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899

Layout

: Frangois VERLINDEN : Bob LETTERMAN

: Francois VERLINDEN Bob LETTERMAN

: Willy PEETERS

All modeling, painting and photography by Francois and Wim VERUNDEN

COPYRIGHT © 1993 By VERLINDEN PRODUCTIONS

a Verlinden & Stok nv Division Ondernemersstraat 4 KMO-Zone Mallekot B-2500 LlER/BELGIUM

All rights reserved.

No parts of this book may be reproduced in any form, stored in a retrieval system or transmitted in any form and by any means, be it electronic, mechanical, photocopying or otherwise, without the written consent of the publisher VERLINDEN PUBLICATIONS/VERLINDEN & STOK NV.

Published in Belgium by

VERLINDEN PUBLICATIONS nv

Ondernemersstraat 4

KMO-Zone Mallekot

B-2500 LlER/BELGIUM

Published and distributed in the United States by VLS CORPORATION

811, Lone Star Drive

Lone Star Industrial Park

O'Fallon, Mo 63366

USA.

Tel. (314) 281-5700. Fax (314) 281-5750.

Project Manager & Chief Editor

US Editor

Text & Research

Photogravure Printed by

: SCANBO/Beerzel Belgium : Drukkerij DE PEUTER nv.

IHerentals Belgium

Introduction

The authors of this series, Francois Verlinden and Bob Letterman, have a combined experience of almost 80 years in building models. In addition, a combined experience in the business of models of 26 years, many of these dealing with the consumer on a one to one basis. Listening and answering their questions, hearing their complaints and needs and more importantly, understanding them because of similar personal experiences.

In this series of books, they are addressing what that experience has taught them that modelers want and need to know. The answers, developed over the years by personal experience, research and involvement with other modelers, have evolved into what they call, "The System". They do not pretend there is anything magic about it, that by reading the material, a novice will be transformed into a master. That only comes from time and experience, but perhaps that they can help others speed up the process of their personal model building evolution and help them avoid the pitfalls, particularly AMS (Advanced Modeling Syndrome). It is not intended to represent the "Only Way" to model, or that they have all the answers. It is intended to show one way, that if used as demonstrated, will improve the skills of some and give new perspectives to others.

"The System" is a no nonsense method of building and finishing military vehicles, figures and dioramas. It is an ongoing, evolving frame of reference that is constantly changing. As new technology and new mediums are developed, "The System'" will continue to be updated and these changes will be reflected in the Verlinden Productions Modeling Magazine. Readers who have ideas which they believe would improve "The System", are encouraged to communicate them to the authors.

"You know, he's a good modeler, but he can't paint figures". Heard that before? Unfortunately, too many times it's true. Figure painting is considered by some as the elite area of our hobby. While it is true that artistic ability is an advantage,

it is not a necessity in order to produce figures that you could proudly display.

Basically the same

techniques used in

weathering a tank can be used to paint a figure. Converting -arid detailing figures are also similar to vehicles.

Basically, three types of materials are used to manufacture figures. Injection plastic, white metal and more recently, resin. For years we had to work with the

plastic figures that came with

the kits, then later, companies such as Tamiya and Italeri released figure sets with improved casting. The problem was and still is the limitations of the injection process, distortions, mold seams, sink marks, etc, coupled with the usual poor quality masters. (a master is the original sculpture from which the production figure is made). The plus side of plastic figures is their cost. In most cases they are less expensive than metal or resin (there are a few exceptions!) .

The second type is metal. These figures are produced by many of the so called "Cottage Industries", in many different countries. Great Britain has always had more of these companies and is recognized as a leader in this field. These are vastly superior in quality from the standpoint of both masters and casting to their plastic counterparts, however are more expensive, and particularly in the larger scales, can get extremely pricey. Some collectors still prefer them because of their weight (being mostly lead, they are quite heavy). They do require considerable clean up and priming to prepare them for painting and can be somewhat difficult to convert.

The relative newcomer to the market is the resin figure.

Veri in den became frustrated with the poor quality of plastic and the

preparation

of metal and he developed the resin

figure. When first released, the other manufacturers laughed and said it would never work. However, VP figures are currently the largest selling model figures in the world and now there are many imitators. Resin figures require little preparation, have virtually no distortion or mold seams, are extremely easy to convert and have no oxidization problems. They are less expensive than metal figures and within the last 3-5 years, the resin figures have begun to dominate the market.

Many of the metal figure manufacturers have dropped out or are experimenting with resin and it appears there is no stopping this trend. Even the most stubborn metal figure buffs are being converted to the new medium. Some plastic manufacturers are making attempts to produce resin figures as they discover the shift in direction in the market.

Throughout this book, we have used 120 mm figures or larger exclusively, for the reason they are large and much easier' to demonstrate applications and techniques, but the principles are the same, regardless of size.

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Chapter I

Workbenches, Tools and Materials

Workbenches range from the kitchen table all the way to something that looks like a machine shop in a factory. The size and sophistication have nothing to do with the quality of work that is produced. We have seen incredible works of technology and art from the kitchen table modeler and poor quality from the machine shop. Sometimes a modeler spends 10 % building and 90% organizing and cleaning his workshop and you ask yourself which one is his hobby?

Your working space should be an area where you feel comfortable. Good ventilation and good lighting, even intense, is important. A comfortable chair should be remembered, and when laying out your tools and materials consider convenience and efficiency as important factors. Since we build models for a living, these things are absolute necessities, because we don't have the luxury of being able to complete our projects when we please, there are always deadlines. Because we spend a lot of time at the bench, comfort is important. Even if you model only occasionally, these factors will have

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an effect on your efforts. We are illustrating two examples of what are reasonably well equipped workshops, but you certainly don't need everything you see here to build a good model.

When looking at these examples you may note that they are somewhat messy. They normally are. And irrs te a d of illustrating pristine showpieces as one would expect, this is reality. Show us a

Top : Fr anc o is VERLINDEN' s workbench.

Above Bob LETTERMAN's

workshop.

workshop that looks like nobody has ever worked in it and we'll show you one that nobody has worked in.

, I~

Tools and Materials

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There is currently an uncountable number of tools available to the modeler, in fact, an entire book could be written on tools alone. Only your individual imagination, dedication and determination will limit your needs for these devices. One modeler's absolute necessity may be of little consequence to another. There are master builders that work only with the simplest of tools, while some beginners have a virtual machine shop. Although the milling machines, drill presses and lathes are nice to have, they are very expensive and except for very advanced modeling such as scratchbuilding, unnecessary. For our purposes we will try to cover the basics.

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For applying small parts you will need fine-tipped tweezers. These come in a wide variety as well, and again personal preference is the determining factor. With quality you will almost never go wrong. A set of miniature files is indispensible for shaping and smoothing dozens of different mediums. A razor saw is a must especially if you are going to do detailing or conversions, or are working with resin products. These also have replaceable blades. A good pair of scissors for cutting decals and dry transfers, as well as other specialized uses.

