Painting Miniatures

Acquistato da ivan pazmino su Bookrepublic Store il 2014-05-22 05:15 Numero Ordine Libreria: b1486609-9788888711409 Copyright © 2014, Auriga Publishing

Auriga Publishing International

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INTRODUCTION

Text and pictures: Danilo Cartacci Copy editing: Thomas Abbondi Book design: Cristina Bonanno, Alessandro Bruschi Graphics: Cristina Bonanno, Alessandro Bruschi

from an idea by Danilo Cartacci and Alessandro Bruschi

Printing: S.A.T.E. - Zingonia (BG) Publisher: AURIGA PUBLISHING INTERNATIONAL SRL Via Bressanone 17/1 16154 Genova - Italy e-mail: [email protected] fax: (+39) 0106001907 www.aurigapublishing.it Copyright Auriga Publishing International srl © 2007 All Rights reserved. No Part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording or by any information storage retrieval system, without written of permission of the publisher.

Thomas Abbondi


Translation: Andrea J. Richardt

It took two years for Danilo to answer the simple question on how to paint miniature figures. As soon as I saw the first draft of this volume, I was immediately enthusiastic about it. Observing all the parts - texts, photos and captions - blending in a coherent and organic whole during the editing and paging process, gave me the exciting sensation of something really well done. Transforming a manual process such as miniature painting into an exhaustive and useful book is a delicate task, that implies both the skill to summarize and an even greater ability to shot high quality pictures in neat manner. Danilo proved to have these gifts at a high level and you can see it clearly in the figures that he paints.


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Materials

Page 8

CHAPTER 2

Preparation and assembling

Page 12

CHAPTER 3

Flesh

Page 17

CHAPTER 4

Draping

Page 29

CHAPTER 5

Metals

Page 41

CHAPTER 6

Chevrons

Page 47

CHAPTER 7

The heraldry

Page 53

CHAPTER 8

Natural materials

Page 59

CHAPTER 9

The setting

Page 67

CHAPTER 10

Painting a bay horse

Page 80

CHAPTER 11

Weathering

Page 89

CHAPTER 12

A complex figure

Page 95

GALLERY

Page 105


CHAPTER 1


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INTRODUCTION

Danilo Cartacci

This book is dedicated to my family: my wife Angelina, our daughters from the older to the younger Maria Michela, Elisabetta and Anna Chiara .


The aim of this book is that of introducing this particular ‘art’ to the widest possible public. I’m aware that there’s much more to write on this subject, and even more to learn. The techniques I have been developing are the result of a great number of experiments and precious advices that I’ve been putting in practice in a constant and mutual exchange of experiences with fellow modellists. Particularly, the help from my wife Angelina had been precious during the realisation of texts, since she took notes while I was at my workbench, helping me to develop a reader’s point of view. A thank you goes also to all the authors, the sculptors and the Companies that have been driving the production of soldiers to unbelievable levels, to the editors that promote them and, above all, to all the collectors who widely contribute to the growth of such a fascinating world.

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MATERIALS Throughout the years, I had the chance of experimenting countless tools and materials, trying to get the most out of each, according

A hair-dryer speeds up the drying process of acrylics. It goes without saying that it cannot be used on oils. Resin and plastic parts can easily be warped by the heat. Be careful.

Acrylics are very versatile. They are highly covering if not diluted. According to the degree of dilution, they can become almost transparent.

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Both the characteristics and the quality of the brushes have a key role in the outcome of our work. Winsor & Newton Series 7 are good for oils, Da Vinci work great with acrylics. Even though they are pretty expensive, their performances make them well worth the price. Ah, and they last long, too.

to the technique I was developing, to achieve the best result in the shortest possible time. Let’s look at a short list of common mate-

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MATERIALS

rials and their main characteristics. Brushes It may seem obvious, but not everyone knows that a good result depends also on the quality of the brush, especially for all those passages which require very accurate traits. Winsor & Newton and Da Vinci brushes offer the best performances, especially compared with the synthetic ones, thanks to their softness and resist-

ance. The Winsor & Newton series 7 brushes from 000 to 1 (long tip) are ideal for oil colours. The Da Vinci classic series (blue handle) from 0 to 3 are the best option as far as wide creases and draperies with acrylics are concerned; the Maestro series (black handle, 000 to 0) are excellent for precision jobs. It is always advisable to have a few cheaper and bigger brushes which may be used to mix the colours on the palette and to paint the grounds. Always wash the brushes after each session, using water and soap, trim their tips from time to time, and protect them with their dust caps.

A good drill with a good set of drilling bits, brushes and milling cutters is a must for every modeller.

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The main characteristics of both acrylics and oils vary from brand to brand. Andrea, Vallejo, Van Dyke by Ferraio, Winsor & Newton, Maimeri (classic series) and enamels by Model Master are above average.

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MATERIALS Files, pliers, cutters, scalpels and sand-paper are the most classical tools.

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A well lit workbench is crucial. The best bulb is narrow and long.

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MATERIALS White metal can be glued with superglue, or -even better- with twopart glue. Toothpicks and pins should always be at hand, for filling slits, refine or rebuild little parts with two-part putties.

Artist oils Oil colours usually have a poor covering power. Therefore they require a matt base, which should also provide a good level of permeability to ease the evaporation of oil. Excellent results can be achieved with Andrea Color acrylics and Humbrol enamels. White spirit can be used to dilute oils. Remember to use one cup for metallic colours only. Oils can be easily faded one in the other: contrasting tones next to each other (usually a light and a dark one) can be faded in the borderline, resulting in a middle tone. Another advantage is their slow drying time, which allows retouches for a good number of hours. The best brands as far as ‘workability’ and opacity are concerned are Van Dyke by Ferraio, Winsor & Newton and Maimeri classic series.


Colours With the passing of years, my approach to painting evolved: after using oils only, I now use both oils and acrylics. Oils are perfect for flesh, skin, leather and, in general, for natural materials, such as wood, stones, furs which require a remarkable fading depth.

a dropper. Andrea, Vallejo, Maimeri Polycolor and APA by Ferraio provide the best results. Apart from oils and acrylics, Humbrol and Model Master enamels are excellent for settings and metal parts. A common disposable plate is a great colour palette. Tools and accessories A good workbench must be well lit, possibly with a long and narrow bulb, to enlighten the biggest possible area. The most important tool is the drill, with different sets of drill bits for metal and wood, brushes and milling cutters. Files, fine sand-paper, pliers, cutters and scalpels are essential for a good cleaning and assembling of the models. Glues and putties are very important too. In the next chapters we will focus on the correct usage of all these materials.

