequence, and start with the brightest shade, whereby I make certain the colour is kept aqueous and very thin on the brush. I also make four to five layers, until I arrive at the deepest shade. Aerwards I correct the whole thing again, by lightening again a little the appropriate places since by shading highlights were automatically slightly darkened. I see you like to paint figures from 16-18th century, is there a reason for this? First I think this time period was so exciting and the costumes and uniforms were so interesting and stunning in their design. I also love this time period because of its maritime relevance when people were able to build those fantastic

ships and sail the whole world. Mankind in this time period was so curious, adventurous and inventive. ey shaped our world to what we become today and then of course I have to admit that I just love colourful dresses or uniforms not that I would walk around like that, but to paint such figures is just a great pleasure for me.

I just love colourful dresses or uniforms



What influences outside of figure painting have influenced you? When I was a kid I was hooked by ancient history and I was reading everything I could get my hands on. at led me to archaeology and modern history that I would have liked to study but life decided different for me and I chose another path. But my absolute

favourite icon is and always will be Michelangelo the greatest sculptor and painter for me. Being given the talent to sculpt, paint and build at the same time is just a divine gi and he was given it. His work is so timeless and in life, sometimes I dream to go back in a time capsule and just to watch how it changed and influenced people who shaped our world. 26 The Illustrated Historical Figure Artist 07.2017

I gave myself a promise that someday I would paint as well as they do

Which Artists, either in figure painting or traditional, have influenced your style over the years? When I attended my first World Expo in Paris I saw the works of Mike Blank, Bill Horan, Rodrigo Chacon, the Cannone brothers and many more great Artists who made a big impression on me. ere I gave myself a

promise that someday I would paint as well as they do. It took me a while but in the end I think I reached my goal. Sometime later also R. Latorre was another big role model for me. Just to look at their work helped me to understand what makes a good figure to stand out and becoming a fantastic figure.

What have been your major achievements to date and what do you hope to do in the future? Oh I think I achieved almost everything in historical figure painting that I possibly could have achieved. I have received Worldmaster and Grandmaster awards, won medals in the most important competitions, being a judge in all the major

shows are just a few honours bestowed upon myself. My most emotional experience was having the honour to set down, with Alan, a wreath at the tomb of the unknown soldier in Arlington. at was a surprise from two American friends who arranged that for us, I will never ever forget that moment. anks Joe and Norb. at’s the most important


thing to me to know people around the world know my work, love it and like to share their time with me. ere is no better feeling then knowing that you and your work is admired, appreciated and loved. Somebody told me once at an American show that he printed some of my work out and hung all his favourite ones at his office. People came by and asking and he told them about me and how I influenced his own painting. I never met this man before and when he told me I was so surprised and proud at the same time. To give people joy with my work is the biggest gi for me. I hope this continues into my future being connected with people, making new friends and being a role model and of course being able to paint as long as possible. How does one create a personal style? I regularly see copies of copies, technically good but lacking their own style. Oh that is very tricky to answer. To be honest I don’t know. When I started painting figures I learned from looking at the figure pictures from B. Horan, M. Blank, P. Twist and tried to figure out how to achieve the same results. It did work in some ways and what I learned from this, was where to put shadows and highlights. I think that is the most important thing you have to know. Once you have understood this you just have to paint and paint again. Your own style is not coming overnight it needs time and

development. I just painted and painted without thinking to create my style, it just happens by itself. For example in my case if I put ten figures in line every figure looks different in tones across the various elements. I am never using a standard formula that gives me variety and makes every figure unique and interesting. I hate if everything looks the same for

Look closely at other people’s work, but always with an eye to how you would approach the same piece

me it is so boring and a waste of time. Sadly I can see so many figures in competitions now

always be more work for you than it is for the person whose truly natural style it is, that is

which look all the same. It is a bit like with the footballers tattoos, everybody thinks he needs one as well because everybody has one. It became a bit of a fashion in our hobby as well, not to make tattoos but to paint like this guy or that guy. You always can look at others painters work, admire, try out some ideas and compare to your own but you should always stay with your own skills. Alan: Copying a style you like is a good way to learn a basic understanding of how things work, as long as you do know why things were

why you should work on your own style. Get to know and fully understand why you are doing something with the paint, don’t work at getting better at copying a style, work at getting better at what feels the “right” way to you, whether it matches someone else’s style or not. Look closely at other people’s work, but always with an eye to how you would approach the same piece, work on actually developing those slight differences and understand why they “work” for you. If you have the technical ability to passably

done a certain way, and you haven’t simply put shadows or highlights “there” because the other guy did. Yet however, well you copy, it will not ring exactly true, because you are rarely seeing things in the same way as the person you are mimicking. No one can mimic a style perfectly, as it’s not naturally “your style”, it may be near, but it’s not a perfect match, so it will

copy someone else’s style, you have the technical ability to develop your own style, don’t let the fear that your style is slightly different from what you may think is the way it’s done stop you from doing something your way. What you see as “ the way it’s done” was once someone else’s experiment at doing something slightly different. 07.2017 The Illustrated Historical Figure Artist 27


It seems to me there is a never ending influx of new companies, yet the audience has not grown. We now have more producers wanting a slice from a ever decreasing pie? What is your opinion on this and the current state of the figure painting hobby? Difficult very difficult as I said before the figure painter has now everything he or she always wished for but that is also dangerous. You said

it yourself, more and more companies showing up and want to have their slice. Our hobby community is not a fast growing business so this means we only have a certain amount of people who can buy, our captive audience, our market if you will is still relatively small. So everybody has to consider carefully what he or she wants to spend their money on, only 28 The Illustrated Historical Figure Artist 07.2017

It is the story, something that rings true to the viewer

if you have unlimited money and don’t have to care. Also the companies have to get better, more professional as well and produce figures that everybody knows and likes. Such as characters from movies or series or books, they are the ones who currently sell very well but it also leads to copyright issues, this means companies need to work closely with other Art forms and agree licences. Sometimes I personally wish

I love your style and sense of emotion in your pieces, for instance “little moment of peace”. What is the magic ingredient from a well painted piece to a project that is almost “alive?” Well that’s hard to say and even harder to realise I guess. As you ask, and I need to come up with an answer, I would probably say that it is the story, something that rings true to the viewer. If you recognise an attitude in

the old good times were back, when we had no internet and only in magazines or mainly at shows we got to see the companies new releases. ey were the best times ever, was always like Christmas. Now sadly this feeling has been diluted quite a bit. For me it feels now a bit like being in a forest and not seeing the trees anymore.

the pose, a tilt of the head or a little something added as an “extra” that gives that touch of personality to a piece. You only do that if you yourself are connected in a way with the piece that goes beyond simply doing a good paint job, think about what you can add. Even the simplest figure or bust can have something added. Maybe try making him look


In the end what counts is your satisfaction with your own work no matter if other people like it or not, you have to like it cold with the paint, or hot and sweaty: two totally different looks available for a single piece simply using paint, there are

whenever you can. Go to shows and make new friends and enjoy the work of others, get inspired and if you want

probably other ways to make a piece “yours” that you can think of, it takes just a little thought.

to improve ask some of your favourite Artists for advice but never go home thinking I am not good enough. In the end what counts is your satisfaction with your own work no matter if other people like it or not, you have to like it. As with the how to develop your own style, it’s a case of understanding what you are trying to do and working towards that end. Understanding a technique is more than just knowing when to shadow or highlight, it’s developing an understanding of why you want or need to

Finally, beyond time and practice, what nuggets of wisdom can you give our readers, regarding their own development and journey to becoming a better artist? e most important advice is very simple, have fun and passion. Don’t take it too seriously and turn every brushstroke into a science project. It is a hobby for most of us and it should give you a good relaxing time where you

can switch off from your daily life and just dive into another world. Get proper brushes and paints and then just paint

shadow or highlight and where, to make whatever it is work for you. Happy painting to you all!




INSIGHT In this volume we look at one of the giants of our hobby – painter and sculptor extraordinaire Raúl García Latorre


Insight І Raul Garcia Latorre І by Paul Horner

Paul Homer pays tribute to one of the superstars of our hobby – painter and sculptor extraordinaireRaúl García Latorre

The early piece were painted using acrylics with j ust the artist’s skill and some minor conversion work to the bases 32 The Illustrated Historical Figure Artist 07.2017

ere are few superstars within this hobby, those people that are known by just one name, be it a pseudonym or first name, those elite few that you only have to mention and your fellow hobbyists will instantly know to whom you are referring: Banshee, Kirill, Bohun, Raffa, Roman, Ben, Sang-Eon there are others, but for this fella sitting at a computer, these are the top of the tree. Yet one in particular sits at the crown. From Torremolinos,

of doubt, how much do I write? What should I focus on? Do I delve into the painting side, what drove him to keep pushing and learning, where did he find the motivation to paint 54mm historical miniatures when small scale fantasy miniatures were the hobby mainstay? Why the focus on a branch of the hobby that is so highly competitive and extremely detail orientated caught his interest above all others? Should I just make a list

Málaga, Spain. Painter and sculptor extraordinaire. Raúl García Latorre. Now you will have to bear with me throughout this, as you are about to embark on my first published piece of writing. I have previously written one unboxing (on a Latorre miniature) for Planet Figure, but that was a quick run through of the miniature as I quite literally unboxed it! is is the first time I have actually put effort into writing something that wasn’t for the purpose of changes at work. How did I end up writing this? Well…

of all the award winning pieces he has created and painted or the Latorre sculpted miniatures others have used globally to win competitions? Or should I kick off at the start of the millennium with the creation of the historical brand Latorre Models? Maybe I focus on the fantasy brand Mproyec, which is where I ‘found’ my passion for his sculpts or his recent work for Hera, SAGO and FER or even the rebirth of the legendary historical company that bears his name?