Another indispensible tool is the flush cut nippers. Also called wire cutters, the best variety will be found in an electronics store. For the modeler, a multi-purposed tool,

Fig.1 Basic Tools - Sharp hobby knives, assorted razor saws, tweezers, files, flush cut nippers, and two types of superglue, Superthin and gap filler, Scotchbrite and sandpaper.

Almost certainly the number one tool with all modelers is the hobby knife. This comes in many shapes and sizes and from different manufacturers, but have in common a straight razor cutting edge and most have a sharp point. Usually with interchangeable/replaceable blades that enable one to replace a worn or broken cutting edge quickly. These are commonly used for removing parts from plastic sprue and resin carriers, photoetching, cutting away flashing, trimming, shaping, cutting strip, 'rod and tube plastic, and even picking up very small parts.

,..

...

used for cutting parts from plastic sprue and resin carriers, for brass . and plastic rod and strip, it will become one of your most used items.

In the abrasives department, several grades of sand paper and emory cloth, Scotchbrite, (sold in automobile body shops), some fine grade steel wool and perhaps some emory boards that your wife or mother uses on her nails. Among the many uses of these are shaping and smoothing our next area of useful items, putties and fillers. These also come in many types and brands. There is an epoxy putty which is used for filling large areas, creating shapes and converting figures. This type usually comes in two parts of a clay like substance which after mixing equal parts together hardens after a few hours. The other major type is the liquid filler such as Stucco which is a semi-liquid substance usually in a squeezable tube and is more suitable for filling seams between bonded plastic or resin parts. This product can be thinned with plastic cement or other mediums and painted on to fill very small areas .

Adhesives are available in an even wider variety of forms and brands, and your needs will be determined by the types of materials you are bonding and, again, by personal preference. Plastic cement for bonding styrene plastic kits, (avoid the tubes, the bottles of liquid are far superior).

Super-glue (cyanoacrylate) for bonding plastic, resin, brass, aluminum, ceramic, etc., either to themselves or to each other, and occasionally to yourself.

Fig.2 Flat and pointed sable brushes, file cards to use as palettes and putty.

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The best investment a modeler can make is high quality paintbrushes. How many times we have seen modelers go to extremes on tools, kits paints and references, then ruin it alI by using cheap brushes. Our advice is to buy the most expensive brushes (sable) and then take very good care of them. In the end they will outlast many cheap brushes and the results will definitely show! For detail painting use numbers 000, 00, 0, 1, 2 and 3 fine points, and for drybrushing a wide flat sable. These are available in art supply stores, occasionally in specialized hobby shops, but not often.

There are many brands and types of hobby paints, water based, acrylics, etc., however most advanced Fig.3 Enamels and oil paints.

modelers still prefer the enamels.

The others have their purposes but

the enamels have the best qualities

for basic painting, washes and

weathering. For figure painting,

among other uses, artists oils,

particularly for flesh tones have no

equal. Available at art supply stores,

remember that quality is always the

least expensive in the end! Another

medium very handy in modeling

from the art supply store is a set of

pastels. These are sets of colored

sticks, similar in substance to chalk,

and are very effective in weathering.

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Research Materials

Most beginner modelers never use reference material. They buy a kit, build it by the instructions and are happy with the result. However, as they gain experience and the projects they want to do become more challenging, the need for reference material becomes inevitable. References come in many forms, books, magazines, photographs, museums, modeling and technical manuals, plans and even other models.

References are needed for detailing, accurizing,(making a model more accurate than the kit), for colors, weathering, markings, equipment, diorama layout, uniforms and insignia. You may choose to keep the hobby a form of light entertainment and build strictly "Out of the Box", and there is nothing wrong with that, but if you wish to improve your model historically and technically, you must use references.

Museums

If you are fortunate enough to live near one of the large military museums or if you can afford to travel to them, take your own photographs as references. There are many of these, so you may wish to inquire to determine if there is one nearby.

References are an invaluable aid, but a word of caution, some people get so caught up in references, they forget why they were doing it in the first place. This can be one of the symptoms of AMS (Advanced Modelers Syndrome).

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Chapter II

Figure Construction

Plastic Figures

Plastic figures usually come with instructions. Adhesive is standard plastic cement and construction is fairly simple. Cut from the sprue using flush cut nippers and remember to clean the mold seams and fill the mold and sink marks (the round indented impressions caused by the metal mold halves in the injection process and the sunken areas where the plastic shrunk upon curing). After assembling, fill any seams between the parts with filler and sand after drying. Normally, details such as head, hands and equipment are left to be painted separately. A hobby knife can be used to scrape the seams until smooth enough to sand with fine sandpaper. Distortions can sometimes be corrected using a filler such as Stucco, Squadron or an A+B putty.

Metal Figures

.,.

Metal figures are somewhat more involved. Again, the mold seams should be scraped and sanded and any pitting filled with Stucco or Squadron Green Stuff. The parts are then assembled per the box art or instructions using either epoxy cement or super glue. Be sure to test fit prior to final assembly. Next fill any seams created during construction with filler, sand smooth and don't attach details until after painting. Once you are satisfied that the figure is ready for painting, the next step is to prime it. This is necessary to seal the metal and avoid any oxidization problems that will eventually destroy your paint job. A high quality laquer base paint, usually medium to light grey in color, should be uniformly applied with an airbrush to the entire surface of all metal parts, using caution not to apply either too thinly or to destroy the fine detail by applying too thick.

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Resin Figures

As with all things human, resin has good and bad characteristics, but compared to other mediums, the advantages far outweigh the disadvantages. Because plastic injection figures are used primarily by youngsters and beginners, and the use of metal figures is on the decline with intermediate and advanced modelers, we will concentrate on working with resin figures. In addition, both of us work exclusively with resin figures and that is the area of our expertise. Keep in mind that after the figure is built, filled and primed, painting is exactly the same for all three types.

....

As injection plastic parts come on a "tree" or "sprue", resin parts have a "carrier" .These carriers must be added to the parts because of the production process. Many people have difficulties when they first attempt to remove them. Remember your first plastic or metal kit. It is simply a matter of a little practice before it becomes second nature. The first step in building a resin figure is to remove the carriers. For this process you will need a hobby knife, razor saw, flush cut nippers and sand paper (see photographs and drawings). With a little experience, this becomes quite easy. Do not attempt to take shortcuts or you will have to do more filling than is necessary. If you follow the procedure step by step you can attain excellent results on your first try.

Fig.1 A resin figure as it comes in the kit. Note the carriers that are utilized in the casting process.

Fig.2 The carriers on the larger parts have been removed with a saw. Be careful not to cut the carriers too close to the part itself. If you do you will run the risk of damaging it. The remaining resin can be removed with a sharp hobby knife, then cleaned with sandpaper and Scotchbrite as a finishing touch.

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Fig.3 Another 120mm figure with carriers removed and all parts ready for assembly.

Step one

Begin removing the carrier as in the illustrations using a hobby knife with a new blade. Cut small slivers at a time, never attempt to remove the entire carrier with one cut until you have considerable expierence, (and even then you can occassionally damage the part). When the carrier

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is carved within 1/8th of an inch (3mm) of the part, use sandpaper to remove the remainder. If a large part is involved, such as the torso of a 120 or 200 mm figure, a razor saw or nippers may be used directly against the part, taking care to avoid damaging details. This may sound complicated, but after one try you will begin to feel comfortable with the system.

