Painting Miniatures

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Auriga Publishing International
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02 vallejo:Layout 1 20-03-2013 8:55 Pagina 1
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Text and pictures:
Danilo Cartacci
Copy editing:
Thomas Abbondi
Book design:
Cristina Bonanno,
Alessandro Bruschi
Graphics:
Cristina Bonanno,
Alessandro Bruschi
Translation:
Andrea J. Richardt
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:
info@aurigapublishing.it
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 pho-
tocopying, recording or by
any information storage
retrieval system, without
written of permission of the
publisher.
INTRODUCTION
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 summa-
rize 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.
Thomas Abbondi
03 colophon UK OK 7-08-2007 9:45 Pagina 2
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CHAPTER 1
CHAPTER 2
CHAPTER 3
CHAPTER 4
CHAPTER 5
CHAPTER 6
CHAPTER 7
CHAPTER 8
CHAPTER 9
CHAPTER 10
CHAPTER 11
CHAPTER 12
GALLERY
Materials
Preparation and assembling
Flesh
Draping
Metals
Chevrons
The heraldry
Natural materials
The setting
Painting a bay horse
Weathering
A complex figure
Page 8
Page 12
Page 17
Page 29
Page 41
Page 47
Page 53
Page 59
Page 67
Page 80
Page 89
Page 95
Page 105
05 indice uk ok 7-08-2007 9:48 Pagina 1
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INTRODUCTION
The aim of this book is that of introducing this particular art to the
widest possible public. Im aware that theres 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 Ive 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 readers 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.
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 .
07 introduzione uk 7-08-2007 9:51 Pagina 2
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MATERIALS
Throughout the years, I had
the chance of experiment-
ing countless tools and
materials, trying to get the
most out of each, according
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 per-
formances make them
well worth the price. Ah,
and they last long, too.
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.
8 PAINTING MINIATURES
to the technique I was devel-
oping, to achieve the best
result in the shortest possi-
ble time. Lets look at a
short list of common mate-
08 a 11 I cap UK OK 7-08-2007 9:53 Pagina 8
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rials and their main charac-
teristics.
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 con-
cerned; 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.
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 aver-
age.
A good drill with a good
set of drilling bits,
brushes and milling cut-
ters is a must for every
modeller.
MATERIALS
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MATERIALS
Files, pliers, cutters,
scalpels and sand-paper
are the most classical
tools.
A well lit workbench is
crucial. The best bulb is
narrow and long.
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MATERIALS
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.
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 evapo-
ration of oil. Excellent results can be achieved with
Andrea Color acrylics and Humbrol enamels. White spir-
it 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 mid-
dle 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.
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 hair-
dryer 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 trans-
parent (veiling).
The best way to dilute them is distilled water, used with
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 excel-
lent 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 assem-
bling of the models. Glues and putties are very impor-
tant too.
In the next chapters we will focus on the correct usage
of all these materials.
White metal can be
glued with superglue, or
-even better- with two-
part glue. Toothpicks
and pins should always
be at hand, for filling
slits, refine or rebuild lit-
tle parts with two-part
putties.
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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 dont 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.
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 home-
made tools. A toothpick will also do. Dip it in alcohol
and the putty wont 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
The contents of the kit:
always check for mis-
sing parts. Smaller bits
should be stored in pla-
stic bags.
PREPARATION AND
ASSEMBLING
When we buy a new model, the
first thing we look forward to do is
grab the brushes and start pain-
ting, almost forgetting about its
preparation and assemble. These
two phases, on the contrary, need
to be performed carefully: even
the best paint job wont hide burrs
or imperfections. Lets now see
how to prepare a model for pain-
ting, giving it enough strength to
be safely handled and transported.
The first thing to do is to check for any missing parts, pla-
cing all the bits in small bags. Flash lines can be elimina-
ted 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.
Files are crucial to elimi-
nate flash lines. Use
them gently not to spoil
the model.
Files come in different
shapes: mouse-tail and
semi circular ones are
the most useful. The
triangular one can be
used on edges.
12 a 16 II cap uk OK 7-08-2007 10:20 Pagina 12
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PREPARATION AND ASSEMBLING
The blade should always
work perpendicularly to
the part.