Aer messaging Jay back and forth (funnily enough around Latorre sculpted miniatures) I was asked if I would like to write a little something about Raúl Latorre for Figurementors (little did I know that Jay already had other plans for this piece of writing!). Aer agreeing immediately (as you will find out, this is one of if not my favourite subjects within the hobby) I had my first moment

a little bit of swearing, I thought, why not throw a cover over it all, and let you the reader decide which parts interest you and let you delve more into those. is isn’t a biography, it’s just an overview with a little insight into one of the giants of our little hobby community. From my research, Raúl’s first introduction to the hobby, like many of his peers, was through the board game HeroQuest. e

Quintessential human touch

So aer a few attempts, and just


If people like Fernando Ruiz, Alfonso Giraldes and Jaume Ortiz Forns say you have been an influence on them, then you can be fairly confident in your abilities as both painter and sculptor number of people this one game has bought into the hobby must be amazing. From this single board game, and the world it revolved around, Raúl, like a lot of early hobby fans, took his first step into the murky world of slapping paint onto tiny men. He is still a self-confessed table-top painter and still enjoys quick painting to get a mini ready for playing with. So let’s start with painting. If you aren’t aware, Raul was first and foremost a painter, and one of very high regard to boot. If people like Fernando Ruiz, Alfonso Giraldes and Jaume Ortiz Forns say you have been an influence on them, then you can be fairly confident in your abilities as both painter and sculptor. In his painting career he has won and judged numerous miniature competitions from around the world. His best of show winning minis still hold their own today, even though some were painted over 20 years ago, and it is this, I personally believe, that sets Raúl apart from the majority of his contemporaries. He uses his ‘painter’s eye’ in his creations. He knows what he would like to paint, which is what all painters want to paint. In my humble opinion, Raúl knows and understands the human anatomy particularly well, and he gives his figures that quintessential human touch, that many other sculptors’ lack, meaning that he understands what we as painters want on a miniature. His work leaves

Dispatch Rider from Hornet figurines

enough space for creativity concerning light, focus and overall impression, without being overly complicated or too fussy. Flat areas are there for us to embellish or leave, busy areas are busy enough without being fussy.

Credited with bringing

Creates the dramatic

Initially, solely as a painter, he started in the world of miniatures and gaming around 1990, and began working pretty much as a full time artist around 1994. He won several Best in Show awards at competitions around the globe, with the ones he credits with being the most meaningful from Euro Militaire in 1994. One gold (a British/Canadian Dispatch Rider from Hornet figurines), one

zenithal source lighting into miniature painting

silver and one bronze. I imagine we are all aware of zenithal lighting? Whereby you use a dark colour to base/ undercoat and then a lighter colour over the top in the direction of the light source you wish to portray? Raúl has been credited with introducing the zenithal source lighting into miniature painting. Pre-zenithal, everyone painted with a generic light source, light coming from everywhere, all edges highlighted etc. Since being introduced, zenithal has almost become de rigour for figure painters, everyone uses it, but not because it is realistic, but because it creates the dramatic. e shadows are darker, the lights lighter. It is more 07.2017 The Illustrated Historical Figure Artist 33


akin to theatre lighting and stage make-up. Everything becomes more extreme, more visible. More intense. ank you Raúl. As you can see, these pieces were from the early to midnineties, painted using acrylics with just the artist’s skill and some minor conversion work to the bases, the standard of his painting was, and is still, very, very impressive. I guess by now I should introduce myself a little more. For those that don’t know me, of which I expect 99% of you will fall into this camp, I have a bit of an obsession, if you can ever be a bit obsessed, with the Spanish artist and his creations. Aer splashing enamel paint on metal GW minis as a youngster, and then leaving for other interests, I came back to the hobby as an older and slightly wiser fella. I was told I should pick up a hobby as it would be good for my mental health, as I had enjoyed Art as a school child and had both the time and motivation,

I was told I should pick up a hobby as it would be good for my mental health

The Demon sculpted for Mproyec

I poked a toe into miniature painting. So I went into my local GW store (this was when GW had retail stores everywhere and every toy store in every high street stocked their products) however, being fairly inexperienced and unknown within the hobby of painting small figures, I had no idea where or how to start and what I wanted to get out of the community. I didn’t want to game, that is a part of the hobby which has never held any interest for me, I wanted to paint and forget about life, escape into the story of the little miniature in my hand for a few

importantly, I wanted to paint things that grabbed me. I took to Facebook, I followed painters (not in a stalking way I assure you) and very rapidly I happened across this smirking red demon that held smoke in his hand. It was mind blowing for me, like nothing I had ever seen before. He was called Shaetann the Immortal. is arrogant looking devil grabbed me. He grabbed me like a demon from hell and took me into the fantasy world of Mproyec and

hours at a time. And so I began my first tentative exploration into the hobby. I didn’t set out with a plan in mind, I had no idea who made or painted what, I only knew of Games Workshop because they appeared to be the only company around. My issue however, was that I didn’t want to be told what colours I had to use, I didn’t want something everybody else had and most

Raúl García Latorre. Everything about this mini appealed. His expression, the details, the size, which as many of you know, the jump from 32mm to 54mm requires a different style of painting, and the fact he was a limited edition made it perfect. It ticked every box that I had and still have for a hobby purchase. At the time I had no idea who Raúl García Latorre was. Never heard


It was mind blowing for me, like nothing I had ever seen before

of him, or this Spanish company, I had just found a picture on my Facebook feed, clicked on a link to a website, paid some money and within a few weeks, there he was, in my own hands. is was the first miniature for Raul’s fantasy range at Mproyec. A 54mm demon that if you got in early enough, within the first 66 I believe, came with a ‘cute’ little demon cherub holding what appears to be a stone tablet. is was how Raúl introduced his new fantasy business to the world, and what an introduction it was. However, as much as Shaetann was the figure that began Mproyec and hooked me in, this was not Raúl’s first foray into creating fantasy miniatures, that honour belongs to Enigma Miniatures, which was run by Raúl until 2010, aer which CoolMiniOrNot acquired the licence to the range. Enigma produced a large

Insight І Raul G arcia Latorre І by Paul Horner

I don’t pay much attention to the past or the things I have done

Grunkful the Dwarf sculpted for Mproyec

catalogue of 32 and 54mm miniatures cast in white metal, some which are still available from the CMON store. If you are new to the hobby or have never had the opportunity of painting an Enigma miniature, I would suggest picking up a few of these just to appreciate and enjoy the crisp detail and form that these minis have. Compare them to minis from the same time frame from other companies

the sculptors that I like, it was here that I knew I had an affinity with the Latorre sculpted mini. Without realising it, my mini collection had a distinct Spanish style to it. I had 20 miniatures and 16 were from Raul in either fantasy or historical guise. From this moment of realisation, I set myself the (trust me, nigh on impossible) goal to collect one version of every single one of his sculpts. And as I’m about to

works apart from some photos and his memory. A quote from the great man himself “I don’t pay much attention to the past or the things I have done”. Pretty much sums up all artists in my mind. Raúl has created 3 of the top ten selling miniatures of all time (so far), now imagine if some of the limited editions Mproyec have produced, how popular Grunkful the dwarf would have been if there were 500 units available?

and you will quickly see why they became firm favourites with some of the world’s top painters, and why even today, they are still worthy additions to your display cabinet or table top.

reveal, there are a lot! So many of them, that aer messaging Raúl around a packet of heads ( now there is something that I doubt I’ll ever have the need to write again) I mentioned I was hoping to compile a list of all his sculpts, mainly for my own selfish reasons, but also to be able to share with other obsessed collectors. Now being a true artist, Raúl obviously keeps no real records of any of his

e mere fact Raúl can produce miniatures that sell extremely well with no number restrictions whilst also able to sell out the limited edition minis, shows how much the community not only appreciates his skills and artistry, but that if one consistently produces beautiful sculpts, in both historical and fantasy, there is always a willing customer/ collector.