Acrylic colours I normally use acrylics for fabrics, making the most out of their opacity, covering power and liveliness. The technique requires to overlap different layers. Each layer must perfectly dry before being covered (a little hairdryer can be used to speed-up the drying process). Acrylics are extremely versatile: according to the degree of dilution, they can be highly covering or almost transparent (veiling). The best way to dilute them is distilled water, used with PAINTING MINIATURES

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PREPARATION AND ASSEMBLING

The first thing to do is to check for any missing parts, placing all the bits in small bags. Flash lines can be eliminated with different files and a balsa cutter for particularly delicate parts. The blade must work perpendicularly to the surface. The parts should now be hand-polished with a brass brush, to eliminate even the smallest imperfection. The contents of the kit: always check for missing parts. Smaller bits should be stored in plastic bags.

Mounting rods Brass rods can be used as mounting pins. Brass blends very well with both glue and white metal, offering an excellent hold for stressed parts, the ones important for the overall strength and those connected to the wood base. Holes can be performed using a drill at low speed with specific drill bits. 2 centimetres in depth are usually sufficient. The wooden base needs a deeper hole, from 3 to 4 centimetres. Assembling Before starting to paint, it would be better to assemble as many parts as possible. This avoids the risk of ruining the parts we painted already, or spending hours painting a detail which will be covered. Once the parts are joined together, flash lines, imperfections and the slits between the metal and the wood base have to be filled with putty. This task can be performed with two-part epoxy putty, which perfectly blends white-metal parts. Once the parts are mixed, the putty can be applied using homemade tools. A toothpick will also do. Dip it in alcohol and the putty won’t harden on it. Once on the model, putty can be smoothed with a brush dipped in alcohol, and refined with fine sandpaper once dried. Preparation At the end of the job, only a few bits need to be painted separately. Each of these parts is fixed on a suitable base to ease the painting process and to be handled safely (wood pieces, unused bases, Patafix…). Always wash the

Files are crucial to eliminate flash lines. Use them gently not to spoil the model.

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When we buy a new model, the first thing we look forward to do is grab the brushes and start painting, almost forgetting about its preparation and assemble. These two phases, on the contrary, need to be performed carefully: even the best paint job won’t hide burrs or imperfections. Let’s now see how to prepare a model for painting, giving it enough strength to be safely handled and transported.

Gluing It is now time to verify the correct alignment of the parts before blending them, to determine which ones need mounting rods or to be retouched with putty. Two-part glue can be used for those parts that don’t need pins (generally the bigger ones), superglue for the smaller ones. Blue Tak can be used on big parts to keep them tight while the glue hardens. In case of hollow parts (i.e. horses halves) it is advisable to pour some glue in the cavities for a stronger hold. Two-part glues dry relatively quick: always clean the excesses before they harden.

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PREPARATION AND ASSEMBLING The blade should always work perpendicularly to the part. A brass brush is excellent for polishing and for getting rid of small imperfections.

Two-part glue can be poured in the cavities for a better hold.

Glue excesses must be carefully removed before they harden. Mounting rods ensure the model to its base. The holes on the model and on the base can be performed with a drill and suitable drill bits. Pins can be fixed with two-part glue.


Patafix is a soft putty which provides with excellent support for handling the parts.

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PREPARATION AND ASSEMBLING The model, partially assembled. Patafix keeps together the two halves of the dragon while the twopart glue hardens.

The flash line can be smoothed before the putty dries, using a brush dipped in alcohol.

As a fishing touch, use sandpaper to smooth the surfaces. Assembled and plastered: this amazing horse is ready to be primed.

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Perfectly mixed two-part putty can be applied with home-made tools. This toothpick was dipped in alcohol to make it non-sticky.

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PREPARATION AND ASSEMBLING When it comes to handle a part, anything which may work as a pedestal is welcome: in this case, the handle of a scalpel. Protect the base while painting.

Two-part putty can be used to join the model to its base.

Saint George and the Dragon, 54mm, sculpted by Adriano Laruccia. The model has already been primed.

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When the assemble is finished, only a few parts need to be painted individually.

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PREPARATION AND ASSEMBLING Metal parts will not be primed and they will be masked with Patafix. To avoid paint drips, always begin to spray before the silhouette of the model, and finish after it.

parts before coating them with the base colour. An old toothbrush will do. Primer A good layer of primer provides an excellent base for both oils and acrylics. Sprays should always be used in a well ventilated area, placing the model inside a box. It also important to start spraying before actually ‘being’ on the model, and finish after it, to avoid drips. Those parts which don’t have to be primed should be masked (Patafix works perfectly). Once the paint dries, use pliers to remove the mask. One of the best primers is produced by Tamiya (the dark grey one). 16

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A few passages with Tamiya matt grey primer are enough to make the model ready for painting.

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FLESH Human skin has a translucent finishing and a great number of shades, shadows and different tones. We all perceive these characteristics daily, our eyes are very accustomed to them.

Oil colours After a couple of layers with the acrylic base colour, (the colour palette with artist oils can be prepared) we can prepare the oil colours on the palette as follows: from left to right ivory black, raw umber, burnt Sienna, Naples yellow deep, titanium white. Place some rose madder genuine (red) and some violet in the middle of the palette. Add some colour for the eyes too. Colours can now be mixed, starting from left to right (from raw umber to titanium white), then from right to left (from burnt Sienna to black), to keep the black away from the light part of the colour we are creating. Then mix part of the colour with the red and the violet, and enlighten the colour you chose for the eyes (in this case cobalt blue) with white. We now have the whole

Zenithal light The first thing to do when painting a face, is study how lights and shadows appear in the different parts of the face, observing the model under a clear light placed directly above it. The areas of maximum light are on the forehead, on the nose, on the cheekbones and on the chin. The cheeks and the sides of the nose will be in the mid-light, while the arch of the eyebrows, the areas below the nose tip, below the upper lip and in the

The acrylic base colour is the result of the mix of reddish brown, light ochre brwn and white. Different quantities of these three hues offer numberless shades of colour.