A brass brush is excel-
lent for polishing and
for getting rid of small
imperfections.
Patafix is a soft putty
which provides with
excellent support for
handling the parts.
Glue excesses must be
carefully removed befo-
re 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.
Two-part glue can be
poured in the cavities
for a better hold.
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The model, partially
assembled.
Patafix keeps together
the two halves of the
dragon while the two-
part glue hardens.
As a fishing touch, use
sandpaper to smooth
the surfaces.
Assembled and plaste-
red: this amazing horse
is ready to be primed.
Perfectly mixed two-part
putty can be applied
with home-made tools.
This toothpick was dip-
ped in alcohol to make
it non-sticky.
The flash line can be
smoothed before the
putty dries, using a
brush dipped in alcohol.
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When it comes to han-
dle a part, anything
which may work as a
pedestal is welcome: in
this case, the handle of
a scalpel.
Protect the base
while painting.
Saint George and the
Dragon, 54mm, sculpted
by Adriano Laruccia.
The model has already
been primed.
When the assemble is
finished, only a few
parts need to be painted
individually.
Two-part putty can be
used to join the model
to its base.
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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 dont 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).
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 cha-
racteristics daily, our eyes are
very accustomed to them.
Undoubtedly, faces represent the most expressive featu-
re of a figure. This is why we say that the face gives
life to the figure; it is therefore crucial to paint it care-
fully. The numerous shades of the skin blend into one
another, making oils particularly suitable for the job;
their translucent finishing largely contributes to a reali-
stic result. On the other hand, the poor covering power
of oils can be a problem, especially when we are wor-
king 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 dont 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.
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
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.
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
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.
17 a 28 III cap UK OK 7-08-2007 10:35 Pagina 17
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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. Lets now talk about the actual painting.
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It is always better to
have a base colour sli-
ghtly 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.
FLESH
The upper eyelid is
painted using a medium
tone.
Draw the upper eyela-
shes with a very dark
trait.
For intense and centred
eyes, eyelashes must be
vertically aligned with
the edges of the mouth.
A slightly decentred spo-
tlight can make the eyes
livelier. This is a very
important phase, which
must be performed care-
fully.
Lower eyelids can now
be outlined with a
mid-light tone.
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FLESH
A light-line along the
eyelid will make the
eyes look more tridi-
mensional.
Once the eyes are
finished, its time for
the nose: apply a
mid-light tone on its
sides and fade it with
medium flesh.
An extremely light
shade of flesh is then
applied the upper part
of the nose and in the
areas of maximum light.
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 spre-
ads on 3/4 of the
cheek, blending with the
area of maximum light
of the cheekbones.
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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.
The upper lip can now
be outlined with a sha-
dow-line, using dark
amaranth, while
flesh+grey will be used
for the shadows of
upper and lower lips
and chin.
FLESH
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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FLESH
As far as ears are con-
cerned, it is important to
emphasise their volume,
with obvious shadow-
and-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.
As a finishing touch,
sweat can be simulated
with little streaks of
gloss varnish (where
appropriate).
Hair are easy to repro-
duce 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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Finally, shadows are
emphasised with a
darker tone.
To reproduce veins, I
first draw them on the
body or on the hands,
using a colour lighter
than the base.
Add some reddish
brown shadow-lines to
give tridimensionality.
FLESH
Nails can be reproduced
with a pale shade on a
medium dark base.
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FLESH
Private Light Company
XXVIII Regiment of Foot,
Waterloo 1815, 110mm
sculpted by D. Grieve
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A face is strongly cha-
racterised by a good
paint job. The very
same sculpture painted
in different ways,
varying the balance bet-
ween shadows and
lights and (on the
Indian) the tonality of
flesh.
In case of a wide fore-
head, a mid-shadow
area will be visible on
the temples, and a
maximum light area just
over the eyebrows.
FLESH
THE TAMBURINE
On a young face con-
trasts are more gentle
and beard is not pre-
sent. I added freckles
instead.
THE SERGEANT
A soft paint job, with
gentle and neat tones
can suggest ones tem-
per, as in the case of
this Sergeant.