Obsessed collectors

And back to me. Aer I realised that the majority of my purchased miniatures were all of the same style, I began looking more into



Asking about small resin heads from almost two decades ago, was not how I imagined my first contact with my hobby idol would be

Below is the roll call of the companies (in no particular order) that Raúl has sculpted for and what he created. ere is a much more detailed version, which contains the names and product codes for each individual sculpt, which is currently being finalised before getting sent to Raúl for confirmation/ amendment. Warriors Miniatures 1/35 scale New World Miniatures 1/35 scale Andrea (the U-Boat!) Germans WW2 54mm Hera Models Busts Galahad miniatures Bust Mproyec Fantasy 54mm, 75mm and busts Toison Studio 54mm figures Latorre Models 54mm, 75mm and busts Terrible Kids Stuff 54mm, 75mm Enigma 32mm, 54mm and busts Scale75 75mm Black Crow bust H&V 70mm and busts Big Child Creative 75mm Orcs CoolMiniOrNot 32mm Kingdom Death 32mm and artwork Knight Models 75mm FER Miniatures busts SAGO 75mm HandMadeObject ¼ scale collectables

To begin his transformation from super talented miniature painter to super talented miniature sculptor, Raúl began working as a sculptor and painter for internationally renowned historical miniature producing companies and learning from some of the best teachers around (Carlos Andrea & Chris Morosko 36 The Illustrated Historical Figure Artist 07.2017

1/35 scale sculpted for New World Miniatures

to name but two). Both Carlos (with his brother Fernando) and Chris were pioneers of the art of miniatures, Chris himself having worked alongside the legendry Howard Shepherd “Shep” Paine and credited with creating the wedge diorama display, whilst Carlos and Fernando are the founders of the as legendary Andrea Miniatures. Raúls journey to becoming the creator of some of the most beloved painted historical miniatures ever produced and legendary miniature sculptor for the biggest names in the hobby industry began initially by sculpting for Warriors Miniatures in the US. Working for Chris Morosko and John Rosengrant, then onto New World Miniatures aer Warriors split and Chris formed New World. Raul sculpted some individual 1/35 scale heads (remember when I mentioned my initial contact

The sign of great Art is no matter the age, it doesn’t feel dated.

with Raul about a packet of heads? ese are those heads! for New World Miniatures. A word of warning, Google can be an excellent resource to the collector, but also it throws up an awful lot of red herrings and misinformation, so sometimes it’s easier to just ask the people that know directly. Between you and I, asking about small resin heads from almost two decades ago, was not how I imagined my first contact with my hobby idol would be. But I digress, and so, working briefly with Andrea miniatures to both paint and produce 54mm white metal soldiers and a collaboration in 1996 with Baldomero Sáiz, to produce the awesome white metal, resin and photoetched 180+ part, German U-Boat VII C, known as the Wolf of e Seas. Raúl sculpted the crew whilst Baldomero produced the submarine itself


Historical 54mm, 70mm and a couple of busts for the gone but not forgotten Manuel Moya owned company Elite Miniaturas, not Miniatures! As a side note, you can still pick up some of these from online stores and they are great additions to the Latorre collection. My personal favourite is the 70mm Highland Clansman Veteran, one of the stars of my collection

A collaboration with Baldomero Sáiz, to produce Wolf of The Seas. Raúl sculpted the crew whilst Baldomero the submarine Right: Saxon 54mm

A couple of limited edition white metal 32mm females for CoolMiniOrNot and one for their Dark Age range followed. Again, the details are very much spot on, and despite their age still feel fresh, which is always the sign of great Art, no matter the age, it doesn’t feel dated. It became almost mythical

A quote from Raúl on why his miniatures are always fresh and not dated: “It is like fashion and some techniques are in fashion. I like the word flexibility, so I do not like something being imposed. I like to know all the techniques I can, but I think it’s smart to use them if you think this technique will better fit the job you’re doing, not simply because it is in fashion … I have never followed these trends”. For as long as I have been a fan/ collector of Raúl’s work, there has been a rumour of a one off piece created for a collector back in the late 1990’s called “No Fear”. Basically a 3 miniature vignette.

I like the word flexibility, so I do not like something being imposed 07.2017 The Illustrated Historical Figure Artist 37


No Fear: A one- off piece sculpted by Raul

It became almost mythical. No one had a picture, those that did couldn’t guarantee it was the actual piece in question. en recently Raúl put up this picture of the 3 mini piece on his Facebook and Instagram account. An amazing display I think you

busts were interspersed within the range, which at the time of closing a few years later sat at 23 total miniatures, all but one I believe sculpted by Raúl himself. All of Latorre Model’s srcinal kits were traditionally sculpted and cast in white metal, to a standard

will agree. As a side note, if the owner reads this and ever wants to part with this marvel for the soul of a close to middle aged non-smoker with questionable morals, let me know. At the start of the millennium, Raúl founded Latorre Models. e minis were initially 54mm, white metal and based on various periods throughout our history. A couple of 75mm figures and

comparable to today’s resin, and with minimal clean-up Latorre models are always very enjoyable minis to splash paint on. ere was a commercial relationship with Toison Studios which produced a few more miniatures, these again focussed on historical 54mm miniatures, including a limited edition run of 50 resin versions of the British Officer Camel Guards Regiments


A slight nod towards popular culture with the Winter King

1885, Sudan War ( I don’t own a resin version unfortunately). Although there was a slight nod towards popular culture with the Winter King, any Game of Thrones fans amongst you may recognise the influence here with, cough Jon Snow cough, It is not a Latorre Sculpt, it is from the talented hands of   In 2001 Euro Modelismo, a Spanish publication that draws from the immense talent of Western Europe, produced a two part series in their magazine that focussed on directional lighting. The magazines were titled ‘Painting Overhead Lighting Parts


A completely unexpected Latorre sculpt. Like nothing he has done before or since. To make this mini even more unique, it was painted ‘live’ by Alfonso ‘Banshee’ Giraldes

Winter King sculpted by Jesús Valera Navarro! for Latorre Models

I and II’. Raul worked alongside Rodrigo Hernandez Chacon on the 2 part series. e books describe the theory and practice of painting figures to appear as if they are lit naturally from, funnily enough, overhead! His continuing relationship

were snapped up by the savvy hobbyist. Although at the time of closing it had been close to 5 years since a new release this was still a sad time for historical modellers. Alongside his ‘regular’ work for miniature companies, Raul has also produced some special

vampire named Kaheron part of the “Nether Kingdom” range Monte San Savino Show 2013. Lord Draeg-hon, an armoured 54mm metal and resin miniature sketched by Lucio Parrillo and produced with Terrible Kids Stuff again.

producing historical white metal sculpts for the hugely impressive Spanish company Art Girona, in both 54mm and 70mm.

event only miniatures, specifically for Monte San Savino and The World Expo. In 2008 for the World Expo Raúl sculpted a soldier holding a flag featuring that includes the presence lire of the four corners, referring to the srcins of the Irish regiment that fought. For Monte San Savino, in conjunction with Terrible Kids Stuff, they produced a 54mm scale

Monte again in 2015, a small bagpipe playing white metal Mac Cow (on a personal note, a huge thank you Anja & Jason for securing me one of these) a completely unexpected Latorre sculpt. Like nothing he has done before or since. To make this mini even more unique, it was painted ‘live’ by Alfonso ‘Banshee’ Giraldes during the event. So to come back to the

Some special event only miniatures

By December 31, 2013, with the commercial relationship with Toison Studio over, Raul took the decision to stop Latorre models. ere was the inevitable sale and all of the beautiful miniatures

Snapped up by the savvy hobbyist



Mac Cow a completely unexpected Latorre sculpt

somewhat beginning, aer the last produced Latorre model in 2008, the company rose again. Like the proverbial phoenix from the ashes, a tease of the company’s logo appeared on social media sites, then Raul himself posted on his Facebook page in May of 2016 that something exciting was coming, and towards the later part of 2016, Latorre Models was back! is time with a new resin bust and 70mm figure; of the English folk hero Little John/John Little. Alongside these brand new releases, the company are re-releasing some all-time classics from the srcinal founding, all in the high quality white metal we expect.

Above inset: Kaheron. Above main picture: Lord Draeg-hon both produced in conjunction with Terrible Kids Stuff

For the historical fans, this is fantastic as it will allow you to get your brushes on some long sought aer miniatures. For the collector, I hope you pre-ordered as you got a mini bust sculpt if you did, and no collection is complete without every single sculpt! Recently Raúl has begun to utilise zbrush 3D sculpting as

for Fernando Ruiz under the Magna Historica line, are both 3D sculpted, no clays and baking for these guys, he is also working with HMO to produce large scale, limited edition collectables. e saying practice makes perfect rings true in so many areas, but sometimes you just need to posess some natural talent there too, and Raúl is adept in both fields for today’s miniature sculptor. No matter what medium

to Zbrush, there is a certain style something that is always a Latorre mini. e stance of his figures is always just ‘so’. You just know that when you look at a Latorre sculpted miniature the stand is natural and the face portrays so much character, and with a bust they not only offer personality, to me they show tiny nuances of the artist himself.

another avenue to evolve his artwork. His recent two busts

being used to sculpt from Fimo or Monsterclay to MagicSculpt

And so in bringing what was meant to be a pretty brief piece about my favourite sculptor/ painter to an end of sorts, I will just say, and that no matter what bought you into this hobby or for whatever reason you are still here, the purpose of it all is to make us as individuals happy. So enjoy what you do and appreciate the beauty of our little corner of the Art world.