Step two

Once the carrier has been removed from all parts, test fit all parts using super glue in extremely small quantities. In this way, after you are satisfied with the fit, you can disassemble prior to final assembly. Now superglue the torso, legs, feet and arms securely, leaving the head, hands and equipment to be painted separately.

Step three

Now fill in the areas around joints, using a quality filler such as Stucco, Squadron Green Stuff, etc., thinned with thinner or styrene glue to a consistancy capable of being brushed. Use a medium brush and flow the mixture into the seams until smooth. You can eliminate most excess with a clean brush dampened with the thinner. Ocassionally.: a second coat must be applied. After hardening clean with Scotchbrite or fine sandpaper. You are now ready to begin painting.

Fig.4 Completed figure assembled and ready for painting. Some parts are only testfitted using a very small amount of superglue and can be disassembled for easy painting. (See Chapter 3, Painting flesh tones.)

Chapter III Painting Flesh Tones

Those sinister and mysterious artists oils. Everyone will paint a uniform, that can be done with hobby enamels, but the face! You need not be Rembrandt to paint a face with oils. You must learn the system and then practice. In this chapter we are going to lead you step by step and you will find that there is no need to be afraid of painting faces.

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Begin by purchasing the highest quality brushes and oil you can afford. Please do not spend good money on a figure, hours of your time and use cheap brushes and paint. High quality in anything isn't expensive, it's an investment. The same applies to your painting materials. The best oils we have found are Winsor & Newton. These are available in most countries at art supply ·stores. The colors you will need are; Burnt Sienna, Yellow Ochre, Raw Umber, Flake White, Cadmium Red and Cadmium Yellow. Use high quality sable brushes, there are several good brands. (see photographs in chapter one). Use a palette, we suggest filing cards. You will also need good quality turpentine, also available at the art supply store. Now you are ready to begin.

Step one

Regardless of the type of material, the flesh portions of figures should be primed with a light sand color such as Humbrol 63 Matt Sand. Oils are transluscent and the base color will show through, so you must prime the entire head, hair and all, and preferably 24 hours prior to beginning.

r

Step two

r

Layout your "palette" as shown in the photograph. IMPORTANT! Use these oils without any turpentine or medium. Paint the base mixture (A) onto the face, (or any other flesh part, hands, feet, etc.), until fully covered. This will be very thick and won't look nice, but that's O.K .. Now take a good quality wide flat sable brush that is completely dry and begin removing the excess paint with a light brushing motion, cleaning the brush on a soft DRY cloth between strokes. After a time the face will have light and dark

f

Fig.1 Basic mixture brushed clean.

areas. The recessed areas will be dark and opaque and the raised areas will be light and transparent. Under no cir cumstances use any thinner or turpentine on the brush! The result will be a big mess that will make it necessary to clean away all the paint and start over.

Fig.2 Cadmium Yellow highlite unblended.

Step three

Now apply the second mixture (B) to the highlighted areas (raised, lighter colored) of the face. Allow to set for 45 minutes and while waiting, apply the unmixed Raw Umber from your palette (E) to the areas where

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the beard grows and blend into the base color(A), being careful not to blend into the highlight color (B) that is in the process of drying. Blending is the process of softening the edges between two colors so they flow together, rather than having a sharp edge. Keep cleaning your brush with a DRY soft cloth.

Fig.3 Cadmium yellow blended.

Fig.4 White highlite unblended.

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Fig.S White highlite blended.

Step four

After mixture (B) has set up for 45 minutes, gently remove excess with the brushing motion and blend as described before. Keep cleaning your brush with a clean, soft, DRY cloth.

Step five

Now take pure white (D) and apply to the same areas as you did with the (B) mixture in step three. Now you must again wait for 45 minutes for the paint to "set". This is to allow the solvent in the paint to evaporate, otherwise it will be too wet to blend properly. After the waiting period,

blend and remove excess paint as you have been doing throughout. If more contrast is needed, repeat step five, using somewhat less paint.

Step six

Using the cadmium red (F), apply to the lower lip and to each cheekbone and without waiting this time begin blending and removing excess as in the previous steps, cleaning your brush continuously with a soft, clean, DRY cloth. If you overdo the red, you can correct by applying a small amount of white (D) and again, blending and removing excess, cleaning your brush continuously ... O.K., you are getting the point!

Step seven

Paint the entire eye with flat black (humbrol or other) and then with a mixture of white and a very tiny amount of blue to produce an offwhite with a blue tone, paint in the whites on either side of the pupil. Sometimes straight white creates a "popeye" effect.

Step eight

Paint the hair with straight oils, (no thinner), and then with no waiting, begin removing excess, (clean and brush), and then carefully blend into the areas where the flesh and hair meet.

Fig.6 £.. 7 Completely finished

figure. Note the subtle illusion of shadows created by careful blending which separate and emphasize the muscles.

Fig.l VP's 1/4th scale Luftwaffe fighter pilot WW II. When painting in very large scales, use less contrast between the light and dark shades.

Examples

Fig.2 Figure from Horizon, the l/Sth T 1000 Terminator head.

Fig.3 Heavy "Character" painting on a VP Roman Signifier (200mm bust).

Fig.4 A true exercise in painting faces. Horizon's Arnold Schwarzenegger, from the movie Terminator II.

Fig.S Straight out of Batman II. Horizon's faithful reproduction of Michelle Pfeiffer. With females use softer shading. Note the glossy red lips and blue eyes that seem to have life.

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Painting Patton Vp1s 1/4th scale Bust

Fig.1 Basic mixture (A) (step 2).

Fig.2 Basic mixture brushed clean. Fig.3 Previous step blended and Second mixture (B) applied and white highlite added (D).

beard growth (E) (step 3).

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Fig.4 Finished bust. All colors carefully blended but retaining the character.

A. Painting Uniforms with Enamels After painting of the flesh parts are complete and have had sufficient drying time, (24 to 48 hours), you are ready to begin painting the uniform. There are several ways to accomplish this, but the two most popular are addressed in this chapter. The first is using enamels. In our opinion Humbrol is the best suited to this purpose and we will refer to that brand throughout, however, other brands will suffice. By the way, we have no affiliation with the Humbrol company.

You will need file cards to use as a palet, high quality sable brushes, and a can of good quality turpentine for thinning. Do not use thinners or mineral spirits.

Using the chart to determine the base color, paint the entire uniform area on the figure, and set aside for overnight drying. The enamels contain solvents that must be allowed to evaporate prior to a subsequent application, otherwise they become trapped between coats and will eventually work their way out causing big problems.

Chapter IV Painting Uniforms

Fig.1 Examples of shading (German field gray). Figure at left shown after first drybrush run and with dark shading applied prior to blending.