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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 sur-
face.
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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 emphasi-
se the volume of each
muscular mass, with
marked shadows and
lights, fading each pas-
sage to obtain a gentle
flesh tone. Veins, hair,
sweat streaks will be
painted in the end.
FLESH
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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.
Arrows indicate the direction of strokes, which follow the sculptures 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).
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, resul-
ting in more gentle shades. The other factors that influence the shades are the amount of passages (the more, the better) and the
veils.
Once the model is primed, it should be obser-
ved 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 accom-
plish 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.
29 a 40 IV cap UK OK 7-08-2007 11:09 Pagina 29
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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.
DRAPING
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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.
DRAPING
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DRAPING
Lights are outlined with a very enlightened base colour.
OUTLINES
The shadows of seams, buttonholes and borderlines are outlined using a very dark brown hue.
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DRAPING
The last passage consists in a black veil on the jacket to soften the shade, resulting in a weathered effect.
Now apply a well diluited brown veil.
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DRAPING
RED
The trickiest part concer-
ning red is that of kee-
ping its brightness
throughout the proces-
ses of lights and sha-
dows. Red tends to turn
pink or brown while
painting lights and sha-
dows, respectively.
This problem can be
overcome using orange
for maximum lights and
a very dark red for sha-
dows, adding some
green to the base red
(its complementary
colour)
The base colour is made
with carmine red (MC-
908) and Napoleonic
green (AC-38), adding
-in sequence- red MC-
947, scarlet red (MC-
817) and orange (AC-
32) for lights.
For shadows add
minimum quantities of
Napoleonic green (AC-
38). Black is added only
for maximum
shadows and outlines.
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TARTAN CLANS
I love painting Scottish
subjects. Throughout the
years I have been deve-
loping a technique for
the right proportions of
tartan clans.
Basically it is a sort of
grid, based on the 45-
degree diagonal. Being
drawn in the squares, it
will be covered by
paint.
DRAPING
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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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Finally we add the thin-
ner lines and the wea-
thering effects with the
same procedure used
for the jacket.
DRAPING
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DRAPING
Highland clansman,
Jacobin Revolution 1745
54 mm
sculpted by G. Russo
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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 requi-
res a mid-cool shade,
obtained with white,
khaki, green, carmine
and black.
All colours must be
added to white in small
quantities.
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, sha-
dows and lights must be
coherently balanced,
otherwise the model will
look grey.
DRAPING
Russian Guard Hussar
Officer, 1799 modified
sculpture by V. Konnov
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DRAPING
BLACK
The preparation of the
base colour must be car-
ried very carefully also
in case of a black dra-
ping.
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).
To enlighten this mixtu-
re, we first add mini-
mum quantities of dark
flesh (AC-10), then light
flesh (AC-9). Add white
for maximum lights.
Shadows are painted
adding increasing quan-
tities of black to the
base, using pure black
for maximum shadows.
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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.
METALS
It is often a good idea to reprodu-
ce metal parts, especially
armours, using the soldiers metal
itself. Attention and a few easy
techniques are enough to achieve
astonishing results.
Then apply a washing,
using ivory black (or
Cassel earth), making
sure that the hue settles
particularly where sha-
dows will be.
Once the oil is dry,
apply one or two dry-
brushes with Tamiya
Smoke X-19.
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METALS
Sigismondo Pandolfo
Malatesta Master of
Rimini 1417-68 54mm
sculpted by A. Iotti
Next, intensify the sha-
dows and outline the
different parts of the
armour, using less dilu-
ted 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 sur-
faces.
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METALS
YELLOW METAL
After polishing the figu-
re (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.
Use the same colours to
intensify the shadows,
and outline the parts of
the armour. Finally, for
maximum lights, use a
Model Master gold ena-
mel mixed with typogra-
phic ink.
This mix makes the
typographic ink
rub-resistant providing
brightness.
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English knight XV Cent.
54mm sculpted by Y.
Serebriakov
METALS
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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, sha-
dows are intensified
with almost pure oils.