Complete surprise

No matter what brought you into this hobby or for whatever reason you are still here, the purpose of it is to make us as individuals happy. So enjoy whatyou do and appreciate the beauty of our little corner of the Art world 40 The Illustrated Historical Figure Artist 07.2017


GALLERY They say a picture paints a thousand words agree. need the for words.and Takewe time out No to enjoy beautiful art ofRaúl García Latorre






Saladin is quoted as saying ‘I will strain my potential until it cries out for mercy’ something Ben Curry can attest to when he tackled Saladin by Nuts Planet


Step-by-step І Saladin І by Ben Curry

So here it is, my first article concerning one of my own pieces. I was flattered to be asked to write a few words about this particular work as it has pushed me outside of my comfort zone and is the first major bust I have tackled since receiving training and refining my approach to subjects. I would at the outset like to thank Alfonso “Banshee” Giraldes for both his passion, for all

by the infamous Ben Komets and many since. e scupting truly is top notch (more on this later), full of character and an absolute blast to throw colour at! Obviously images of the actual Saladin from the time period do not exist, so this piece has clearly had a lot of influence from the Hollywood film ‘Kingdom Of Heaven’ in which Saladin was played by the

forms of miniature art, and his unquestionable ability at pushing student skills into new areas unfamiliar and at the same time rewarding! Like many people my path crossed with this particular bust firstly online, at its core a piece representing Saladin (11371193AD) great military and religious leader, the first Sultan of Egypt and Syria. It is produced by the prodigiously talented chaps of Nuts Planet, the first images having been released of the box art done by Myeong-Ha Hwang and again the fabulous work done

talented actor Ghassan Ridwan Massoud. I was primarily drawn to this bust because of the face which is exquisite and full of expression, as well as the sheer level of detail across both the scale and flatter sections of the bust, such as the helm, cloak and sword hilt. If memory serves me right I finally purchased him at Euromilitaire 2015 in Folkestone, UK which ironically was also my first awarded medal at any competitive miniatures show. e purchase, like most of mine was on impulse. I thought that I

could probably do a decent job on the piece and as there was nothing at the show I wanted more specifically, he came home with me. Try things you hadn’t considered

Time spent with your peers is NEVER wasted

Obviously buoyed with winning a silver in the historical busts category with an earlier piece of mine I had all good intentions of starting immediately on him, but it was not to be. In truth, like many in the hobby we have a growing mountain of miniatures and what is once ‘Hot’ is quickly forgotten in the weekly deluge of new and shiny things to buy! I didn’t dust him off until early July/August 2016 in light of my own personal development to see what I could do with him. e intervening period of time saw me spend time in Madrid with Alfonso working on my TMM (True Metallic Metal) and understanding parts of my process which I was not so strong at. Let me say this. Time spent

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We’re not inventing anything new just adapting what has been realised before into three dimensions

with your peers is NEVER wasted. From having attended multiple shows and done a few courses I felt in a stronger position to offer something different from what I had previously been capable of. I strongly advocate any training you have access to, if nothing more than to validate what you already know and perhaps give you more creative freedom to try things you hadn’t considered before. Prior to this my miniatures background srcinated in roleplaying during the 1980s and then migrated into fantasy and sci-fi miniatures in the 1990s, at the time of my early development and location there were no historical modelling clubs so a great deal of these informative years were primarily led by imagination and what I was able to get hold of. Offer something as yet unseen

If I had a ‘style’ it would have more in common with the perceived ‘fantasy’ way of painting, largely down to both my early years and the training that I had received. In all fairness this style of painting owes more to 17th century artists of the Baroque period and more specifically Tenebrism than most hobbyists realise. As Alfonso would say, “we’re not inventing anything new just adapting what has been realised before into three dimensions”, albeit with more modern tools. For Saladin my approach to 46 The Illustrated Historical Figure Artist 07.2017

painting is probably familiar to a lot of painters in that I start from the face and work outwards. Before putting any paint to the miniature I always take a moment to do some research as there might be some historical facets which I would like to introduce during the painting.

Take a moment to do research

I spent some time looking over the Bust and looking at pictures of several versions online which had been finished. When I approach pieces I rarely like to ‘copy’ something done before, for me to get excited about a project I need to be able to offer something as yet unseen. I also looked at the


paints at my disposal. Obviously Middle Eastern by descent the piece would be ‘warm’ in tone to reflect the arid, dusty and hot landscape which he would likely have roamed and as one of my friends pointed out, green should be included as a traditional Arabic colour. I paint primarily using Vallejo model colour but also use Windsor & Newton, Schmincke, Golden acrylics and Scale 75 metals & inks. Once I have decided on a basic outline or palette I just jump straight in with initial prep work on the piece and let the project grow organically. Thoroughly wash the miniature

ankfully the cast of Saladin meant very little by way of preparation, a couple of small mould lines on the cloak areas were to be sanded down and that was it. I think it was during this initial preparation period where the unease about the chain mail first lodged in my head. e astonishing level of detail in the rest of the Bust clashed with the simple wave form of the chain mail. Typically this style works well on smaller scale 35mm but doesn’t scale up so favourably, especially not on a piece so laden with intricate details and patterns. As with any pieces it is important to thoroughly wash the miniature prior to the application of any basecoat. Simple washingup liquid in tepid water (don’t

three sections separately (Bust, Helm & Sword Hilt). I decided not to fully assemble the bust purely down to the level of access I would be restricted to otherwise. Many people have a preferred brand of undercoat and I’m no different favouring Halfords grey primer. is primer produces a super smooth surface on which to paint and is much cheaper than some of the more ‘specialised’ brands which I’ve

use hot water as resin will deform!) and a scrub with an old toothbrush should remove any legacy release agent which might still be on the parts. It goes without saying that I allowed Saladin to thoroughly dry out before continuing, particularly as some of the smaller nooks held a lot of water due to surface tension. To simplify painting this Bust I prepped and undercoated the

historically tried. In the past I used Games Workshop, Army Painter and Vallejo but found that the Halfords version is more consistent between cans and doesn’t appear to suffer from the chalky or grainy texture that some other brands sometimes give you. It has become popular in recent years to use a zenithal highlighting approach to help guide where the high contrast

Take pictures and refer to them during the creative process

points will be on a miniature. Personally I dislike this approach as it limits the decision process whilst you are painting, limiting you to the choices made at an undercoat stage, not to mention that coverage of certain colours at the weaker end of the spectrum, such as yellow, can be extremely patchy over black. A good alternative is using a camera phone and a very dark room. If you take a torch or very bright directional light you can simulate the effect of where and with what intensity light hits a miniature, without having to actually spray any paint. You can then take pictures and refer to them during the creative process. e upside to this is you can totally change direction at any point without worrying about going back to the undercoat stage. is works just as well for any scale of miniature where a 07.2017 The Illustrated Historical Figure Artist 47


When defining the shadows (usually my first step) I prefer where possible not to use pure black

of Vallejo Royal Purple, Vallejo Chocolate and some Vallejo Gunship Green to the basic mid-

heavy handed zenithal approach might obscure detail or lose effectiveness. I always allow a full 24 hours for an undercoat to harden off before I start painting, although you can speed up the process with a hairdryer (or going outside depending on your geographic location). You can buy ready mixed flesh tones from various manufacturers which probably would’ve saved some time but instead I like to mix my own flesh tones, it

steer clear of ‘recipes’ on the web. Initially I started on the face using my favourite base of Vallejo Burnt Red and Vallejo Flat Yellow, this creates a lovely rich dark orange mid-tone mix. It is a good basis for flesh types from the region Saladin was from, it also gives a great amount of freedom for direction in terms of the cold/ warm and light/dark contrasts.

