Queste pagine sono dedicate al montaggio e alla pittura della vostra splendida figura.

Pochissime note per ottimizzare la vostra

esperienza. Per assemblare la figura in resina uso normalmente la colla cianacrilica. Va bene considerando che la figura è in resina di alta
qualità . Prima di iniziare ad assemblare la figura controllare attentamente i pezzi. I pezzi sono comunque stati controllati prima
dell'imballaggio. In ogni caso per qualsiasi problema potete scrivere a figurinitaly@gmail.com spiegando il vostro problema
I pezzi sono stati progettati per ottimizzare il montaggio riducendo i possibili errori.
Pulire accuratamente le linee di divisione per evitare qualsiasi problema in seguito. Considerate che le linee di divisione sono quasi
invisibili
These pages are dedicated to the assembly and painting of your gorgeous figure.
Very few notes to optimize your experience.
To assembly the resin figure I normally use cyanoacrylate glue. It’s ok considering that the figure is in high quality resin
Before starting to assemble the figure check carefully the pieces. Any of them have been controlled before the packaging.
In any case for any problem you can write to figurinitaly@gmail.com explaining your problem
The parts have been designed to optimize the assembly reducing the possible mistakes.
Clean carefully the micro splitting lines to avoid any trouble later. Consider that the splitting line are close to be invisible

Ces pages sont consacrées à l'assemblage et à la peinture de votre superbe figurine. Très peu de notes pour optimiser votre expérience.
Pour assembler la figurine en résine, j'utilise normalement de la colle cyanoacrylate. C'est ok si l'on considère que la figurine est en
résine de haute qualité. Avant de commencer à assembler la figurine, vérifiez soigneusement les pièces. Elles ont été contrôlées avant
l'emballage.
En tout cas, pour tout problème, vous pouvez écrire à figurinitaly@gmail.com en expliquant votre problème. Les pièces ont été conçues
pour optimiser le montage en réduisant les erreurs possibles.
Nettoyez soigneusement les lignes de découpe pour éviter tout problème ultérieur. Considérez que les lignes de séparation sont presque
invisibles.

Estas páginas están dedicadas al montaje y la pintura de su hermosa figura. Muy pocas notas para optimizar su experiencia. Para montar
la figura de resina suelo utilizar cola de cianacrilato. Está bien teniendo en cuenta que la figura está hecha de resina de alta calidad.Antes
de empezar a montar la figura, comprueba cuidadosamente las piezas. De todos modos, las piezas han sido revisadas antes de su
embalaje. En cualquier caso para cualquier problema puedes escribir a figurinitaly@gmail.com explicando tu problema.Las piezas se han
diseñado para optimizar el montaje reduciendo los posibles errores.Limpie cuidadosamente las líneas de separación para evitar cualquier
problema posterior. Considere que las líneas de separación son casi invisibles.
I always been fascinated by the Napoleonic art and I did many figures directly inspired by some of the most
iconic painting of the Era.

Following this passion I decided to share this passion with you proposing pieces in a series called :

“Collecting theClassics”.

This collection will be produced in a limited edition.

If you are interested, do not hesitate to order them as they will not be available for long.
1st in the series
From Antoine Gros Murat king of
Naples 1812

2nd in the series

From Edouard Detaille
Louis Lepic at Eylau
This figure was made possible by the kind permission of Patrice Courcelle

When I saw his painting of Michel Ney just before the Battle of Waterloo, I was
immediately attracted by the power of the composition and the central figure.

Michel Ney, seated on his black horse, wears his dark blue uniform under a beautiful
cloak decorated with oak leaves.

I consider Patrice one of the heirs of the Franco-Belgian painting tradition. He lives close
to Waterloo and this fact has greatly influenced his work predominantly devoted to the
Napoleonic period (this does not mean that his work is only about Napoleon).

again ... thanks Patrice for this possibility

https://www.patricecourcelle.com/

https://www.facebook.com/patricecourcellepage/

https://www.instagram.com/patricecourcelle/?hl=it
The picture of the still existing building represented by Courcelle
ref. FIC26
The uniform I decided to reproduce is well
represented by the Rousselot’s Job and also in the
portrait of Jean Rapp by Louis François Lagrenée

In this version Ney wears a small marshal's

uniform decorated in gold with stitched tails

The habit is dark imperial blue highlighted with

gold leaves. Gold sash, white ( or cream ) trousers
Crimson saddle with two golds laces
Some details
These pictures comes from the figure of Lepic, has been used here because For better part quality, the brackets and spurs are produced in
3D.