After the base coat has dried, use a small paddle or stick to remove the pigment from the bottom of the tin of paint. Place it on the file card (Note: the pigment should be the consistancy of mayonaise, if too thick, take a tiny amount of the liquid from the tin, and mix). Using a wide, flat sable brush, dip into the paint and then with a soft, clean cloth, draped over your hand, grasp the bristles between your thumb and forefinger firmly, pull the brush through several times until it is very dry. Test on the file card with a twisting motion and if the brush leaves streaks it is still too wet or the paint is too thin. If it leaves blotches, the paint is too thick. Twisting the brush on the card should leave a subtle, smooth, transluscent spot.

Using a pushing, twisting and jabbing motion, occasionally

Fig.2 Base coat on VP Viking Raider (No. 29 s 33).

brushing, on the raised areas of the uniform, taking care to avoid the recessed areas, you will notice the raised areas becoming lighter. If this happens too quickly, there is too much contrast in your base coat and highlight colors or there is too much paint on your brush. Subtlety is the key, slowly lighten these areas and move on to others. As you gain experience, you will know immediately if you are doing it right. When the entire uniform is drybrushed to your satisfaction, allow to dry overnight.

The next step is "Washing" your figure. For this we use the shading color, (see chart), and using a No.1 sable pointed brush, apply to all recessed areas, around raised surfaces, pockets, collars, inside folds and creases, around buttons and straps. Allow to dry for 5-10 minutes and then use a wide, flat, sable brush, slightly moistened with turpentine,(almost dry), and blend away from the raised detail which was highlighted during the drybrushing process in order to

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Fig.3 After first drybrushing run (No. 29).

achieve a subtle balance between the dark and light areas. After sufficient drying time, (about 24 hours), a fresh drybrush run with progressively lighter shades of the base color is next.

Fig.4 Dark shading '(No. 29 plus 33 plus Raw Umber oils).

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possible with enamels. They afford more subtlety, richer, deeper colors, and have a transparency that can be used to advantage in many situations. Another plus is the endless range of colors and shades that are possible.

Fig.S Final drybrush (No. 29 plus 34, plus 72).

B. Painting Uniforms with Artists Oils

Another option for uniform painting available to the modeler is Artists Oils. There are advantages and disadvantages to both methods. Enamels are more readily available. They are, in some ways, more user friendly. For example, it is much easier to correct mistakes with enamels. As you have read, the washing and drybrushing system involving enamels practically shades and highlights the figure for you. And last, enamels come in colors such as Field Gray, Khaki, Olive Drab, etc., eliminating the somewhat complicated mixing of Artists oil colors.

On the other. hand, a figure painter with a reasonable skill level can do many things with oils that are not

Many novice modelers are afraid of oils because they believe you must be a renaissance master in order to use them. On the contrary, for some it is easier to learn the use of oils than to acquire the skills of washing and drybrushing enamels. As with all other forms of modeling, begin with the basics and practice, practice, practice!

The tools you will need are similar to enamels. File cards for palettes (these work well as they soak up the oil and reduce the gloss effect) and high quality sable brushes. Please, if

you pay no attention to anything else, imprint this on your brain! Don't spend your hard earned money on high quality kits, updates, references, accessories, etc., and then buy cheap finishing materials. That's like buying a Ferrari and painting it with brushed on house paint. And last, some good quality artists oils are available at art supply stores.

Using your choice of color, (refer to the chart), begin with the appropriate base coat in enamels. After drying, (minimum 24 hours), mix the colors and when you have achieved the proper shade, let it set for about 15 minutes on the card to allow the oil to be absorbed. Begin painting, using no turpentine or thinners, all areas of the uniform intended for this color. Oils, being much thicker in consistancy than enamels, must be applied in a different manner. Try to obtain a finish as smooth as possible, which is difficult without using a thinning medium. However, do not allow any turpentine or thinner to be involved in this procedure! Not even to clean your brush and then return to painting. The oils must be used in their paste form. If you clean the brush in the middle of the procedure, it must dry for 24 hours.

After a smooth coat has been applied, clean your brush with a paper towel until it is almost completely free of paint. Again, use no thinning mediums ! Then begin removing excess paint with the dry brush, frequently cleaning the brush on the dry paper towel between strokes. The goal is to remove as much of the artists oil as possible, leaving an extremely thin coat covering the enamel base coat. After achieving this, you are ready to begin laying in the shadows. For most colors we use the basic color mix plus Raw Umber, and Titanium White for the highlights, but there are exceptions.

If you were to place a high intensity lamp over a painted figure of a single shade in a darkened room, you would see that some areas are very dark (the recessed areas), and others are very light (the raised areas), and in between these shades, are the blended areas. That is basically what we try to achieve when painting a figure. (or any other model, for that matter).To achieve that effect, apply a tiny amount of the shadow color to the recessed areas, and begin blending, darker at the bottom of the recess and graduating lighter and lighter upward until you are near the crest which will become the highlighted areas in the next phase. Use the same method to eliminate excess paint buildup as in applying the base mixture, constantly wiping the brush with a dry paper towel to keep it clear of paint. (Note: after a while, the pigment will collect on the brush and will be impossible to remove with the paper towel. It will then be necessary to use a new brush. Do not attempt to clean the brush and then use it the same day. It will ruin the figure!!). After the shadows are in place and blended, you can begin laying on the highlights.

As we mentioned above, the highlighted areas are the areas where the light from the lamp would brighten. The tops or crest of folds and creases, flaps on pockets, and the centers of large, flat areas on the uniform. Apply the highlight color in the same way as you did the shadows, and blend light to dark (just the reverse). Use the same process, cleaning the brush with a paper towel to remove excess, and blend.

Fig.6 VP's fabulous 200 mm Roman Signifier clearly demonstrating the rich, warm, red and blue oil colors on the shirt and trousers. Cadmium Red shaded with Raw Umber (no highlites on red or you will end up with hot pink!). Prussian blue for the short trousers with Raw Umber providing the dark shades and a little white for the highlites.

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C. Combining Oils and Enamels

Using oils only or enamels only will produce a satisfactory result when painting uniforms, however, by combining, or even mixing the two mediums on the same figure will, in our opinion, achieve optimum results.

Enamels dry fast to a dead flat finish and therefore are excellent for rough textures such as most 20th Century uniforms. Oils, on the other hand, produce rich, lively and warm colors best suited for historical uniforms which require those characteristics, such as leather, wood, satin, velvet, animal skins, and so on. It would be impossible to make a chart describing which medium to use for what material to be duplicated, nevertheless, we submit the following examples to get you started. Once you acquire some experience, you will begin to know, almost instinctively, whether you should use oils or enamels or a mixture of both.

Fig.1 & 2 A good example of paint combination is the VP French Infantryman, 1914.

Fig.3 & 4 A great example of imitating the look of leather is this VP 8-17 Crewman. Leather colors range from straight black to various shades of red brown to almost an orange yellow, (check color guides for paint codes).

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D. Painting Camouflage Patterns

Probably the most challenging aspect of painting figures for many modelers is the seemingly endless variety of camouflage uniforms. Like all other things in life, it is simply a matter of experience. The very important first step is to acquire good reference materials. There are many books with full color photographs available. It is not so important to get exactly the right colors as to get the right "mood". Scale has a dramatic effect on colors, rather than using a color chip to mix the "Exact" colors, concentrate on achieving the "look" of the real thing.