As I have been taught, most of my pieces start with a sketchy outline

tone. I also took the opportunity to blacken the eyes so as not to be distracting. Facial features such as the eyes are the last element on the face I tackle before moving onto the remainder of a bust, you will see in your own works that eyes bring a face to life and help to define the character of a piece. Highlighting Saladin’s face started from the mid tone and worked up through various mixes of Vallejo Ochre, Flat Yellow and Vallejo Flat Red pushing the light using Vallejo Ivory. Again in much the same way as I treat black I prefer not to use pure white until I have to. Going to the

keeps my tones unique and between painting sessions the slight differences in mixes goes some way to helping mimic the transparency differences you observe in actual skin. If you spend any great amount of time looking at skin you will see a myriad of different tones affected by a huge number of factors, age, sex, environment, lighting, etc. it is another reason why I try and

of where the primary shadows and highlights will sit. When defining the shadows (usually my first step) I prefer where possible not to use pure black. Simply put, both black and white desaturate colours (they lose intensity) this is undesirable when painting a face which should be one of the strongest elements of a bust. e shadows on Saladin’s face were achieved applying mixes

fullest extent of black or white doesn’t allow you any more room to go when pushing contrast so it is important to understand that these are ‘finishing’ touches and should be treated with respect. Once the skin was finished I set about blocking in the eyes. Again nothing special about this, for me it is important not to use pure white, as eyes are not white if you look at them, depending


Pushing contrast

Eyes bring a face to life


on the age of the subject they are typically blue/grey in tone or oen yellowish. I mixed up a colour best described as a very, very pale grey/yellow which formed the basis of the eye. e iris (coloured bit) of the cornea started with using a technical ‘pen’ with a very fine point to create the pupil. ese pens are super black and the nibs on them deform under pressure into a better ‘rounded’ shape than if you attempt the same with a brush. At this point it is about making sure the pupils were equidistant from each other and pointing in a relevant direction. It is unknown what colour eyes Saladin may have had so I decided on mine to go somewhat outlandish and give him green eyes. For these I painted the iris around the cornea and used a mixture of the srcinal flesh mid-tone and some Vallejo Lime Green and Vallejo Orange Brown to create the highlights. Finally a tiny dot of pure white was applied in the upper le of the iris in each eye to simulate a flash of light. Worthy of the great feedback

As I was painting the face and really getting to grips with the character of the piece the seed of dissatisfaction about the chain mail was growing. People first saw my interpretation of this bust when I posted the work in progress of the face. People seemed enthusiastic about the

direction I was taking so I decided to do something drastic to ensure the piece was worthy of the great feedback. I took a Dremel to it. Really, I should’ve done this before I even primed the piece but didn’t think at the time it was going to get the attention it had. I am still finding my feet with sculpting, so I knew that replacing the chain mail was outside of my current sculpting ability. Instead I turned online to see if there were any vendors in the miniature sphere which can do 1/10th scale chain mail ‘ready to use’. Unfortunately for me and

despite spending several days searching there were none that could supply chain mail in the correct scale. Instead I found my Holy Grail digging around on antique websites, it came in the form

Ladies chain mail purses

of ladies chain mail purses, srcinally made during 1920s/30s. e chain for high end purses around this time were hand manufactured in very near to the correct 1/10th scale to look authentic as chain mail. Obviously my conscience would not allow me to butcher a genuine fully functioning antique so I managed to buy a few broken versions from eBay. 07.2017 The Illustrated Historical Figure Artist 49


I was careful to only shave off the old chain mail, this made it very easy to create a masking tape template in the space which was le. is template was used to cut out the same shape from the chain mail purse parts. I tidied the chain mail up using some paint thinners and washed thoroughly using washing-up liquid. I attached the chain mail to the Bust using a thin layer of green stuff (Kneadatite) leveraging its tacky/sticky properties and the longer cure time to give me the opportunity to push and pull the links into a shape I was happy with. Obviously the chain mail still had a lot of movement in it with each link being effectively ‘free’. I decided that the best way to solve this was to mix up some Pebeo crystal water effects and manually brush this into the chain mail when slightly ‘set’. is would give me a good surface on which to 50 The Illustrated Historical Figure Artist 07.2017

I did not want any ‘highlights’ or paint

paint and still keep the overall detail and depth of the chain mail without having to laboriously superglue individual links! Once undercoated I set about painting the chain mail. is was

in a non-metallic approach using a mix of both metallic and underneathdone non-metallic pigment. e first the chain step in this process was to go in with a heavy wash of the purest mail to black that I had. e reason for this is simple, I did not want any show ‘highlights’ or paint underneath the chain mail to show through the spaces between and inside the links. Once I was satisfied I used progressive lighter shades


of Vallejo Sky Grey dry brushing this over the chain mail texture being careful to bring to life the way that the chain mail links interacted with each other. For highlighting the links I decided to use a mix of Scale 75 Silver metallic and Vallejo Ivory into my grey mix. For final highlights I used spots of Golden Acrylic Titanium White on selected links. Keep the viewer’s eye interested

e next section I turned my attention to was the scale mail. At first I was daunted about the amount of detail on each scale and I struggled with how I might approach the painting. I settled on ‘attempting’ a dark scale with orange accents. I first painted the scale in a very dark grey/brown as I wanted to keep black in my pocket to deepen the shadows later. To make sense of the light, create tension in the piece and keep the viewer’s eye interested I knew that I wanted a highlight on the chest. To achieve this I airbrushed an orange/brown over

At first I was daunted about the amount of detail on each scale

Saladin’s le shoulder and allowed this zenithal approach to define both placement and intensity of the highlight, both the base and the highlight were using only watered down Vallejo paints. is work le me with a somewhat pastel orange/grey base over which I worked some washes of GW Nuln Oil and GW Reikland Flesh. is helped to pick out the surface details of each scale, I then used progressive washes of increasing opacity black into the shadowed areas. is is opposite to the approach people normally take where common ‘best practice’ is to go from dark to light. e highlighting of individual scales was treated as if each one 07.2017 The Illustrated Historical Figure Artist 51


Non-Metallic Metal effects. is was done over a dark grey almost black base and involved sketching out areas (sparks) of light and blending these in to create the desired effect. To add a bit more interest in these areas I glazed some Vallejo greens and blues to give the impression of metal, again somewhat experimental, but I was happy with the results. e final highlights of these areas were picked out using a mix of

was a piece of reflective and polished metal. is is where using pure white can help to really punch up the contrast, particularly in relation to metallic surfaces, using the white to pick out the edges, always being mindful of where the light should be reflecting and increasing in intensity towards the highest highlight over the le shoulder, this was done from the srcinal base tone mix. e detail on each scale then needed to be picked out. I had plans to paint the cloak of the Bust in a traditional Arabic colour 52 The Illustrated Historical Figure Artist 07.2017

Using pure white can help punch up the contrast

(green) so I decided that the central raised pattern on each scale needed to tie into this. I started with the ‘brightest’ green that I wanted (Vallejo Lime Green, Vallejo Deep Green and Winsor & Newton Emerald ink) and added successive parts of black to the mix as I worked outwards from the brightest section on the figure to the deepest shadows. Black itself helped to desaturate the intensity of the green as I went. Mixing metallic and non-metallic

For the edging of the armour sections I decided to work some

Titanium White and Scale 75 White aAlchemy. On the edging to the cloak and other ornate areas I wanted to use a gold. Having learned from Alfonso and his True Metallic Metal I have become a fan of mixing metallic and non-metallic pigments to give a ‘sheen’ when a miniature is held in the hands. I hadn’t painted gold before so I created what I considered a good golden mid-tone. I then applied a liberal wash of GW Seraphim Sepia and Winsor & Newton brown ink. is nicely picked out all the details on both the cloak, clasps, chain and helmet bands. I then worked in shadows using additions of brown ink and black ink into my golden mid-tone. For the highlights I started to mix both Scale 75 Citrine Alchemy (a lovely desaturated golden metal flake) and Vallejo Ivory into my mid tone plus a smidge of orange ink, finally I created the last highlights using a very sparing application of Scale 75 White Alchemy and a


Titanium White. e armour plates are segregated by sections of undergarment. I decided that for these I wanted a ‘bright’ contrasting fabric which would give clear separation. I painted these in a warm ivory tone using a mix of Vallejo Ivory and Vallejo Cork Brown. For the shadows of the fabric I mixed in a little Vallejo Purple and some Vallejo Chocolate. Once finished I pushed the highlights on to almost white to give the appearance of a ‘sheen’ like satin. ese sections still looked a little plain so I went on to try some freehand on them. anks goes out to the guys at the Chromonaut Studio in Copenhagen who have converted me to using watercolour paints for freehand as it gives you a huge degree of safety. Watercolour can be refined or even erased using a wet brush if you are not immediately happy with the results. I used this technique (which is an old one) to design a clover leaf pattern with additional repeated markings. Once I had finalised the design and ensured consistency I sealed in the design using some airbrush matte varnish (a custom 1:1 mix of Winsor & Newton matte varnish and water). As I did not want the freehand to dominate I knocked back some of the design with some of the mix I used for the highlights and shadows. I really like this watercolour approach as although watercolours seldom have the intensity of acrylic or oils, what they leave you is an effective ‘paint by numbers’ where you can overpaint the design in more intense pigment if you choose. Complex free hands were unnecessary

e undergarment and in particular the collar underneath his chin has a piped ‘edge’ which I decided to paint using pure Vallejo Burnt Red. is would