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Undoubtedly, faces represent the most expressive feature of a figure. This is why we say that the face ‘gives life’ to the figure; it is therefore crucial to paint it carefully. The numerous shades of the skin blend into one another, making oils particularly suitable for the job; their translucent finishing largely contributes to a realistic result. On the other hand, the poor covering power of oils can be a problem, especially when we are working on a small area using many shades. What we can do is get the most out of each type of colour. Acrylics provide complementary characteristics compared to oils: they have an excellent covering power, and their matt finishing provides a good base for oils. Thanks to their watery base, oil thinners don’t spoil them. For all these reasons, the ideal choice is an oil finishing on an acrylic base. Such base will have to be darker than the shade that we actually have in mind.

lower part of the chin will be darker. Only after this analysis we can begin to paint. As an example, lights and shadows were reproduced on a black and white face.


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FLESH


range of colours needed for the face. Only a minimum quantity of oil colour must be applied on the face; use thinner (white spirit) to clean the brush at the end of each passage. Let’s now talk about the actual painting.


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FLESH It is always better to have a base colour slightly darker than the colour we are looking for. This will help the use of oil colours. First we paint the eyes. The white of the sclera usually blends with the red of the capillaries, resulting in flesh tone. A dark trait delimits the shadows in the arch of the eyebrows.

Draw the upper eyelashes with a very dark trait.

For intense and centred eyes, eyelashes must be vertically aligned with the edges of the mouth. A slightly decentred spotlight can make the eyes livelier. This is a very important phase, which must be performed carefully. Lower eyelids can now be outlined with a mid-light tone.

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The upper eyelid is painted using a medium tone.


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FLESH A ‘light-line’ along the eyelid will make the eyes look more tridimensional. Once the eyes are finished, it’s time for the nose: apply a mid-light tone on its sides and fade it with medium flesh.

Should the figure wear headgear with visor, shadows on its face will be darker.

As far as the cheeks are concerned, shadows are characterised by a more red shade, which spreads on 3/4 of the cheek, blending with the area of maximum light of the cheekbones.

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An extremely light shade of flesh is then applied the upper part of the nose and in the areas of maximum light.


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FLESH On the lower part they will be finished with a flesh tone (enriched with grey), which emphasises the shadows and gives the idea of a straggling beard.

These areas will be then blended with those of maximum light, using a very light flesh tone, adding a minimum quantity of grey.

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The upper lip can now be outlined with a shadow-line, using dark amaranth, while flesh+grey will be used for the shadows of upper and lower lips and chin.


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FLESH As far as ears are concerned, it is important to emphasise their volume, with obvious shadowand-light lines. The maximum shadow area of the neck is under the chin, and should be blended with the area of maximum light just below the ears.

Hair are easy to reproduce with acrylics, using a medium tone first (in this case brown),

Followed by a veil with a very dark tone which highlights locks. Each tuft will be then enlightened with a bright tone.

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As a finishing touch, sweat can be simulated with little streaks of gloss varnish (where appropriate).


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FLESH Finally, shadows are emphasised with a darker tone.

Add some reddish brown shadow-lines to give tridimensionality.

Nails can be reproduced with a pale shade on a medium dark base.

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To reproduce veins, I first draw them on the body or on the hands, using a colour lighter than the base.


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FLESH Private Light Company XXVIII Regiment of Foot, Waterloo 1815, 110mm sculpted by D. Grieve


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FLESH A face is strongly characterised by a good paint job. The very same sculpture painted in different ways, varying the balance between shadows and lights and (on the Indian) the tonality of flesh. In case of a wide forehead, a mid-shadow area will be visible on the temples, and a maximum light area just over the eyebrows.

THE SERGEANT A soft paint job, with gentle and neat tones can suggest one’s temper, as in the case of this Sergeant.

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THE TAMBURINE On a young face contrasts are more gentle and beard is not present. I added freckles instead.


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FLESH When we are working on a body, it would be better to sketch shadows and lights from the very first steps, since we are working on a wider surface.


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FLESH Using artist oils, we start from the face, then we proceed from the top to the bottom, working first on the torso, then on the limbs (one at the time). While painting, it is important to emphasise the volume of each muscular mass, with marked shadows and lights, fading each passage to obtain a gentle flesh tone. Veins, hair, sweat streaks will be painted in the end. Acquistato da ivan pazmino su Bookrepublic Store il 2014-05-22 05:15 Numero Ordine Libreria: b1486609-9788888711409 Copyright © 2014, Auriga Publishing

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FLESH

VIII Century B.C. Warrior 54mm sculpted by A. Laruccia.

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DRAPING The characteristics of acrylic colours (opacity, covering power), make them the ideal choice for painting textures.

Once the model is primed, it should be observed under the light, to analyse the pattern of the draping and the creases. The starting point is the base colour. It is important to find the correct shade since the beginning, a successful paint job depends greatly upon it. Colours should be placed on the palette and diluted with distilled water. The brush should not be overcharged, to keep

control on the stroke. It would also be better to prepare enough colour at once to accomplish each phase, storing some extra base colour. The mix can be kept for a few hours keeping it refrigerated. The common degree of dilution is rather fluid, but not too much.

THE BASE Apply two or three layers of the base colour on the model, as far as they are covering eneugh. An important feature of acrylics, which should be bear in mind, is that lights can also be obtained overlapping the same colour, resulting in more gentle shades. The other factors that influence the shades are the amount of passages (the more, the better) and the veils. PAINTING MINIATURES

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Arrows indicate the direction of strokes, which follow the sculpture’s shape. For the protagonist of this chapter, the base colour is a mix of dark flesh (Andrea AC-10), matt yellow (Model Color Vallejo MC-953) and small quantities of dark brown (AC-17), English khaki (AC-2) and white (MC-951).


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DRAPING

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LIGHTS The first passage consists in adding a drop of matt yellow to the base colour, beginning to emphasise the volumes which need to be enlightened. Then add some matt white on the palette and slightly enlighten the base colour. The new mix will be then used to emphasise the lights, decreasing at each passage the surface to enlighten. The base colour can be used to patch up a too marked shade.


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DRAPING


SHADOWS For shadows, add some dark brown (AC-17) directly from the first passage. The mix should be more thinned than the one used for the lights, for a softer shade. Add a pinch of dark brown for the second passage, and a pinch of black for the third. Passages vary according to the shade and according to the colour used.

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DRAPING

Lights are outlined with a very enlightened base colour.

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OUTLINES The shadows of seams, buttonholes and borderlines are outlined using a very dark brown hue.


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DRAPING


Now apply a well diluited brown veil.

The last passage consists in a black veil on the jacket to soften the shade, resulting in a weathered effect.