Another major part of camo painting is to keep in mind that you must still have shadows and highlites. If it is overdone, you lose your camouflage effect, if it is underdone, it will look like a toy. The shading has to be subtle but effective on the completed figure. We will take you through 3 different types of camouflage patterns, step by step, to get you started. Once you learn these, it will be a simple matter of applying the same techniques to other patterns.

Fig.1 & 2 Two photos of a WWIl Reenactment group clearly showing the variations of the color tones.

Photos by Nick Adams

German WW II Splinter pattern camouflage

is fully equipped with personal gear and armed with a "Panzerschreck", the counterpart of the American "Bazooka". His uniform is the 3 color "Zeltbahn", splinter type camouflage. The article of clothing is a "Poncho", a small one man tent

Our example represents a German Panzergrenadier as he would have appeared during the period following the Normandy Invasion in 1944. He

that is also worn in wet and/or cold weather. When painting all camouflage patterns, select the lightest color and work progressively to the darker ones. First select the nearest basic colors straight from the tin or bottle and avoid mixing, if possible, to achieve an "exact" duplicate color of your reference. If you try to perfectly duplicate color, you will end up with an endless mess

Fig.3 Basic color matt 72 with a shading of thinned 72 and 33 Matt Black.

17

Fig.4 A "Zeltbahn" (Tent/Raincoat) in splinter camouflage. Photo Nick ADAMS

Fig.5 Blend dark shadows to the base color with a turpentine moistened flat sable brush.

18

of mixing and remixing colors. It is the final result and appearance that counts, keep it simple but effective. Don't miss the forest by an endless examination of the trees. This is a frequent mistake by people suffering from AMS. For this first figure we used basic Humbrol paints. Matt 72 Khaki Drill, 161 US Marine Green, and 160 German Camo red brown.

Fig.6 All basic colors painted, first the green, then the red brown. Thin your paint so that it "just covers" and doesn't leave a build-up. Paint the leather belts and ammo pouches with 33 black and also a thin line of the black paint is run next to the belt and then .blended into the uniform with a flat sable moistened with turpentine.

s

t Fig.7 The completely painted

"Zeltbahn". Shading is achieved as

s follows: First, take a thin mixture

:t of black 33 and matt 29. Paint this

J mixture into folds, around uniform

= details and let dry for a few

~ minutes. Then blend again with the damp sable (turpentine) very, very carefully. If you use too much paint or turpentine they will dissolve your base coat and ruin the basic camouflage pattern. The only way to prevent this is to do the shading with a good quality waterbased paint that will not attack the enamels. It is less risky but more difficult to obtain the same results. Note the extremely fine dark green short vertical stripes that are a part of this pattern. These are painted one by one with a fine pointed brush.

t 1

t )

3 1

:I Fig.8 & 9 The completed figure

~ using the various techniques in this book.

19

Fig.1 Basic color pattern of green (161) painted onto the base coat of light sand color (72).

German 11 Mottle 11

Camouflage

Pattern

Fig.2 Red brown (160) pattern added. Remember, carefully and constantly check references to insure correctness of pattern and scale.

20

Fig.3,4,5 £.. 6 Completed figure of a Waffen 88 soldier. The uniform painted as it would have appeared during the Ardennes, 1944. Carefully study the complicated pattern of "dots" over the 3 basic colors, using those same 3 colors. For adding more contrast and variation add a touch of white to the basic color when painting the dots. After painting the complete camouflage pattern, add dark shadows as in step 4 of the section on splinter patterns.

21

Painting Winter Camouflage Uniforms.

When painting a white uniform, logically, you would start with a white undercoat. You can do that, but the process will be much easier if you opt for a base coat of light gray, (No. 64). After drying sufficiently, give the uniform a wash of Burnt Sienna with a touch of Raw Umber. In our example, we applied the wash in two steps. Since most of you will be holding the figure as you paint it, we left the trousers until later and began with only the coat. After applying the wash, remove the excess using a wide, flat sable brush. As you remove the wash, continually wipe the brush on a clean, soft cloth. Be sure to leave more of the shading in the recessed areas than on the raised portions, thus creating the illusion of shadows.

Fig.l This illustrates how the figure should appear after the wash has been removed and you are preparing to begin the drybrushing procedure (the trousers will be done the same way after the coat has been completed and sufficient drying time has occurred). Note the contrast between the trousers with only the base coat and the coat which has been washed.

22

Figure 1 illustrates the extent to which you should remove the wash. It still looks much too dark, but we will deal with that later. The camouflaged inner lining of the uniform was painted and washed (refer to the section on camouflage painting) as well as the scarf and the red arm bands. The wash will be less apparent on these colors than the white.

Fig.2 The upper part of the figure in its final stage. The coat has been highlited and the gear has been painted. Note camouflaged inner lining.

Next we go to the highlites. Mix some matt white on a file card with either of the following: Matt 72, for a yellowish white, Matt 29, for a brownish white, or Matt Black, for a grayish white. Our example used Matt 72. Use the darkening color sparingly, it doesn't take much. Begin applying with a wide, soft, flat sable brush which, after dipping into the paint, has been wiped on a soft, dry cloth until it is almost dry. Using a jabbing and twisting motion, drybrush those areas that are raised and would be likely to catch most of the light from above. Gradually work from a darker mixture to almost straight white, each shading pass using a slightly lighter pressure on the brush. Because the figure is only 1/l5th the size of a real man, the shadows must be artificially created. Be sure your brush is not leaving streaks. Test your drybrushing on the index card before applying it to the figure.

Fig.3 The figure seen from the back.

,

j

f

Fig.4 s 5 The completed figure mounted onto a base.

23

Chapter V

Painting metallic surfaces

There are a great many differences in colors, shades and tones of metals. All the way from a very dark, blue gun metal to a highly polished, almost chromium, blade of a sword. Keep in mind that bare metal is extremely sensitive to weather conditions. Just a few hours of rain or even high humidity can turn shiny armor into the first stages of rust very quickly. There are many products on the market for modelers to use in the simulation of metal, from simple enamels to specialized products from the art supply stores.

The base color for most metal surfaces is matt black. It can be lightened with blue or brown to give color tone variation. A very good basic metal color is Humbrol polished steel. This product goes on very easily, drys fast, leaving very little brush marks and when dry can be polished with a soft cloth or flat sable brush. After buffing, you would swear it is real metal! Many variations are possible simply by adding black or silver to this paint.

Here is a step by step explanation in painting armor of a Roman soldier.

24

Fig.1 Base color applied is a mixture of Polished Steel and Matt Black.

Fig.2 Base coat after polishing, next drybrushed with straight polished steel and on each subsequent pass, adding a little more silver to the mixture. After the paint "has hardened, polish (buff) with a clean, dry, soft cloth or a flat sable brush. Paint the brass parts with a gold or brass enamel, or gold leaf from the art store, if your budget allows, and mix in a small amount of Raw Umber artists oil. Set aside for overnight drying.