The cloak has an odd but interesting texture to it

also tie into the similar piping used on the sword hilt to unify the piece when fully assembled. is was highlighted using Vallejo Ivory, Vallejo Flat Yellow and Vallejo Vermillion. e cloak has an odd but interesting texture to it, this I painted in a mix of Vallejo Black and Deep Green to tie it into the green of the scale and help the viewer’s eyes flow across the miniature. I applied a wash of Vallejo Black Green and GW Agrax Earthshade, this helped to

give depth to the folds of the cloak and define the patterns of the surface. To tie in the ‘desert’ feel I knew I wanted to use red with the green which would both give interesting contrast and create the brown look I was aer. is was done fast in a ‘sketch’ style using mixes of the base tone with Vallejo Burnt Red and some Vallejo Flat Red. Like most elements on this Bust 07.2017 The Illustrated Historical Figure Artist 53


the cloak carried so much detail that complex free hands were unnecessary and at this point it was already looking quite effective. Highlighting the cloak followed in a similar manner to the scale with regards to light placement and intensity, all done using a brush and being careful to pick out individual details on the cloak progressing from my green mid

Feathers seemed appropriate, for no other reason than I liked the idea of sculpting them

tone and going up through Vallejo Beige and Vallejo Ivory. Finished state

e cloak is folded over in two places to reveal the opposite side. Being an important person I decided that a nice touch would be to line the inside of the cloak with a red/copper satin. is was done again using Burnt Red as the basis and adding successive portions of Vallejo Light Orange and finally Vallejo Flat Yellow into the mix. I used lines drawn across the surface to mimic the stitching that would be present if it were actual fabric. At this point the bust itself was largely in a finished state albeit missing helm and sword hilt. I turned my attention to the helm. I decided that whilst historically accurate, the nose guard dominated the face too much. Instead I decided to greatly shorten it and replace the top section with something more ornate. In effect I decided to create a ceremonial helm for him. 54 The Illustrated Historical Figure Artist 07.2017

A nice touch would be to line the inside of the cloak

Feathers seemed appropriate, for no other reason than I liked the idea of sculpting them. ese were created using a mix of 50/50 milliput and green stuff over a thin sheet of copper, bent into the appropriate shape. To hide the join where they would integrate with the rest of the helm I added an upturned crescent moon shape which would also give me an opportunity to add a contrasting colour for interest during painting as well as implying Arabic descent. I tackled the painting of both the helm and the sword hilt at the


same time helping to unify the bust with the same palette in multiple locations. e basic outline for this was similar to that used on the chain mail. A dark grey mid tone which was taken down to black in the shadows and taken all the way up to purest white for intense highlights, using Titanium White and scale 75 White Alchemy. e helm itself has a staggering amount of detail pressed into it; I didn’t want this to detract from the face of the Bust so to counter this I wanted to obscure some of the detail using an intense highlight. I simply painted over the detail as if had been a perfectly flat surface. Gut feel will decide how you would approach this yourself but you reach a point where the amount of detail still visible ‘feels right’. The last thing to paint

e feathers were painted in a neutral beige/brown tone with black accents; this style seemed to suit the figure more than some of the exotic feather references I could find on the net. e crescent moon was painted along with the sword hilt jewels in Vallejo Deep Green plus Winsor & Newton Emerald ink to imply an opulent Jade. Highlights used the same process as on the cloak but continued up to purest white on the edges to imply a ‘cut’ finish. e last thing to paint on this bust was the parts of the sword and sheath visible to the user. Hailing from his particular

angles before being finally and eternally set in stone. I’ve seen too many great paint jobs ruined

miniature to display on it! I took Saladin to the Duke of Bavaria show in Ingolstadt 2017

geographic location I decided that a type of ivory wouldn’t look out of place. Again this followed a mixing a mid-tone then shadow and highlighting as done elsewhere. When gluing a piece together, particularly exhibition standard, I much prefer using a slow cure epoxy resin glue. is gives you crucial time to ensure that elements align correctly from all

because people were too eager to reach for the instant drying superglue, take your time! A shout out to Richard at Oakwood Studios for sorting me out an appropriate plinth to display Saladin. When you paint a nice piece you should spend some time to choose an appropriate presentation for it. Indeed I know some painters who have picked up a plinth and ONLY then buy a

where he formed part of my bronze winning display in Master Painting and I was fortunate enough to be awarded a silver for him at the recent Salute 2017 painting competition. I learned a lot about project approach on this piece which I can take into further projects. It was great fun and I hope people have enjoyed reading and understanding my process. 07.2017 The Illustrated Historical Figure Artist 55


It was great fun and I hope people have enjoyed reading about it


Lawrence of

Arabia ‘There are no short cuts to anywhere according worth to the going’ arabic proverb and it could not be a more apt saying for Maria Alberta Iaia’s

multi-layered interpretation of FeR’s desert icon Lawrence of Arabia


Step by step І Lawrence of Arabia І Painted by Maria Alberta Iaia

I always start with the eyes as they will give me a wider vision of the model itself and its expression for the future steps

I only use acrylics and black primer with the ultra-matte varnish of AK. e following is only a short account of the steps involved and was not aimed to be an exhaustive account but a little light reading accompanied with some images of my most recent historical bust, I hope you find it of some interest! As you can see I always start with the eyes as they will give me a wider vision of the model itself and its expression for the future steps. I begin with a mixture of Vallejo Prussian Blue and Black

1.

to set the iris’s dimension. Also, this will be the dark part of the iris and you will be able to see it once the eye is done. en I make a mixture of Prussian Blue, the same I used before, with a tip of American Blue from AK to make the light part of the iris. Once done I can make the pupil with Black and the white spot on the opposite side of the blue light I made before.



en I start to paint the skin using the layering technique, not the blending one. e black primer helps me with the shadows as they are already there, all I have to do is to keep layering from bottom to top many times (usually for a 1/12 bust I make around 20/25 layers), slowly shortening and shrinking the lights. For the skin-tone I start with a mixture of Brown Sand and English Uniform with a tip of Vermillion and lighten it with Basic Skintone.

2.

I keep layering from bottom to top many times (usually for a 1/12 scale bust I make around 20/25 layers) To simulate the beard growth (stubble), I made less skin layers on that part of the

3.

face to keep it darker. Once it had fully dried I used a very dilute layer of Grey + Brown Sand. Aer an initial application of these colors, I also applied some Brown Sand in random spots in the flesh/ beard transition area. at was the colour I used in the first place to make the skin tones a bit more bronzed and it helped to further integrate the beard with the flesh and help to blend it better. 07.2017 The Illustrated Historical Figure Artist 59


I used the same layering technique, in the first step I could set the first lights then increasing them with brighter colours until pure white

Once the face is done and I feel satisfied I can continue my project with the turban (which I decided to make red) and the garment with white and yellow stripes. Even here I used the same layering technique, in the first step I could set the first lights then increasing them with brighter colours until pure white. My mixture for the white is Black + English Uniform + Ivory, while for the yellow I usually start with a mixture of English Uniform + Japanese Uniform and then make lights with Ice Yellow (up to white only if necessary).

4.

I mainly use Vallejo colours as you may have seen. Only for the red I chose three tones from Andrea Colours which are Blood Red and Prussian Blue as a base and lighten with Vermillion (Vallejo) + Napoleon Orange from Andrea Colours. 60 The Illustrated Historical Figure Artist 07.2017


Once the 5. garment and turban are done the only thing to do is to make some details, as you can see, I decided to follow the box art and create the illusion of the clothes seam along the shoulders and darker lines upon the white stripes to emphasise the depth of shadow to the creases of the vest.

6.