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DRAPING RED The trickiest part concerning red is that of keeping its brightness throughout the processes of lights and shadows. Red tends to turn pink or brown while painting lights and shadows, respectively.

For shadows add minimum quantities of Napoleonic green (AC38). Black is added only for maximum shadows and outlines.

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This problem can be overcome using orange for maximum lights and a very dark red for shadows, adding some green to the base red (its complementary colour) The base colour is made with carmine red (MC908) and Napoleonic green (AC-38), adding -in sequence- red MC947, scarlet red (MC817) and orange (AC32) for lights.


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DRAPING TARTAN CLANS I love painting Scottish subjects. Throughout the years I have been developing a technique for the right proportions of tartan clans. Basically it is a sort of grid, based on the 45degree diagonal. Being drawn in the squares, it will be covered by paint.


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DRAPING We proceed drawing the horizontal and vertical lines with the base colour, and realising lights and shadows. We then paint the squares on the junctions, which will be painted with a lighter green.


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DRAPING Finally we add the thinner lines and the weathering effects with the same procedure used for the jacket.


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DRAPING

Highland clansman, Jacobin Revolution 1745 54 mm sculpted by G. Russo


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DRAPING

Lights can be obtained adding some white to the base. Pure white should be used only in points of maximum light.

For shadows, add small quantities of khaki and black, bearing in mind that shadows bring the maximum tridimensional effect. During the process, shadows and lights must be coherently balanced, otherwise the model will look grey.

Russian Guard Hussar Officer, 1799 modified sculpture by V. Konnov

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WHITE The secret for a realistic white draping is the base colour. What you will need is a ‘dirty white’ shade, which can result cooler or warmer according to the needs. Warmer shades can be obtained adding brown or ochre, cool ones with black and green. This particular subject requires a mid-cool shade, obtained with white, khaki, green, carmine and black. All colours must be added to white in small quantities.


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DRAPING BLACK The preparation of the base colour must be carried very carefully also in case of a black draping. We need a very dark grey, adding different shades of brown (i.e. dark brown AC-17 and English uniform AC-2) to black (MC-950).

Shadows are painted adding increasing quantities of black to the base, using pure black for maximum shadows.

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To enlighten this mixture, we first add minimum quantities of dark flesh (AC-10), then light flesh (AC-9). Add white for maximum lights.

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METALS It is often a good idea to reproduce metal parts, especially armours, using the soldier’s metal itself. Attention and a few easy

techniques are enough to achieve astonishing results.


WHITE METAL The first step to realise a convincing armour on a metal figure is to polish its surface, using a brass bristle brush. Do not use the drill, since it could blacken the surfaces. The same applies for yellow metals. Varying the degree of brightness you already add trimensionality to the figure.

Then apply a washing, using ivory black (or Cassel earth), making sure that the hue settles particularly where shadows will be. Once the oil is dry, apply one or two drybrushes with Tamiya Smoke X-19.

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METALS Next, intensify the shadows and outline the different parts of the armour, using less diluted oil. Finally, enhance lights and rivets, using silver enamel by Model Master. Use it pure for small details, taking the hue from the bottom of the tin, without shaking it. Dilute it for wider surfaces.

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Sigismondo Pandolfo Malatesta Master of Rimini 1417-68 54mm sculpted by A. Iotti

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METALS YELLOW METAL After polishing the figure (as described above), apply Tamiya Clear Yellow X-24. As paint is perfectly dry, apply a wash with burnt umber and black. Again, wait for paint to be perfectly dry before proceeding.

Metallic typographic ink is a special ink used by printers; it is rather dense and can be mixed both with enamels and artist oils, providing excellent lights on metal parts.

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Use the same colours to intensify the shadows, and outline the parts of the armour. Finally, for maximum lights, use a Model Master gold enamel mixed with typographic ink. This mix makes the typographic ink rub-resistant providing brightness.


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METALS

English knight XV Cent. 54mm sculpted by Y. Serebriakov

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METALS HAUBERK After the white metal has been polished with a brass brush, it receives a washing with ivory black and burnt amber, for a rather dark shade, then a washing with smoke; once dried, shadows are intensified with almost pure oils.

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Finally, a light drybrush with chrome silver makes the lights brighter; burnt Sienna will then simulate rust. Norman knight, 54mm sculpted by G. La Rocca

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METALS BRONZE As far as bronze is concerned, a veil with clear orange is enough; then proceed as with white metals. Apulean Warrior 54mm sculpted by M. Bruno

COPPER For copper, apply a veil using clear red and clear orange, then proceed as described above. Medioeval child, 54mm sculpted by G. La Rocca.

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METAL ON RESIN For metal parts on resin, the starting point is a Vallejo black undercoat. Then apply an acrylic black/silver layer with Maimeri and enlighten adding more silver. Then apply a layer with smoke and proceed as with white metal, using oils for shadows and outlines and enamels for maximum lights. Croatian Hussar, 54mm sculpted by M. Numitone

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CHEVRONS When it comes to gold and silver chevrons, what we are looking for is the effect of a metal texture: the hue shouldn’t then be neither as glossy as metal, nor as matt as any ordinary fabric. The correct effect can be achieved starting from acrylic

metal colours, finishing with non-metallic artist oils. In this particular case, we are dealing with chevrons, epaulettes and braids.

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After shading the clothing, in this case using red, we prepare a base using acrylic gold Maimeri 148 and brown (AC-17), and apply this mix where appropriate.


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CHEVRONS

Chevrons, epaulettes and braids receive an oil wash with burnt amber, which emphasises the weave of the sculpture.

It’s time for oils: prepare a palette with burnt umber, gold ochre, Naples yellow and titanium white. 48

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Then outline the borders of the chevrons using the lighter colours on the palette


Shadows are realised following the draping, adding more brown to the undercoat colour.


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CHEVRONS The weave of the braids is painted in small sections. Then draw a series of diagonal lines in the inside of the chevrons, which simulate the weave.

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Then use a dark hue to outline the different elements, chevrons, the division lines etc.