Finally, a light drybrush
with chrome silver
makes the lights bri-
ghter; 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 con-
cerned, a veil with clear
orange is enough; then
proceed as with white
metals.
Apulean Warrior 54mm
sculpted by M. Bruno
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
COPPER
For copper, apply a veil
using clear red and
clear orange, then pro-
ceed as described
above.
Medioeval child, 54mm
sculpted by G. La Rocca.
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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.
CHEVRONS
When it comes to gold and
silver chevrons, what we are
looking for is the effect of a
metal texture: the hue
shouldnt then be neither as
glossy as metal, nor as matt
as any ordinary fabric. The
correct effect can be achie-
ved starting from acrylic
metal colours, finishing
with non-metallic artist oils.
In this particular case, we
are dealing with chevrons,
epaulettes and braids.
47 a 52 VI cap uk OK 7-08-2007 11:25 Pagina 47
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CHEVRONS
Then outline the borders of the chevrons
using the lighter colours on the palette
Shadows are realised following the dra-
ping, adding more brown to the underco-
at colour.
Chevrons, epaulettes and braids receive
an oil wash with burnt amber, which
emphasises the weave of the sculpture.
Its time for oils: prepare a palette with
burnt umber, gold ochre, Naples yellow
and titanium white.
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The weave of the braids
is painted in small sec-
tions.
Then draw a series of
diagonal lines in the
inside of the chevrons,
which simulate the
weave.
Then use a dark hue to
outline the different ele-
ments, chevrons, the
division lines etc.
CHEVRONS
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Officer of Red Lancer 1812, 54mm sculpted by M. Numitone
CHEVRONS
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CHEVRONS
The undercoat of the sil-
ver 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
Officer of Red Lancers
1811, 54mm sculpted
by M. Numitone
Guards Grenadier
1812, 90mm sculpted
by S. Borin
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CHEVRONS
Guards Grenadier 1806,
54mm sculpted by G. Azzar
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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 cen-
tred on the shield, cove-
ring the whole of its sur-
face.
I would advise to start
from a simple drawing,
easy to align, adding
the details one at the
time. Corrections are
easier using an enlighte-
ned shade of the base
colour.
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 histo-
ry must be coherent too, since the
symbols vary according to
countries and centuries. Reliable
historical references are therefore
crucial.
Once drawn, the heral-
dry can be coloured,
reproducing the lights
and shadows that had
been previously painted
on the shield.
The last passage is the
weathering, which con-
sists in the application of
a dark brown veil on
the surface, along with
scratches and the signs
of wear and tear.
53 a 58 VII cap uk ok 7-08-2007 11:43 Pagina 53
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THE HERALDRY
HERALDRY EAGLE
After painting the flag,
its time for the drawing,
starting from the sym-
metric extremities of the
eagle. Fill the drawing
with the base colour,
add lights, shadows and
the weathering.
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THE HERALDRY
Bohemian knight XIV sec.75 mm sculpted by A. Jula The same procedure applies for the heral-
dry on the clothing.
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THE HERALDRY
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.
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.
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
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.
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 HERALDRY
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.
FLAGS
Flags are usually painted in the same way as heraldries. Always
check for the right proportions.
CRUCIFORM
Again, start from a vertical line and a horizontal one.
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NATURAL MATERIALS
Uniforms often had fur-patches.
Among these, one of the most fre-
quent were leopard ones.
As usual, a good starting point is a
exhaustive series of pictures of
the animals 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,
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 (AC-
10), white (MC-951),
black (MC-950).
titanium white, and some burnt
Sienna in the centre. As with
faces, the nuance is created from
the darker colour to the lighter.
The next step is the
nuance of the mantles
undercoat with artist
oils, painting also the
tone variations on the
fur (the animals belly is
lighter than its back),
besides the usual lights
and shadows.
59 a 66 VIII cap UK OK 7-08-2007 11:53 Pagina 59
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Now add the black
spots, bigger on the
back, smaller towards
the belly.
NATURAL MATERIALS
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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
FUR
To reproduce a fur, the base is an acrylic undercoat, close to tar-
get colour.
In this case, the base is dark brown (AC-17) and black (MC-
950).