I decided to follow the box art and create the illusion of the clothes seam along the shoulders

For painting the belt that Lawrence has at the bottom of his chest I used a basecoat of Burnt Umber and Black. is way I got a very dark brown with a touch of red that will look perfect once highlighted with orange tones. Before the highlights, I added an extra shadow with a wash of Black to outline the extremities of the belt and to add a touch of gloss in the shadows and refine some details. 07.2017 The Illustrated Historical Figure Artist 61




Figure: Lawrence of Arabia, Aqaba, 1917 £36 40€ Sculpture: Raúl García Latorre Material: Resin Number of parts of the kit: 2 Scale: 1/12 Paints used AK Interactive Vallejo Andrea Colours 07.2017 The Illustrated Historical Figure Artist 63

Eyes RIGHT! ...And nose, mouth, ears and the rest of the head David Powell’stips and tricks to perfecting your face-painting skills 64 The Illustrated Historical Figure Artist 07.2017

Step by step І Step-by step: Eyes І Painted by David Powell

The beauty of skin is that the tone varies from person to person, so there’s no single ‘correct’ shade

or some people painting faces is one of the most fun parts of the figure yet while for others it is one of the most intimidating. However, unless you plan on only painting medieval figures wearing full helmets, painting faces is hard to avoid. In this article I hope to help you to improve your painted faces by

F

difference is on the smaller figures I simplify the level of detail while on the larger ones I can bring out the fine features more easily. e painting here is done mostly with Reaper Master Series acrylics. I especially like this paint range because of their skin tones. While most brands have only a handful of skin tones (light skin,

Fair Skin set. I also used some reddish browns. Now, all of this can be done with the skin tones from any range, so don’t worry if you don’t have the specific paints. Just pick the closest thing. e beauty of skin is that the tone varies from person to person, so there’s no single ‘correct’ shade. It’s more about the types of colours

walking you through my process. I will be using the Aide-de-Camp to Marshal Suchet from Pegaso Models. is figure is 75mm scale, so we have more room to work on details than a figure of 54mm. Despite this my process is the same whether I’m doing a 75mm, 54mm, 90mm or a bust. e only

dark skin, etc), Reaper has on the order of 20 different skin mixes. ese are grouped into sets of 3, like Tanned Skin, Tanned Shadow, and Tanned Highlight. However, I find mixing and matching between the sets can produce better results. In this case I used some of their Rosy Skin set and some of the

(whether you use warm shadows vs cool shadows) and the proper use of colour variation (which I will get into at the end of this article). Whether you use Reaper’s Fair Skin or Vallejo’s Light Flesh or Citadel’s Kislev Flesh isn’t really important. Okay, without further ado, here is my process for painting faces!

Step One: e Base Coat Aer priming the figure (in this case, with white so the colours show up a bit brighter), I base coat the face with Reaper’s Rosy Shadow and also base coat all of the parts touching the face (the hair, shako, and collar of the coat/ shirt). e Rosy Shadow is a warm skin tone, so I like using it as a base to work over. ose warm tones imply life, so are ideal to use on skin. I don’t want my base coat to be too thick, so I dilute it with water. e paint should take 2 or so layers for complete coverage on the figure. 07.2017 The Illustrated Historical Figure Artist 65


An important thing to keep in mind as we work with the shadows is what features do we want to emphasise? Step Two: Sketching in the Shadows At this point I like to rough in the shadows. Some people prefer to work gradually down from the midtone to the shadows. I like to rough them in and then blend back up to the midtone. It’s a matter of personal preference,

the cheeks and the lines running from the nose down to the side of the mouth. ese will go around the eyes, in the ears, and under the nose and jaw. I’ll also be sure to pick out the underside of the bottom lip. Next I take a darker brown (Mahogany Brown) and again

the face we will have variations in the shadows. We can use this to bring out some features while underplaying others. is is especially helpful for bringing out the expression. A good way to help visualize this is to stand in front of a mirror and make faces. If you’re snarling

neither approach is incorrect. e most important things are the colours used and the placement of the shadows. For the colours, I like to work with reddish browns I start with Reaper’s Chestnut Brown and mix in a little of the rosy shadow (about 75% Chestnut Brown and 25% Rosy Shadow). On a normal face, I’ll place these shadows on the sides of

mix in a little bit of Rosy Shadow. I will use this to pick out the deepest shadow. is goes under the brow and on the inside of the eyes, in the nostrils and deepest recesses of the ears, under the chin, and then is used to pick out any remaining major features. An important thing to keep in mind as we work with the shadows is what features do we want to emphasise? As we paint

or shouting, the lines from your nose to the sides of your mouth are much more prominent than if you have a neutral expression. e same goes for where the brow meets the top of the nose. If you’re angry, lines here will be more apparent than if you have some other expression. As we paint the figure, we can use how dark or subtle the shadows are to help convey the expression of the piece.



For the ‘whites’ of the eye (the sclera) it is important to avoid pure white as that will look too cartoony Step Two-and-a-half: Details Taking a break from the skin, I like to paint some of the details at this point. Typically this will be the eyes. However, for this figure since the mouth is partially open, I’ll go in and do the teeth too. For the eyes on a 75mm figure or larger, I like to start with a layer of pink. I’ll take some Violet Red and mix it with Rosy Shadow (maybe 50/50). I’ll then coat the eye, making sure to get this in the corners. en, when I paint the whites of the eyes, I’ll leave some of the pink showing on the inside corner to represent the lacrimal caruncle. I might also leave a fine line of pink along the bottom edge of the eye to define the boundary

pupil along with some shading/ highlighting in the iris. For me, a 75mm figure is the smallest size I can comfortably add a distinct iris and pupil. Doesn’t mean I won’t try to do that on a 54mm, it’s just not a guarantee it will work! For this figure, I began with a dark blue circle to define the borders of the iris and then filled it in with a light blue. Unnatural and car toony

I then carefully placed a dot of pure black in the centre and then a dot of pure white off centre for the catchlight. While we wanted to avoid pure white for the sclera, it is appropriate to use pure white for the catchlight. Here is an example of an eye I

between the eye and the lower eyelid.

painted on a 90mm scale figure. Notice the sclera is an off white, slightly duller than the pure white of the catchlight. e pink shade Keep in mind For the ‘whites’ of the eye (the can be seen in the corners of the sclera) it is important to avoid eye and as a fine line below the pure white as that will look too eye. I also le a bit of the initial cartoony. Keep in mind you’re dark blue circle I used for the iris, viewing the side of a sphere, not which forms a nice border once I the top. So the eye should be a paint on the lighter blue. darker colour. I oen use Reaper’s Aer painting the eye, I will Weathered Stone, a nice light grey. go in with a dark shade (a dark From here I go about adding brown or a black) and paint the in the iris, pupil, and catchlight. bottom of the upper eyelid. is e amount of detail in the eye creates a nice border above the really depends on the scale of eye. the figure and your confidence However, do not paint a similar in your brush skills. On a small line along the bottom of the eye. figure, a single circle of dark brown or dark blue can suffice to represent both the iris and the pupil. On a bust you really want to have a distinct iris and

at would look unnatural and cartoony. Instead use either the pink or a light skintone, as the top of the lower eyelid should be a highlight.

The amount of detail in the eye really depends on the scale of the figure 07.2017 The Illustrated Historical Figure Artist 67


regions. is also helps to create the blend. As I get lighter and lighter, I start each new layer closer and closer to the midtone region and leave the darkest parts of the shadows untouched. As you can see from the results at this stage, the shadows have defined the main volumes and helped to convey the elements on the expression (any major creases

Step ree: Blending in the Shadow With the eyes done, I now return to my skin tones. I use one or two intermediate shades between the Mahogany Brown and the Chestnut Brown (both with a bit of Rosy Shadow) to blend those deepest shadows into the lighter ones. en, I slowly add more and more Rosy Shadow to the

Chestnut Brown + Rosy Shadow mix with each layer I apply until I’m working with pure Rosy Shadow. In this way I work those shadows back up to the midtone. For blending, I dilute the paint more than I did with the base coat. While the base coat needed around 2 layers for complete coverage, these blending coats need 3 or 4 for complete coverage. eir semi-transparent nature helps to create the blend by showing some of the underlying colour. As I apply them, I tend to start in the shadows and brush the paint towards the midtone

The shadows have defined the main volumes

or features). However, the face still seems a little flat. Next we will use the highlights to help further define the shapes. At this point it’s also worth noting that there are variations in the shadows. Take the lines from the nostrils down to the sides of the mouth. ese creases are deepest at the nose and then become shallower as they go towards the corners of the mouth. erefore, on the figure these shadows are darkest at the nose and become fainter as they go towards the mouth. Step Four:

The use of pure white should be very limited

Adding the Highlights For the highlights I like to switch from the Rosy Skin set to the Fair Skin set. I start again with the midtone, Reaper’s Rosy Shadow, but now I start to gradually mix in more and more Fair Skin. With each layer, I apply lighter and lighter shades. I focus on the top of the cheeks, nose, chin, and the ears. I highlight the lower eyelid


Applying highlights in very limited areas

as well, though not too much. On this figure, the forehead is covered by the shako. However, if that was bare, I would certainly be applying the highlights there too. As with the previous step, the paint is thinned. As I apply it, I brush the paint towards where I want the highlights to be brightest. is helps with the blending.

Once I get to pure Fair Skin, I start to add in Fair Highlight. At this point, I am applying the highlights in very limited areas. I’m focusing on just the very tops of the cheeks (right under the eyes) and on the nose. If even brighter highlights are desired, a bit of pure white can be added as well. ough the use of that should be very limited.


Once we add the glazes, it will be very inconvenient to have to touch up any of the face. So parts where we might accidentally get some other paint on the face should be done at this point Step Five: Hair, Lips, and Other Details With the shading and highlighting on the basic skin complete, it’s now time to turn out attention to the other details on the face. For the lips, I like to start with a mix of Violet Red and Rosy Shadow. I don’t have a specific ratio, but somewhere around 1 part Violet Red to every 1 or 2 parts Rosy Shadow. To this, I then gradually add Fair Skin. is will highlight as well as tone down the red. Aer all, we don’t want our Aide-de-Camp looking like he’s wearing lipstick! As you highlight, you can create a solid lip or give the impression

of a crease in the center (as I’ve done on this figure). It’s a small detail, but adds to the realism.