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CHEVRONS

Officer of Red Lancer 1812, 54mm sculpted by M. Numitone


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CHEVRONS The undercoat of the silver chevron was applied using silver, a pinch of black and a pinch of white (acrylics). As far as oils are concerned, I used ivory black, cobalt blue, raw umber and titanium white. Prussian Officer, Hussar VI rgt. 1812. 54mm sculpted by M. Numitone

Guard’s Grenadier 1812, 90mm sculpted by S. Borin

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Officer of Red Lancers 1811, 54mm sculpted by M. Numitone


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CHEVRONS

Guard’s Grenadier 1806, 54mm sculpted by G. Azzarà

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THE HERALDRY The most important thing to bear in mind while painting a heraldry, is that every detail of it should be clearly visible once finished (claws, manes, tails). Geography and history must be coherent too, since the

symbols vary according to countries and centuries. Reliable historical references are therefore crucial.

I would advise to start from a simple drawing, easy to align, adding the details one at the time. Corrections are easier using an enlightened shade of the base colour.

Once drawn, the heraldry can be coloured, reproducing the lights and shadows that had been previously painted on the shield. The last passage is the weathering, which consists in the application of a dark brown veil on the surface, along with scratches and the signs of wear and tear. PAINTING MINIATURES

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HERALDRY LION Once found the suitable drawing, we apply the undercoating on the shield, with lights and shadows. The drawing must be perfectly centred on the shield, covering the whole of its surface.

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THE HERALDRY HERALDRY EAGLE After painting the flag, it’s time for the drawing, starting from the symmetric extremities of the eagle. Fill the drawing with the base colour, add lights, shadows and the weathering.


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THE HERALDRY The same procedure applies for the heraldry on the clothing.

Bohemian knight XIV sec.75 mm sculpted by A. Jula


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THE HERALDRY ROMAN SHIELD The most important feature of a Roman shield is symmetry. The one we are about to consider has both a vertical and a horizontal symmetry.

Using the two lines as reference, draw each quarter making sure that each part is perfectly specular with the other. Then use the appropriate colour to draw the other elements. In this case I used white and yellow.

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After the red undercoat (with both lights and shadows) and the metal umbo, we use a lighter shade of red to drawn the silhouette of the pattern, starting from a vertical line and a horizontal one. They can be easily traced using the rivets and the umbo as ‘reference marks’.

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THE HERALDRY

As a final touch, a coat of matt paint and the weathering (cuts, scratches, dust and mud). Roman Legionary I century 54mm sculpted by A. Laruccia.

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The dark shade will be enlightened, following lights and shadows of the base. It is now time to outline everything once more, using a dark red.

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THE HERALDRY

CRUCIFORM Again, start from a vertical line and a horizontal one. 58

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FLAGS Flags are usually painted in the same way as heraldries. Always check for the right proportions.


LILIES The best way to paint lilies, is begin from an upside-down cross, adding the other details one by one. Constantly keep control on horizontal, vertical and diagonal alignment of each element.

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Pagina 59

NATURAL MATERIALS titanium white, and some burnt Sienna in the centre. As with faces, the nuance is created from the darker colour to the lighter.

LEOPARD SKIN Phase one consists in the application of an acrylic undercoat, similar to the target colour. In this case, the base is: wood (AC-41), dark flesh (AC10), white (MC-951), black (MC-950).

The next step is the nuance of the mantle’s undercoat with artist oils, painting also the tone variations on the fur (the animal’s belly is lighter than its back), besides the usual lights and shadows.

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Uniforms often had fur-patches. Among these, one of the most frequent were leopard ones. As usual, a good starting point is a exhaustive series of pictures of the animal’s mantle, to study the actual tone and the pattern of the spots. Then prepare the following artist oils on the palette: Cassel earth, gold ochre, Naples yellow,


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NATURAL MATERIALS Now add the black spots, bigger on the back, smaller towards the belly.


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NATURAL MATERIALS As a final touch, paint the centres of the bigger black spots, with a brownish-red hue, using burnt Sienna.


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NATURAL MATERIALS


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NATURAL MATERIALS

Add a black veil, to emphasise the texture of the sculpture. Then enlighten the base colour adding some leather brown first (AC42) followed by dark flesh (AC-10). Working with the tip of the brush, each tuft of hair will be highlighted. As a finishing touch, a last oil veil with ivory black and burnt umber softens and blends contrasts.

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FUR To reproduce a fur, the base is an acrylic undercoat, close to target colour. In this case, the base is dark brown (AC-17) and black (MC950).


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NATURAL MATERIALS

The starting point is an acrylic base, made from dark flesh (AC-10) and English uniform (AC-2). Then prepare the palette with: Cassel earth, burnt umber, raw umber, Naples yellow, titanium white. Now place the dark colour in the shadows, light colour in the lights, blending them along the borderline. Always bear in mind that weather conditions affect the appearance of leather, resulting in contrasting tones, from darker shades to lighter ones. Finally, add seams or cuts. In case of black leather, the correct colour sequence is: ivory black, raw umber, Naples yellow deep and titanium white. As a finishing touch, soles and visible inner parts can be painted using clear leather.

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NATURAL LEATHER Also natural leather was largely used in uniforms. Excellent results can be achieved using oils on an acrylic base, to get the most from the saturation of oils.


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NATURAL MATERIALS

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WOOD For a good representation of wood, we need to get the most out of the transparency of oils and the brush strokes. After applying an acrylic base with dark flesh (AC-10), we prepare the colour palette, with artist oils: Cassel earth, burnt umber, burnt Sienna, raw Sienna, Naples yellow. Starting with the darker hues, I begin painting the wood, applying the strokes always in the same direction, to simulate the grain. The colour must be almost undiluted. Then I highlight some of the grains with dark lines over lighter ones, simulating also cracks and knots. A good weathering completes the process.


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NATURAL MATERIALS

These examples show how to reproduce different furs: also in this cases, the first step is the study of the pictures of real animals.

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LEATHER For coloured leather, the beginning is always an acrylic base shaded with artist oils. In this case ivory black, burnt umber, carminium red, dark cadmium red, Naples yellow and titanium white.

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THE SETTING

First of all, decide the exact position of the figure on the base, i.e. the focus of the scene. A slightly tilted figure provides movement to the whole.

Use a marker, to determine where the holes will be performed; once you made the holes, temporarily plug them with a toothpick, to keep them free from paints or whatever you will need to complete the base. For the same reason, mask the wood-base too with masking tape.

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Settings represent the natural complement for the figures. Either in case of a simple base or a proper diorama, they contribute greatly to the contextualisation of the model and tell its story. In this chapter we will analyse some of the basic techniques, useful to reproduce thousands of settings. If we want to represent a fight, we can stress the idea with a muddy ground. In the same way, a marble floor provides the ideal setting for an officer in dress uniform. A historic research usually provides with enough information to reproduce a coherent setting.