Three bites and three spurs are included in the kit, only 2 are
needed...the third is for safety.

We want to ensure that the figure can also be assembled by

breaking one

As described over the spurs are made in 3D and are fragile.

the process are the same

To avoid any damage during the painting process I prefer to leave

them for as the last piece to be assembled once the painting is
finished.
To facilitate final assembly, I suggest checking and enlarging the
hole to accommodate them.
A job done at the beginning that will simplify final assembly
Using the strips provided you have to add the longhina (see
the arrow) between the head and the girth
These pictures comes from the figure of Lepic, has been used here because

Three bites are included in the kit, only 2 are needed...the

third is for safety.
To add realism you can slowly rotate the bottom ring.
We are used to seeing it in the same line because previous
production technologies did not allow to rotate it.
Having introduced photo-etching technology we can easily
achieve this additional effect.
After rotating the ring you can glue the bites in place.

Positioning is forced between the pin on the horse's mouth

and the bridle.
D
Using the strips added in the kit you must make the
different bridles.

the bridle that starts under the horse's chin (and connects
to the girth) is normally used in the countryside but is not
strictly necessary. It is absent in various documentation.

Detaille has reproduced it in the painting so it is only right

the process are the same

to add it.
These pictures comes from the figure of Lepic, has been used here because

I suggest gluing the stirrups onto the sole of the

boot. Then the strap holding them in place.

The reason: the foot pushes on the stirrup and

determines its position; the holder will move
accordingly.

I’m used to glue the leather holder inside the legs

the process are the same
These pictures comes from the figure of Lepic, has been used here because Is possible to built the figure without the cap,an extra left arm are provided… the described
process is useful in this case

I usually assemble as much as possible

before painting.

In this case, I prepared the sword, using the

lead sheet included in the kit and the photo-
etched buckles, and assembled it to the
knight to ensure that it was in the correct
position and fell vertically.

Basically, the top strap is where the sword is

suspended and where all the weight rests.

Of course, the rider was placed on the horse

just to verify the correct assembly of the
sword.
the process are the same

A small suggestion is to glue the scabbard to

the boot after having fixed the straps
Mounting the cloak is not a problem ... it adapts
very well to the position.

It is best to do a few dry runs to position the

sword, it may not be suspended from the body.

You can glue it to the inside of the cloak

(cyanoacrylate is sufficient), as the cloak
completely covers the suspension straps.
Glue point

Another interesting and useful trick to improve working time is to

assemble the reins before painting.

It is normal for me to assemble the filet reins but in this case I also
assembled the reins attached to the bit before painting.

To do this I positioned the rider dry and attached the bit reins to
the hand by gluing them to the horse's neck (but not to the rider's
hand)

the final assembly to the hand will be done when the painting is
finished and you can also mask it with the part of the bridle that
comes out of the hand
The most critical issue is painting the horse black-the web is full of beautiful images
of black horses, and the real challenge is deciding what shade of black we want to
achieve.
Considering different lighting situations one can paint very different horses by
increasing or decreasing contrasts…
I chose a black with some purple on the inside and some reddish color in the lower
parts.
I chose a black with some purple on the inside and some reddish color in the lower
parts. I made a choice without overdoing the contrasts and trying not to fall too much
into the axiom black becomes gray
The horse has been primed in black and later painted in oils, Ivory black, violet,
burnt umber and some flesh tint are used to achieve the result.

Is a bit less black than Lepic horse, more dark brown used to paint it

I add some red on the below parts of the horse to put some warm color
 1 Flesh pink
2 Titanium white
3 Naples Yellow
4 mars yellow
5 mars red
6 Burnt Sienna
7 Burnt umber
8 alizarin Crimson
9 Prussian blue
10 lamp black
11 ivory black
12 venetian red

The palette after the painting process that took more than a single session. I’m used to work on the same colours for more than a day. Two advantages… the
colours become matt and save time to create the palette
My palette for the golds
Don’t hesitate to contact me for any problem or information.

You can write to figurinitaly@gmail.com

Thank you very much