Add a black veil, to emphasise the texture of the sculpture. Then
enlighten the base colour adding some leather brown first (AC-
42) 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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NATURAL MATERIALS
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.
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 appearan-
ce 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 MATERIALS
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
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.
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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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.
THE SETTING
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 uni-
form. A historic research usually
provides with enough informa-
tion to reproduce a coherent set-
ting.
67 a 79 IX cap UK OK 7-08-2007 12:05 Pagina 67
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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 ele-
ment to the scene and
reproducing the roots of
the tree trunk. I use too-
thpicks, balsa-cutters
and brushes dipped in
alcohol to smooth the
surfaces.
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 easi-
ly found on the shore
after a sea storm, espe-
cially in autumn and
winter.
Small twigs can be
reproduced with roots.
With an old teaspoon
and vinyl glue cover the
base with some sieved
dry soil.
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All the different ele-
ments can be painted
with enamels and artist
oils.
THE SETTING
The figure will be glued
to its base and blended
with it with some tou-
ches of paint or pastel
dust.
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Probyn's Horse, Indian Mutiny 1857, 54mm sculpted by M. Numitone
THE SETTING
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THE SETTING
THE FLOOR AND
THE CARPET
Lets take a look at the
base of an elegant Red
Lancers officer.
The first step for repro-
ducing a clear marble is
the base colour: white
(MC-951), dark flesh
(AC-10), Napoleonic
green (AC-38), carmi-
nium red (MC-908).
After applying a couple
of layers with the base
colour, the surface will
be plugged with a small
sponge dipped in white
+ base colour.
The next step is perfor-
med with a #2 brush
and a very diluted mix
of the base colour +
wood (AC-41). Dark
veins are painted ran-
domly, in contrast with
the lighter ones. The
veins shouldnt cover the
colours underneath.
Then draw thin veins,
beginning with the dark
ones.
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THE SETTING
Now reproduce some
light veins.
A white veil will then
blend everything
Outline the silhoulette of
each square.
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 deep-
ness.
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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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 SETTING
Then draw the pattern,
starting from the dark
tones. The colours are
those used to paint the
marble.
The shades used for the
carpet are similar to
those of the red marble.
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THE SETTING
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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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.
THE SETTING
Then apply a pure-black
wash to highlight the
relieves.
Add either white or light
flesh (AC-9) to the grey
base and drybrush this
mix for a first down-
shading.
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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THE SETTING
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 bet-
ter 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 too-
thpick to shape the resin
soon before it sets.
Prochima provides an
excellent transparent
resin.
Norman knight 1066,
54mm sculpted by
G. La Rocca
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SNOW
The starting point for a
snowy ground is a com-
pletely painted setting.
A pure white drybrush
provides with a first
snowfall effect.
THE SETTING
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.
For a consistent snow
mass mix the micro-
spheres, 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
Painting a horse is not an easy
task. Lets see how to achieve excel-
lent results with the right techni-
ques (and patience).
First of all make sure to have some
pictures of a real animal. We wont
need to struggle too much with
lights and shadows, since the man-
tle of a horse reflects light regar-
dless 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 sha-
dow, is often clearer. This said, the
best painting approach is the
balance between shadows and
lights, and the study of the diffe-
rent shades. In this particular case,
First of all prepare a
good acrylic base, using
dark brown (AC-17) and
a pinch of black (AC-
26).
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.
80 a 88 X cap uk OK 7-08-2007 12:17 Pagina 80
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Draft the chiaroscuros
with acrylics, adding to
the base first some lea-
ther brown (AC-42) first
and then some dark
flesh (AC-10) for light
areas. Finally add some
black for darker areas.
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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Another trick, is repre-
sented by the little nails,
positioned just over the
knee on the front legs,
and below the fetlock on
the back ones.
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 eye-
ball is reproduced with
a dark red/brown hue.
A small white dot will
suggest the glint.
The painting technique is
the one already descri-
bed, applying the dark
colours on the shades
and lighter ones on the
lights, fading the bor-
derline 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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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.
Adding veins on the legs
and on the belly will
provide a realistic touch.
These can be painted
with clear light underli-
ned with a darker one
which mimics the relief.