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THE SETTING The next step is to fill the empty areas on the base, according to the balance of the masses and to the context we are reproducing. In this case I chose a tree trunk and some stone ruins.

As soon as everything is ready, we reproduce the ground, using two-part putty, blending each element to the scene and reproducing the roots of the tree trunk. I use toothpicks, balsa-cutters and brushes dipped in alcohol to smooth the surfaces.

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The figure represents an English officer, in service in India. The exotic plants, made with lead and metal wire suggest the idea of the location.


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THE SETTING Smaller details will be added before the putty dries (tin-made plants, grass…). An excellent way to reproduce grass is using little posidonia balls, which can be easily found on the shore after a sea storm, especially in autumn and winter.

With an old teaspoon and vinyl glue cover the base with some sieved dry soil.

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Small twigs can be reproduced with roots.


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THE SETTING All the different elements can be painted with enamels and artist oils.

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The figure will be glued to its base and blended with it with some touches of paint or pastel dust.

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THE SETTING


Probyn's Horse, Indian Mutiny 1857, 54mm sculpted by M. Numitone

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THE SETTING THE FLOOR AND THE CARPET Let’s take a look at the base of an elegant Red Lancers officer. The first step for reproducing a clear marble is the base colour: white (MC-951), dark flesh (AC-10), Napoleonic green (AC-38), carminium red (MC-908).

The next step is performed with a #2 brush and a very diluted mix of the base colour + wood (AC-41). Dark veins are painted randomly, in contrast with the lighter ones. The veins shouldn’t cover the colours underneath.

Then draw thin veins, beginning with the dark ones.

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After applying a couple of layers with the base colour, the surface will be plugged with a small sponge dipped in white + base colour.


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THE SETTING Now reproduce some light veins. A white veil will then blend everything

The base for red marble is made with carminium red (MC-908), Prussian blue (AC-22), light brown (MC929). This base will be applied well diluted, to provide transparency and deepness.

Then enlighten the base colour with various veils, adding white and carminium red. Smaller veins can be drawn adding some Prussian blue to the base.

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Outline the silhoulette of each square.


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THE SETTING Once dried, apply a couple of layers of gloss acrylic varnish (Maimeri 667). As far as the carpet is concerned, we first need to find a good picture, then begin from the dominant colour, in this case red.

The shades used for the carpet are similar to those of the red marble.

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Then draw the pattern, starting from the dark tones. The colours are those used to paint the marble.


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THE SETTING

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Marbles and decorated floors provide a great impact to a setting: the right technique and the correct work-procedures will make them easy to reproduce. The colours of both the marble and the carpet reflect those of the officer, and blend the figure with the setting.


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THE SETTING STONE WALL Rocks or stone walls (as in this case) are realised with a grey base, composed of black and white with different shades of brown and green. Try to differentiate the base colour of each element.

Add either white or light flesh (AC-9) to the grey base and drybrush this mix for a first downshading.

This mix is then further enlightened and used with a thin brush to highlight cracks. Once the colour is dried, use artist oils to blend and give depth to the whole. The colours used are ivory black and raw umber.

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Then apply a pure-black wash to highlight the relieves.


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THE SETTING

Norman knight 1066, 54mm sculpted by G. La Rocca

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WATER To reproduce water on a corner of the base, we can use a little mould, put in place with vinylic glue. In the end it will be hidden by the resin. A little hint: whatever will be covered with water should be painted with acrylics, since resin tends to melt enamels and artist oils. Cracks between the mould and the ground can be filled with vinylic glue; once dried, the resin can be poured. It would be better to use three syringes: two for the components of two-part resin, the third to pour the mix on the base. Ripples can be reproduced using a toothpick to shape the resin soon before it sets. Prochima provides an excellent transparent resin.


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THE SETTING SNOW The starting point for a snowy ground is a completely painted setting. A pure white drybrush provides with a first snowfall effect.

This compound is then added to the base. A sheet of ice can be simulated with a mould (similar to the one we used for water), adding a few drops of acrylic white to the resin.

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For a consistent snow mass mix the microspheres, the resin and the water.


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THE SETTING As the resin sets, apply glossy varnish where fresh snow will be reproduced, dropping some micro-spheres with a teaspoon.


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PAINTING A BAY HORSE

First of all prepare a good acrylic base, using dark brown (AC-17) and a pinch of black (AC26).

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we will deal with a pretty common mantle: the dark brown one. The colours we need are: ivory black, burnt umber, Naples yellow, titanium white; mix the hues with the usual technique, obtaining a colour range from black to light brown. Some ochre will be used for the hoofs. Acquistato da ivan pazmino su Bookrepublic Store il 2014-05-22 05:15 Numero Ordine Libreria: b1486609-9788888711409 Copyright © 2014, Auriga Publishing

Painting a horse is not an easy task. Let’s see how to achieve excellent results with the right techniques (and patience). First of all make sure to have some pictures of a real animal. We won’t need to struggle too much with lights and shadows, since the mantle of a horse reflects light regardless to it incidence. A careful look will reveal that the spot where the maximum light should be, is that where the mantle has the darkest shade, and the belly, which should be in the shadow, is often clearer. This said, the best painting approach is the balance between shadows and lights, and the study of the different shades. In this particular case,

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PAINTING A BAY HORSE Draft the chiaroscuros with acrylics, adding to the base first some leather brown (AC-42) first and then some dark flesh (AC-10) for light areas. Finally add some black for darker areas.

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Still with acrylics, add the facial markings and the socks (they are usually either one or three). Here I used white (MC-51), black (MC-50), English uniform (AC-2). To accomplish this phase, apply the base on the hoofs. The leg with the sock has a light hoof (light flesh), the one without, a darker one (English uniform).

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PAINTING A BAY HORSE Another trick, is represented by the little nails, positioned just over the knee on the front legs, and below the fetlock on the back ones.

The painting technique is the one already described, applying the dark colours on the shades and lighter ones on the lights, fading the borderline according to the volume of the first draft. As far as painting order is concerned, I would suggest to split the horse in areas and start from head and neck.

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Once the acrylic base is dried, we can begin with artist oils, starting from the eyes. Bear in mind that horses are herbivorous; therefore their eyes are not frontal as in predators. The area around the eyes usually has little darker pigmentation. The eyeball is reproduced with a dark red/brown hue. A small white dot will suggest the glint.