As I’ve said, these fine points are easier to do on the larger

this figure, that is mainly the hair. I could have done the collar and shako strap as well, but I was confident I wouldn’t deface the face while I painted those. e decision on how much to do is up to you.

scales. e upper lip tends to be in shadow, so I may just use the Mahogany Brown for that. Before we go on to our final step, it is beneficial to take care of the pieces that border the face. Once we add the glazes, it will be very inconvenient to have to touch up any of the face. So parts where we might accidentally get some other paint on the face should be done at this point. On

For the hair I went with a brown tone. I started off with Brown Liner (a very dark brown) and then used Reaper’s Muddy Brown. To highlight brown hair, I like to add in skin tones. To the Muddy Brown, I gradually worked in Tanned Skin. At around 50/50 Muddy Brown and Tanned Skin, I started to add Fair Skin instead to create the top highlight.

How much to do is up to you



Glazes should be the final step. The way colour is built up is a process and is difficult to recreate in one single spot, so if you accidentally get a dot of another colour on the face it will be very hard to correct. Step Six: Glazing in Color Variation

over multiple layers. For even a subtle colour, you will want 4 or 5 layers. is helps with the

purple. On this figure, I used the pre-made GW glazes (Bloodletter Red, Guilliman Blue, and a mix

blending as it can create very smooth transitions. Make sure each layer is dry before you apply the next. Glazes tend to dry a little bit slower than normal acrylic layers, so don’t rush it. you apply a second layer before the first is completely dry, it will re-wet the first layer and just push the excess paint around. You can only build up the colour if the preceding layer is dry. Glazes should be the final step. e way the colour is built up is a process. at process is difficult to recreate in one single spot, so if you accidentally get a dot of another colour on the face it will

of the two for the purple), but on more recent figures I have switched to Scale75’s ink set.

This will give you the required control over where the colour

be very hard to correct. ere are several ways you can create your glazes. e first is to simply buy a pre-made glaze like Games Workshops glazes. In my opinion these are still a bit too thick, so I further thin them down 50/50 with water. e second way is to use either acrylic paint or ink and add a lot of water (roughly 10 parts water for every 1 part paint). is works fine with inks, but paint tends to break down when you add that much water. erefore, you will also want to add one part glaze medium (sold by companies like Vallejo) to help

used the red glaze to tint the bottom of the tip of the nose and the bottom of the ears. Compare the final image here to the previous step to make the colour shi more apparent. e blue glaze was used on the lower third of the face to represent stubble. Blue seems like a strange choice, but since it sits on the opposite end of the colour wheel from the skin tone layering on blue creates almost a grey effect. Be wary that you do not apply too many layers as you do not want the jaw to actually look blue. You just want to shi the colour away from the

flows

the behavior of the paint when thinned down to a glaze. Since the glaze is so thin, you will also want to work with a cup or well palette. Okay, now that you have an idea what glazes are, let’s look at how to use them on the face. e goal here is to add tints of color. I normally focus on adding warm tones to the cheeks and cool tones to the chin. I like to work with three colours: red, blue, and

regular skin tone. As this figure has a mustache, I just focused on the chin. I started my brush stroke at the top of the stubble and brushed the colour down and under the chin. Here it is important to do the entire chin at once so you don’t create vertical lines with overlapping glazes. Obviously the brush cannot cover the whole chin at once, but you can take advantage of the drying time for the glaze.

e final and perhaps most important step is using glazes to create colour variation. As I said earlier on, the specific colours you use for the skin are not as important as including colour variation. is produces the lifelike look you want in the face. ere are two important things to discuss here. e first is just what are glazes and how do you use them. e second is what colours should you be glazing on and where. First, let’s take a look at what glazes are and how they work. Glazes are very thinned down paint. You might have one part paint to ten parts water. ey are similar in consistency to a wash. e main difference between a wash and a glaze is in how they are applied. A wash is supposed to flow all over and get in all the cracks and crevices. A glaze is meant to be applied in a much more controlled manner and only go where you place it. When applying glazes there are several things that should be done: You should begin by removing the excess paint. Dab the brush on a paper towel. ere will still be enough paint in the bristles to use. is will give you the required control over where the colour flows. Make sure each layer is dry

Start your brush stroke in the transition region and push the colour towards where it should be the strongest. e most paint will be le at the end of the stroke, so use the direction to help with the blending. Typically you will be working with the side of the brush and not the tip as you apply the glaze. Gradually build up the colour 70 The Illustrated Historical Figure Artist 07.2017

Dab the brush on a paper towel.

Make the colour shift more apparent

I began with the warm tones (the red) and applied those to the middle of the cheeks. I started maybe a third of the way down the cheek from the eye and brushed the colour back and in towards the deepest part of the cheek. is was repeated (aer each layer had dried) around 5 times to get an appropriate shade of red. By varying the number of layers, you can make the effect either stronger or subtler. I also


Just work quickly using parallel strokes and work your way from one side of the jaw to the other. As it remains wet, you will not create overlapping glazes. en, when it has dried, you can repeat the process to continue building up the colour. As for the purple, I like to use this to help reinforce some of the shadows. I typically add a bit of purple into the deepest shadows

Make use of colour variation (reds in the cheeks and tip of the nose, blues on the lower part of the face for stubble) to get a life-like look

on the cheeks and to some of the shadows around the eyes. You can also use either the purple or the blue under the eyes to bring out the dark circles or bags under them. In this case, I applied several layers of purple glaze. e effect is subtle, but can be seen by comparing the final images to the previous ones. e illustrations on this page shows another example of the effect of glazing (this time using a 75mm Hussar as an example). e two images show how glazes on top of the already shading/ highlighted face can take a decent looking figure and turn it into something much more life-like.

Conclusion: I hope this article has provided you with an insight into how I tackle this intimidating, yet rewarding element of miniature painting. While you may not follow my exact approach on your own figures, I hope you will take away some of the key points and adapt them into your own approach. Be mindful of where you apply highlights and shadows. Use variation in the shadows to bring out the key elements of the expression and the major features of the face. Use warmer tones in the shadows to give the figure a sense of life and vigour. Make use of colour variation (reds in the cheeks and tip of the nose, blues on the lower part of the face for stubble) to achieve a life-like look. No matter what method of blending you use or whether you like oils, acrylics, or enamels, these ideas can help you create better looking faces on your figures. 07.2017 The Illustrated Historical Figure Artist 71

Journey’s end Works of art completed by you

Roman Centurion by Ivan Cavero de la Peña (Ivan C. Pintor de Miniaturas)

Stormtrooper1917byEmmanuelRoux

FrenchGrenadierof1stSwissregiment1810byKirilKanaev

Send pictures of your completed works of artotfigurementors.com/art 72 The Illustrated Historical Figure Artist 07.2017

Journey’s end І Works of art completed by you І Send pictures of your completed projects tofigurementors.com/art

British Soldier, the Somme by Rob Norris

9June1944byFranckDelineau

King Tiger Tank Commander by Jason Zhou

CristinaCrCi riLulutitledwhisper

Send pictures of your completed works of artotfigurementors.com/art 07.2017 The Illustrated Historical Figure Artist 73


Warrior Moche by Davide Faiola

Gladiator by Fabio Fiorenza

VikingbyNicolasWang

MajorBritishCavalr yYeomanr yRegiment1914byPatrickKamsma



Gandamak by JM Gomez Garcia



Lewis and Clark Expedition by Pete Garrison



let your imagination fly by stathis mamais and christos panagiotopoulos


ATHENS 2017 A Greek feast from The 18th Star Club Athens Show 2017–

Anna Shestakova reports from the exhibition of historical and fantasy miniatures


The 18th Star Club Athens Show2017

e 18th Star Club Athens Show 2017 – an exhibition of historical and fantasy miniatures was, as usual, a warm an cosy event, where having a good time with friends is equally as important as the competition. e venue was the Plakas Arts Centre where as well as the competition a series of masterclasses were held by figure painters Francesco “Franciuus” Farabi and Fabrizio Russo.

is show is not only about miniatures, but about friendship, communication and recreation in a large international family of artists. In addition to the event the participants of the show managed a visit to the ancient Acropolis in the company of an inimitable guide, the tour lasted five hours and during this time we learned many new and interesting facts about ancient

Greece. On the Saturday night there was a dinner with a variety of Greek cuisine, and the dances le nobody feeling indifferent. e guests of the show were surrounded by the love and care of the organisers. Athens Miniatures Show is more than just a show and everything that happened in Greece remains in Greece! ...And Facebook! See you next year! 07.2017 The Illustrated Historical Figure Artist 79












...and some of the non-historical figure displays










IHA-mag-001-201707

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