Fig.3 Completed armor. Metal and brass received shading with thinned Raw Umber, applied where the armor plates meet, around details, belts and straps. Work slowly and carefully to avoid damaging the polished armor". If needed, an additional drybrush run with a lighter shade of steel and brass may be .applied. Finally straight silver and brass is applied to rivets, belt buckles and fine ornaments.

Fig.4 s 5 Completed figure.

Note metal parts on weapons, helmet and shield were executed using the same technique as above.

25

Fig.6 & 7 An exercize in metal painting using Horizon's 1/6th Scale Robocop from the movie of the same name. All metal surfaces painted with straight Humbrol polished steel. After drying, lightly polish with a soft cloth. Next, apply dark shades with matt black, polish again, then highlite with a mixture of polished steel and silver. After drying, thoroughly polish all metal surfaces to a high gloss.

26

Fig.8 8- 9 120 mm Swiss Mercenary. High gloss blue steel armor. Note the rivets, bolts and buckles picked out with straight silver and gold.

27

Chapter VI

Arms and Equipment

Painting Small Arms

Most figures include a rifle, pistol, machine gun, sword, knife, etc. The techniques for those items vary from others and may be used for weapons in any scale, including those that are stand alone items, such as the VP 1/4th scale weapons series.

Gun metal can range from a very dark flat, gloss or semi-gloss black to a blue or even a medium gray, use reference material or the photograph on the label. Our examples are finished to appear as they would after being used for some time. Begin by painting all metal parts flat black or semi-gloss. The flat black after drying can be polished to a semi-gloss finish with a soft cloth and gives a much more realistic finish than by achieving it with paint. Next, begin mixing the paints required to obtain a metallic appearance. Place a spot of Raw Umber oil paint onto a piece of porous cardboard directly from the tube and a similar amount of silver hobby paint. Using a wide flat sable brush, dip into the undiluted Raw Umber and then add a slight amount of the silver. Mix the two colors from the brush until a very

Fig.1 A WW II German K98 rifle and modern as M79 Grenade launcher. The base coat for the metal surfaces has been applied (Matt black with a touch of Polished Steel).

28

dark, metallic , dirty brown is achieved. At this time the consistancy of the mixture should be comparable to tooth paste. Clean the brush with a soft cloth, alternately scrubbing the brush on the card until almost no color leaves the brush. Now begin drybrushing the flat black parts until you achieve the desired metal appearance. If the silver is too harsh, add more Raw Umber to the brush, or if not metallic enough, more silver and repeat the procedure. As shown in figure 2, the drybrushing process should begin dark and gradually build up to almost straight silver. Be very gentle toward the end to achieve a subtle finish. Allow to dry for several hours until the metal finish has hardened.

Fig.2 After drybrushing with silver and the wooden stocks painted.

Next use heavily thinned Raw Umber and with a pointed brush apply to recessed areas to give the model depth and to simulate oil residue. After drying you may want to polish again with a soft cloth. Be careful not to rub hard enough to remove the paint.

Now to the wood parts. Using a mixture of Burnt Sienna and Raw Umber, 50/50 or according to your preference, (lighter or darker), straight from the tube, cover all wooden parts. Then using a wide sable brush, clean away all excess paint, constantly cleaning the brush

with a rag until a smooth clean finish is obtained. Keep in mind that sometimes the magazines, grips and even stocks are made from plastic or other materials. Use references to guide you whenever possible. Paint these parts with flat or semi-gloss hobby paints to achieve the proper appearance.

Painting Equipment

Every soldier throughout history has experienced the burden of carrying his personal weapons and ammunition in addition to his own survival gear as canteen, mess kit, rations, blankets, and so on. Before the Nineteenth century most weapons and gear were quite different. Nothing was standardized and much was improvised. Since the Great War of 1914 - 1918, armies have made the transition to standardized, mass produced gear except for some specialized weapons and equipment.

) { r ( f

Breadbags, tent packs and bedrolls are usually of fabric and the painting method is the same as for uniforms. Bayonets, canteens, entrenching tools, helmets, etc., are made of metal and have to be painted accordingly. Remember that these items are constantly in use under the worse possible conditions and normally show a great deal of wear and tear.

If you are an armor builder, you know exactly what we are talking about. Weathering these type of items require a combination of washing, drybrushing, metalizing and rust.

The photographs illustrate some examples of this process.

Fig.1 Basic G.I. Weapons and gear WW II (120 mm VP).

Fig.3 Metal parts highlited by drybrushing almost to straight silver.

Fig.2 Selected German equipment WW II, Field Radio, Flamethrower, Mines and Shells (120 mm VP) ..

Fig.3 Modern US Infantry Gear (120 mm VP).

29

CHAPTER VII Painting Horses

Many modelers, even some with advanced skills, are somewhat apprehensive when it comes to horses. We don't quite understand why, perhaps the size of the subject, possibly the dreaded artists oils or perhaps simply a lack of experience. They are really quite easy to paint. Simply follow some basic rules and there is no reason why your first attempt won't be a source of pride and satisfaction.

The first step is priming and at this point you must decide the color of the horse. Once decided, paint the entire horse with the enamel base coat. Allow to dry 24 to 48 hours, the longer, the better. Next, completely cover the model with the oil paintcolor you have chosen. THE ESSENTIAL RULE! Never, never, never thin down the oil mixture. Even your brushes must remain 100% dry. Never mix or paint with a freshly cleaned brush, the solvent agents in the cleaner or thinner will dissolve the oils and the base coat and make a big mess! If you must clean your brush, don't use it again for 24 hours.

After the model is completely covered, use a dry wide flat sable and begin cleaning away the mixture, frequently cleaning the brush with a dry soft cloth or paper towel. Continue this process (remember, no thinner), gradually until the base coat barely begins to show through and all the excess oil mixture is removed.

Next paint in the dark shadows, the cleaning process will have left dark and light areas, with the dark shading color, and blend outward. After the shadows have been painted and blended, apply a small amount of the highlight color, to the raised areas such as muscles, ears, the back, etc., and blend again.

During both the shadow and highlight steps, work very slowly, oils take a long time to dry, you have all the time in the world. If it should happen to begin drying, simply add a tiny portion of the color you are working in and that will correct the problem.

After the blending stage is complete, set the model aside until it begins to dry, then, using a clean, dry, flat sable, do a final blending, going very slowly, using subtle strokes until you have achieved the desired appearance.

Finally, if you have chosen to make the lower legs, mane or tail a different color than the body, you may paint those areas with the selected color, and blend into the base color to produce a gradual, subtle line that flows rather than being sharp and straight. The nose and mouth area is usually gray and/or flesh color. A little black/white and a touch of red will suffice for that. When you are satisfied, set the horse aside for 48 hours to dry.

Then paint all straps, gear, saddle, blanket, etc, with enamels or oils, whatever your preference. .Our example is the VP 120 mm Cavalryman riding a gray /white horse.

30

Fig.1 Assembled and primed (No.842). Note the tail has not been attached to permit easier painting.

Fig.2 Dark shadow applied before blending (Raw Umber oil paint).

Fig.3 Dark shade during blending.