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PAINTING A BAY HORSE Then paint the front legs from bottom to top, the chest, the shoulder. Now paint the hoofs, with streaks ranging from ochre to dark brown. Paint the back legs from bottom to top, the rump and the belly. For white parts (face markings, socks) I used ivory black, raw umber and titanium white.

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Adding veins on the legs and on the belly will provide a realistic touch. These can be painted with clear light underlined with a darker one which mimics the relief.

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PAINTING A BAY HORSE After having painted the horse, cover its eyes with some glossy varnish.

Finally, the tail and the mane. In case of a bay horse, they’re both black. The procedure is that described for furs.

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Horseshoes are painted with a thin line, using dark metallic steel.

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PAINTING A BAY HORSE Le Soleil de Austerlitz, 54mm, sculpted by M. Numitone


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PAINTING A BAY HORSE WHITE The technique for a white horse is an acrylic chiaroscuro draft, starting from the mix of English uniform (AC-2), white (MC-951), a pinch of black (MC-950), gradually enlightened with white. Finally, the horse is re-painted with oils, using titanium white, raw umber and ivory black. Officer 72nd Highlander Indian Mutiny 1857, 54mm, sculpted by M. Numitone

Etienne M.A. Champion Earl of Nansouty, 54mm sculpted by Atelier Pegaso

ISABEL In case of a Isabel (blonde) horse, the acrylic base is a light brown (dark flesh AC-10 or wood AC-41). The sequence on the palette (for oils) is ivory black, burnt umber, raw Sienna, Naples yellow and titanium white. Colonel Morio, Prince’s Jerome A.C. 1807, 54 mm, sculpted by B. Leibovitz PAINTING MINIATURES

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DARK BAY This bay horse received some details in the back: the hair in some areas of the back quarters is oriented in a different way, as in a sort of dappling.

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Pagina 88


In this case the acrylic base is leather brown (AC-42), black (MC-950). The colour palette is the same as the one for the bay horse, with an emphasis on light and reddish tones. 54mm sculpted by M. Numitone

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As far as pied horses are concerned, carefully study the picture of the real specimen. The technique is halfway between the one for a bay horse and that for a white one. 54mm sculpted by M. Numitone

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WEATHERING

This example (set in India) represents a gunner wearing a white colonial uniform in a hot and dusty environment. Weathering is present with two features: gun powder and the powder from the ground. Moreover, being set in a trench, the figure is covered with dust and dirt. The face and the hands are the first elements that need to be characterised, using the base colour mixed with black, insisting on the lower part of the face, on the back of the hand and on the fingers.

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Thanks to the weathering we can add further elements to the story told by our model. The presence, degree and type of weathering help us to set our figure in a given context. Therefore, the degree of weathering will vary according to the setting. Furthermore, a good weathering blends the figure to its environment.


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WEATHERING The hot climate can be suggested adding sweat to the figure. This can be done with gloss varnish streaks on the temples. After the figure is painted, prepare a well diluted acrylic mix with black, wood, dark flesh.


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WEATHERING

This mix will be used to reproduce stains on the uniforms with different veils.


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WEATHERING Another way to realise a worn uniform during a campaign is that of simulating wear and tear on the accoutrements. Here I added some scratches on the cartridge box.

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Once the figure is glued to its base, you can brush some charcoal dust (not graphite) to the lower parts.

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WEATHERING English gunner 1857 Indian Mutiny 54mm sculpted by M. Numitone


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Pagina 94

WEATHERING

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For muddy trousers, the staring point is a series of veils realised with a dark earth acrylic hue on the lower parts. Then, using a less diluted colour (enlightened with flesh), we reproduce the dry mud. Fresh mud can be represented using various shades of artist oils.

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Pagina 95

COMPLEX FIGURES After analysing how to reproduce all the elements of a figure in the previous chapters, we will now focus on a complex subject. For the occasion we will analyse

an officer of II Hussar Rgt, who captured an Austrian flag.

The figure was sculpted by Mariano Numitone and is part of a diorama called “Le Soleil de Austerlitz”. Acquistato da ivan pazmino su Bookrepublic Store il 2014-05-22 05:15 Numero Ordine Libreria: b1486609-9788888711409 Copyright © 2014, Auriga Publishing

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A COMPLEX FIGURE The first thing to do is resolve the figure into its components, each of which should be temporarily fixed on a base and individually dealt with. In this case, the horse and the flag.

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THE HORSE I begin with the horse, which has a streaked mantle, which colours shade from dark grey to white. I first apply a medium grey coat using white (MC-951), English uniform (AC-2), black (MC-950).


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Pagina 97

A COMPLEX FIGURE It will take two or three light passages for a good undercoating. The same colours will then be darkened and applied as fluid as water. The hue should be spread using a big flat brush, insisting on the lower parts. The brush shouldn’t be overcharged with colour, to obtain a series of small dots of the right size.

In the same way -brushing and pluggingapply the light tones.

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Using the same colour, this time with a sponge, plug gently and define some darker areas.


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Pagina 98

A COMPLEX FIGURE To complete the ‘draft’ phase, soften some of the passages with an acrylic veil and add some details, such the hoofs and the veins.

The blue coatings of both the saddle-cloth and the uniform were realised at the same time, differentiating their shades with suitable veils. I used Prussian blue (AC-22), Mediterranean blue (AC35), deep blue (APA-10), white (MC-951) and black (MC-950). Add more white for lights and Prussian blue and black for shadows.

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It is now time to use the artist oils: ivory black, raw umber and titanium white, and a pinch of raw Sienna for the belly and the low part of the throat. At this stage, also the veins and the leopard skin are taken care of.


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Pagina 99

A COMPLEX FIGURE The veils to differentiate the tones were realised with black and dark brown (AC-17) for the saddle cloth and black and carminium red (Polycolor 166) for the uniform.

For the acrylic base, I used silver (Polycolor 003) and black, finished and enlightened with artist oils, mixing ivory black and titanium white to obtain different tones of silvery grey.

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Finally reproduce the red/silver braids on the saddle-cloth.


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A COMPLEX FIGURE

The pelisse is painted with the following base: wood (AC-41), dark brown (AC-17), English uniform (AC-2), black (MC-950). Add wood and dark flesh (AC-10) and white (MC-820) for lights, black for the shadows. For the other details (bandoleer, braids) I, again, used oils on acrylics. The bandoleer was painted with carminium red and black on a carminium red base (MC-908). 100 PAINTING MINIATURES


THE HUSSAR As far as the hussar is concerned, I began from its face, applying oil on an acrylic base; then I worked on the headdress, reproducing all its details. For the silver ornaments I adopted the same technique as for the braids.