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After having painted
the horse, cover its eyes
with some glossy
varnish.
Finally, the tail and the
mane. In case of a bay
horse, theyre both
black. The procedure is
that described for furs.
Horseshoes are painted
with a thin line, using
dark metallic steel.
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Le Soleil de Austerlitz, 54mm, sculpted by M. Numitone
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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 yel-
low and titanium white.
Colonel Morio, Princes Jerome A.C.
1807, 54 mm, sculpted by B. Leibovitz
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
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.
Etienne M.A. Champion Earl of Nansouty, 54mm
sculpted by Atelier Pegaso
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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
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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WEATHERING
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 weathe-
ring will vary according to the
setting. Furthermore, a good wea-
thering blends the figure to its
environment.
This example (set in India) represents a gunner wearing a white colonial uni-
form 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 fin-
gers.
89 a 94 XI cap UK OK 7-08-2007 12:27 Pagina 89
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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 pain-
ted, prepare a well dilu-
ted 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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Another way to realise
a worn uniform during
a campaign is that of
simulating wear and
tear on the accoutre-
ments. Here I added
some scratches on the
cartridge box.
Once the figure is glued
to its base, you can
brush some charcoal
dust (not graphite) to the
lower parts.
WEATHERING
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WEATHERING
English gunner 1857 Indian Mutiny 54mm sculpted by M. Numitone
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WEATHERING
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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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
The figure was sculpted
by Mariano Numitone
and is part of a diora-
ma called Le Soleil de
Austerlitz.
an officer of II Hussar Rgt, who
captured an Austrian flag.
95 a 104 XII cap UK Ok 7-08-2007 12:35 Pagina 95
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A COMPLEX FIGURE
The first thing to do is
resolve the figure into its
components, each of
which should be tempo-
rarily fixed on a base
and individually dealt
with. In this case, the
horse and the flag.
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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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 shouldnt be over-
charged with colour, to
obtain a series of small
dots of the right size.
Using the same colour,
this time with a sponge,
plug gently and define
some darker areas.
In the same way
-brushing and plugging-
apply the light tones.
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To complete the draft
phase, soften some of
the passages with an
acrylic veil and add
some details, such the
hoofs and the veins.
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.
A COMPLEX FIGURE
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 (AC-
35), 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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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.
Finally reproduce the
red/silver braids on the
saddle-cloth.
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g 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).
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, reprodu-
cing all its details. For the silver ornaments I adopted the same technique as for the braids.
A COMPLEX FIGURE
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A COMPLEX FIGURE
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 cyanoacry-
late. Then retouch the
flagpole and the sabre-
tache.
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A COMPLEX FIGURE
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A COMPLEX FIGURE
Le Soleil de Austerlitz 54mm sculpted by M. Numitone.
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GALLERY
106 a 125 gallery UK OK 7-08-2007 12:49 Pagina 105
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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.
Mathieu II Master of Marly, 1248 54mm,
sculpted by A. Jula. Gold, World Nation Trophy 2007
Accurate historic researches and chromatic
changes are often sufficient to perform
coherent modifications to a model.
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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 dAusterlitz 54mm sculpted by M. Numitone.
Best Of Show Leon Rampante 2006.
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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. Gorgons 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. Azzar.
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 Guards 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 pharaohs olive-skin was rea-
lised with ivory black, raw umber, raw
sienna, Naples yellow and titanium white.
Small quantities of burnt Sienna was used
to warm the cheeks.
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GALLERY
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GALLERY
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GALLERY
Cornet III Prussian Battallion Artillery, 1815, 54mm, sculpted by M. Numitone. Gold medal Le Jamais Vues Saint Vincent 2004.
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 sim-
plified 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 DAngis 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.
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127 pegaso 8-08-2007 17:57 Pagina 1
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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 com-
plex figures, which require different
techniques. This volume represents a
milestone for historic figures pain-
ters, and is rich hints and tips,
addressing both to the experienced
modeller and to the beginner.
Painting rosy complexions, badges,
textures, armours, flags and bases will
be much easier after reading this
book.
ISBN 978-88-88711-40-9

Painting Miniatures

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