Fig.4,5 & 6 Completed model. Note white highlites subtly blended with shadows. Nose and mouth area with very subtle shade of reddish brown.

31

Fig.8 Primer is Matt 72, Base coat is Burnt Sienna 'plus Raw Umber; Dark shade

is Raw Umber plus Matt black; Highlite is Lemon plus White.

Fig.7 120 mm SS Cavalry Florian Geyer.

32

Chapter VIII Bases and Vignettes

A nicely painted figure without a base is ... somewhat like the Italian saying, "A meal without wine is like a day without sunshine". Of course, some people simply mount their figures onto a wooden base for their presentation. That's O.K., but after spending all that time on your miniature masterpiece, it seems a shame.

Some figures come with a base casted in metal, resin or plaster. Some are quite attractive while others are not so nice. We feel that every figure deserves a nice base which has groundwork designed for and with the same tender loving care that created the unique piece of art which will be mounted on it. This also gives the builder more flexibility and creativity in presentation than simply using the base that comes in the kit like everyone else. It is not possible for the manufacturer to include a large base with accessories and vegetation with each product because it would double the price of

the figure. .

However there is a lot on offer in the market of ready made, stained and varnished wooden bases in all sizes and shapes on which you can build up your own groundwork of your own preference and will be completely unique.

Featured are some examples to get you started.

Fig.l Base paint enamels; Tiles-No. 67 Tank gray; Wall ruins and rubble-No. 72 plus Black; Wood-

No. 29 plus Black. .

Painting a simple plaster base.

The example is included with the VP 120 mm Viking Raider which is featured elsewhere in this book and the base is cast in ceramic plaster.

Fig.2 Drybrush color-same as base colors, progressively adding white.

Fig.3 Dark shades- Wash of Raw Umber oils. Final highlite-Matt white plus a touch of base color.

33

Fig.2 Groundwork applied, (in this case Porion plaster, generally only available in Europe), with a spatula and shaped with a paintbrush.

34

A Home-made vignette.

Fig.1 Base designed after test layout and cut from marine styrofoam using a jigsaw. Edges sanded smooth with fine sandpaper and then finished with water based matt black paint.

Fig.3 The groundwork is then covered with a water and white glue mixture, applied with a brush and then sprinkled with a very fine sand. Immediately apply debris and small pebbles moistened with water so they "set" into the groundwork and when dry, will be permanently affixed. The figure is then positioned into the still wet groundwork to achieve a proper "sit". Together with other equipment, allow to dry overnight. Eventually static grass will be applied in selected areas.

Fig.4 s 5 The completed scene. Noteworthy is the drybrushed grass with various shades of green. Some 11 dusting 11 of the walls and rubble with pastels and even ordinary household dust. Note the VP Roadsigns adding some color to the scene.

35

Fig.6 Alte Kameraden (Old comrades).

A complete scene in a kit. VP's 120 mm Old Comrades. A German Wehrmacht Feldgendarm and an SS Officer sharing the pleasures of a fine wine.

Fig.7 A Vignette built from a commercially available base. A VP British Paratrooper moving through the streets of Arnhem, 1944. The base is available as a stand alone kit and "accents" from an accessory kit.

36

Painting

desert camoufl

2

6

1 Khaki Drill HM8 + White

2 Khaki Drill HM8 + White + Matt 29 3 Red Brown (Dark)

Track color HS 215 + Matt 29 + Utile Red 4 Red Brown

Same mixture + Little Yellow and White 5 Off White spots

6 Black edges

7 Shade of Khaki Drill HM 8 + White + MC21 French Artillery Green

RECOMMENDED REFERENCE MATERIAL: - OPERATION DESERT SHIELD

Prelude to "Desert Storm"

Yves Debay & Michael Green Concord Publications 2003

- US ARMY LIGHT FORCES Panama to the Middle East Michael Green

Concord Publications 2001

37

Fig.1 The base paint for the jaguar skin is Matt 72 with some Black added.

Fig.3 Dark shading with Raw Umber oils and blended.

38

Fig.2 The first drybrushing with straight Matt 72 and the second run with Matt 72 plus White No.34.

/_A'~

- .• ~ ~

~

,

Fig.4 Black spots added. Note smaller dark yeIIow spots (No. 72 Plus Yellow) inside the black pattern.

Chapter IX Step by step

Painting an Aztec Jaguar Warrior

Painting animal skins such as jaguar, tiger or zebra may seem like the ultimate test of your painting skills. It is not nearly as difficult as it may appear. It is very similar to painting camouflage patterns. All you need is good color photographs. Study the colors and patterns carefully, paying attention to scale in particular. The one we used was the painter's first attempt at a jaguar skin and we think it looks quite effective.

Fig.5 s 6· Completed figure. The overall jaguar skin received a subtle wash of Raw Umber oils creating a soft shadow that buffers the otherwise harsh contrast of the black and yellow pattern. The shield, weapon and other parts are painted as separate items and affixed after the basic figure was finished. The long leaves at the top of the "standard" and the feathers attached to the shield are new VP innovations crafted from photo etched copper and are included with the kit. These can be formed into any desired position.

39

Assyrian Archer 655 B.C.

40

Fig.1 Flesh parts and basic body armor painted. Left arm has been left off to make easier access to the area of the body underneath. The armor was base coated with polished steel and black, and drybrushed with polished steel and a touch of silver.

Fig.2 The basic color for the tunic is 104 Blue and 33 Black. Drybrushed with 104 and progressively heavier mixtures of 104 and white. Shading with 104 plus black plus Raw Umber. Headband is Matt 72 shaded with Raw Umber and drybrushed with Matt 72 plus white. Heavy belt is base coated with Matt 29 plus black. Drybrushed very subtly with Matt 29 and progressively adding white. Ornamentation painted with black plus Raw Umber plus Burnt Sienna. After drying pick out with straight gold enamel. Note the red lacing of the body armor painted carefully and shaded with red plus blue and black.

Fig.3 Completed figure front view. Dark brown boots (Matt 29 and black), drybrushed with Burnt Sienna and a second run adding a little yellow to the Burnt Sienna. Laces are carefully painted with a light buff (Matt 29 plus 187 Sand). The red and green horizontal stripes on the legs were given several coats, each time moving toward the center stripe. Red and white stripes on the shirt were shaded with dark brown (Matt 29 and black).

Fig.4 Completed figure rear view. Base color for the quiver is dark brown (Matt 29 plus black), drybrushed with Matt 29 and progressively lighter shades by adding white. Red and blue surfaces painted with well thinned paint. Feathers on the arrows base coated dark gray and gradually lightened by drybrushing with progressively lighter shades.

41

East European Viking, 12th Century

This representation of an East European Viking, 12th century, (VP 120 mm) again illustrates the combination of oils and enamels.

The base coat for the chain mall was matt black with a little polished steel mixed in. Drybrushed with the base color with small amount of silver enamel. This was done with extreme subtlety, light transparent washes of Raw Umber and Burnt Sienna were used for the shadows. A coat of semigloss waterbased varnish finish off the metallic appearance.