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Pagina 101

A COMPLEX FIGURE

PAINTING MINIATURES 101


THE FLAG The base colour is matt yellow (MC-953), medium brown (AC-16), enlightened with white and darkened with dark brown and black. Once the base dries, paint the heraldry.


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A COMPLEX FIGURE Now glue the hussar on its horse using two-part glue and the flag to the knight with cyanoacrylate. Then retouch the flagpole and the sabretache.


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A COMPLEX FIGURE



Le Soleil de Austerlitz 54mm sculpted by M. Numitone.



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A COMPLEX FIGURE

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GALLERY

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Pagina 106

GALLERY



Staff Sergeant Leib Battallion Duke of Brunswick 1815 54mm, sculpted by. M. Bruno.


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GALLERY Black Watch a Quatre Bras 1815 54mm, sculpted by M. Numitone. Gold medal Master Open Saint Vincent, Best of Show Athens 2004.




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GALLERY Templar knight with Baucant 1230 54mm, sculpted by A. Jula.

Accurate historic researches and chromatic changes are often sufficient to perform coherent modifications to a model.



Mathieu II Master of Marly, 1248 54mm, sculpted by A. Jula. Gold, World Nation Trophy 2007


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GALLERY Hidatsa Warrior 75mm, sculpted by B. Cauchies. The flesh of this figure was reproduced with ivory black, burnt umber, burnt Sienna, Naples yellow, and titanium white, using rose madder and violet to ‘warm’ the cheeks and cool the shadows. Best of Show Catania 2006.


“Le Soleil d’Austerlitz” 54mm sculpted by M. Numitone. Best Of Show Leon Rampante 2006.





GALLERY


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GALLERY Greek Commandander 54mm, sculpted by M. Bruno. The red tone makes the figure ‘dramatic’, especially if it is used for almost every element, such in this case. Gorgon’s head was first drawn with the brush, using a very light shade of pink, then drafted with acrylics and finished with artist oils.


Drum XV Regt. Grenadier Company, 1776-78 100mm, sculpted by D. Grieve. The yellow of this tambourine was obtained from matt yellow (MC-953), dark brown (AC-17), khaki (AC-2), enlightened with matt yellow and white, darkened with dark brown and black.



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GALLERY English Infantry Officer Indian Mutiny 1857, 54mm, sculpted by M. Numitone. Gold Medal Leon Rampante 2006.




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GALLERY



Dutch Militia Waterloo 1815, 54mm, sculpted by M. Numitone. The base colour of the flag of this scene was painted with acrylics, while for the ornaments I used oils; the result is a contrast between the matt base and the glazed drawings. Best of Show Calenzano 2003.


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GALLERY “Opolchenie” 54mm, sculpted by G. Azzarà. This scene was painted with oils on an acrylic base, while the damasking of the flag (acrylic) was realised with a hue lighter than the base. Gold Euromilitaire 2001, gold W.E. Rome 2002.




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GALLERY



IX Lancers Officer Indian Mutiny 1857, 54mm, sculpted by M. Numitone. In this case, given the white uniform, the choice of the white mantle for the horse gave harmony to the whole scene. The different shades of white averted the risk of a monotone scene, playing upon warm and cool tones. Best of Show Calenzano 2005, gold Master paint W.E. Boston 2005, gold Leone Rampante 2006.


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GALLERY Trumpeter II Regt. Major Guard’s lancers 1811-13, 75mm, sculpted by M. Bruno. Gold medal Euromilitaire 2006



Tutmosis III 1482 b.C. 90mm sculpted by A. Laruccia. When it comes to ethnic figures, it is always advisable to gather information on the tones of the flesh, looking at original pictures. This pharaoh’s olive-skin was realised with ivory black, raw umber, raw sienna, Naples yellow and titanium white. Small quantities of burnt Sienna was used to warm the cheeks.


GALLERY






GALLERY


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Cornet III Prussian Battallion Artillery, 1815, 54mm, sculpted by M. Numitone. Gold medal “Le Jamais Vues” Saint Vincent 2004. PAINTING MINIATURES 119


Black Prince, 54 mm, sculpted by S. Sartorello. In complex heraldries it is always important to check the symmetries and the proportions of the drawings. The starting point is a simplified draft, using a very light shade of blue and red. Each element was retouched with acrylics (gold and dark brown). Figures were finally detailed with artist oils (ochre yellow and white).


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GALLERY Hannibal army Commander, 75mm, sculpted by M. Bruno.



“Puss in Boots” 54mm, sculpted by A. Leveque. The ornaments on the wall were painted with acrylics using the technique of watercolours. The painting was naturally reproduced with oils on an acrylic base. Gold medal cat Fantasy Saint Vincent 2005.


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GALLERY “Saint George” 54mm, sculpted by Adriano Laruccia. In this case, I used only two opposite colours, to underline the struggle between good and evil.




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GALLERY Samurai Woman, 54mm sculpted by V. Konnov



Chinese Warrior, Han dinasty 54mm sculpted by A. Jula


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GALLERY Joachim Marseille, 54mm, sculpted by M. Good

Carlo D’Angiò’s Ensign Holder, 75mm, sculpted by M. Bruno


Gregory “Pappy” Boyngton, 54mm sculpted by M. Good



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GALLERY Hoplite from the Locride region 54mm, sculpted by M. Bruno. Using warm-only shades, I made this figure very elegant; the weave of the fringes and of the shoulder plates is not carved but painted, relieves were simulated with chiaroscuros.




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GALLERY “Too Late” 54mm, sculpted by M. Numitone. When we are working on a multi-figure scene, it is important to take in consideration the interaction between the colours of the various elements. In this case, complementary colours, a touch of red on each element and the weathering effects harmonised the whole scene. Best of Show, World Expo, Boston 2005.



Pagina 1 17:57 8-08-2007 127 pegaso


The famous modeller Danilo Cartacci describes how to paint historic figures in an easy and effective way. Topics are divided in chapters, starting from the materials to the creation of complex figures, which require different techniques. This volume represents a milestone for historic figures painters, and is rich hints and tips, addressing both to the experienced modeller and to the beginner.

ISBN 978-88-88711-40-9


Painting rosy complexions, badges, textures, armours, flags and bases will be much easier after reading this book.

Painting Miniatures

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