The shirt was base coated with Dark Blue 25 and a little Black 33. Drybrushed with straight Blue 25, shaded with black plus Raw Umber oils for deep shadows.

Trousers base coated with Matt 34 white and after drying with titanium white artists oils. Shaded and blended with Raw Umber.

42

The wood portion of the shield was base coated with Matt 29 plus black. Drybrush with Matt 29 and progressively small amounts of white. The metal fittings were painted with polished steel plus a little black, polished with a soft cloth and shaded with Raw Umber and Burnt Sienna. Matt black rivets with some Burnt Sienna for rust and picked out with straight gold enamel.

Natural leather belt was accomplished by drybrushing Burnt Sienna over a matt black base coat and a final drybrushing run with Burnt Sienna plus yellow oil paints.

Fig.1 The sub assembled parts lightly glued to plastic carriers for ease of painting. The uniform base coat of Gray 31 and French Artillery Green 179.

Fig.2 Head and helmet finished, uniform in last stages of completion. Ammo pouches base coated with Matt Black and drybrushed with Burnt Sienna oils. Note the transparent lens of the gas mask were finished off with clear gloss enamel. Buttons were painted Matt Black and then touched with a Gold paint dot that is smaller in radius than the Black, giving depth to the buttons.

German WW I Trench Raider

Fig.4 Helmet camo colors are; Dark Green 161; Light Green (179 plus white); and Red Brown 160. Washed with Raw Umber and subtly drybrushed with Silver and Raw Umber mixture. Humbrol 161 plus

Black for the base coat of

the gas-

mas k ,

shaded wit h Raw Umber,

and drybrushed with 161. Burnt Sienna used for rust stains and the above metal mixture applied here and there with a pointed brush for paint chipping.

Fig.3 Completed figure mounted to base. Note the different texture and tones between the cloth, metal and wood achieved by using enamels, metallic paint and artist oils. Leather effect of patches on elbows and knees was achieved by drybrushing Burnt Sienna over a Matt Black base coat. Rifle strap from lead foil, attachment rings from copper wire. The rat (always present in trenches) base coated with a mixture of Matt 29 and Matt 33. Drybrushing with Matt 29 plus a touch of white and shaded with Raw Umber.

43

British 17th Lancer

An excellent example of a very colorful uniform with lots of intricate details.

Fig.1 The head and jacket completely painted.

Base color for jacket is 104 matt Oxford Blue with a little black added. Shadows from matt black with some Raw Umber. Highlite with the base color plus a little white and subsequent applictions gradually adding more and more white until you achieve the desired effect.

Fig.2 Base gold paint. (Mixture of gold enamel, Raw Umber and Burnt Sienna artists oils)

Fig.3 Co mpl et e d- figure, front view.

44

Fig.4 After drying, the base coat of the gold mixture (see figure 2) is drybrushed with gold enamel, shaded with a mixture of matt black enamel, Burnt Sienna and Raw Umber artists oils in the depressed areas and then blended outward with a turpentine moistened brush. Finally, drybrush again, very lightly, using gold enamel with a touch of silver. This procedure can be repeated several times until a deep, rich tone is achieved.

The base color of the trousers is a mixture of Matt 87 plus black. Shadows are Matt 87 plus black, Raw Umber and a touch of Matt 29. Drybrush color is Matt 87 plus gradually adding a little white.

Gloves begin with a base coat of matt white enamel. After drying, apply titanium white artists oils, then shade with black plus Raw Umber and blend. All other white areas on the figure are white enamel, shade with a mixture of Matt 29 plus black and Raw Umber. The sword is painted with silver enamel, shaded with a mixture of black and Raw Umber. After drying, it was coated with semi-gloss waterbased clear varnish.

45

manufacturers, varying age of the blouse and trousers on the same uniform, and on and on and on ...... The only thing that is important in figure painting, (and all other forms of modeling as well), is to remember constantly, we are not recreating something in miniature, we are not making a 1/15th scale human being, with working organs and communication skills, we are simply creating a miniature figure and as our skills grow, we learn to use illusions, not reality, in making it look as real as possible.

The alternative to that philosophy is to become forever mired in the mud of AMS. (Advanced Modeling Syndrome).

This is the disease that has rendered more potentially great modelers useless and ineffective than you can imagine. Be determined to do your best, research well, and use all the skills you have acquired. But when you find yourself spending all your time fussing and worrying about a particular shade, a millimeter too long or too short in length, arguing endlessly over the proper color, whether a microscopic bolthead should be round or hexagonal, one thing is for sure, you are no longer a modeler. You may still think you are, but examine your output and you will realize, you are now in the AMS Zone!

COLOR INDEX

HUMBROL COLORS USED (all Matt) :

29 - Dark Earth / 31 - Slate Gray / 33 - Black / 34 - White / 72 - Khaki Drill / 80 - Grass Green / 160 - German Camo Red Brown / 161 - as Marine Corps Green / 179 - French Artillery Green / 187 - Sand / 135 - Satin Varnish / 27003-0 -Polished Steel

We thought long and hard about including this color guide in the book. The reason being that if the reader uses it as the only way to select colors, he will never evolve as a modeler. We want you to experiment! This book is intended as a general guide and nothing more. Through experience we know that if someone uses this book and color chart as a guide, they will be able to build and paint a figure better than before it existed.

An example is the photo of the Dungeon Masters. The people who built and painted these were comprised of office and warehouse employees, men and women, none of whom had ever built or painted a model in their lives and had no interest other than being involved in the experiment. They were given only the principles of the System, the examples and the color guide.

Granted, most would not be considered exceptional, but compare them with the typical 1 st models you have seen, of people who have a keen interest in modeling, perhaps even your own first attempt, and you will realize, the System works!

If we attempted to do a book on colors only, we could write volumes and never scratch the surface. Of course, base colors are relatively easy to list, however, we are frequently asked, "What color did you use to paint the uniform of the figure on page so and so of this magazine or that book"? We reply, the base coat was French Artillery Green (for example).

Then later we hear from them and they say, "I used that color and it doesn't look anything like your figure"! Of course not. After we used that base coat, it was washed with one or two colors, drybrushed with multiple colors and shades, etc., and it is the end result, not the base color that creates the "look".

We have seen modelers research and toil for weeks over the "Perfectly correct" uniform color, totally disregarding the scale effect, the weathering, bleaching by the sun or by washing, irregularities of dyes, different clothing

MOST COMMON OIL PAINT COLORS 8- BRANDS

BRANDS: Winsor & Newton / Rowney / Grumbacher

.

COLORS (all brands): Titanium White / Ivory Black / Raw Umber / Burnt Sienna / Yellow Ochre / Lemon Yellow / Cadmium Red / Prussian Blue / Olive Green

46

This guide is a very general concept. The base coats in many cases are not nearly as important as the washing and drybrushing processes in determining the final color. You will note that the base colors on some are similar or the same. The washing and shading process will make the difference, however so subtle. Throw a mixture of modern military clothes from different nations in a pile. It is remarkable how similar they are in tone and shade!

Happy Modeling! (Truly happy modeling!),

Francois Verlinden & Bob Letterman

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