Soldatini International Issue 125 August-September 2017

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BIMONTHLY - AUGUST - SEPTEMBER 2017
125 www.aurigapublishing.it
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NUMBER 125
C R EAT IONS
24 1st Virginia Cavalry 54mm
by Stefano Lancioni
28 Tarawa 1943 1/35
by Giuseppe De Carolis
36 Officer 60t h R gt . R oyal A merican R ifle 54mm
by Luca Gubitosi
48 Resisting last charge 54mm
by Maurizio Berselli
E VENT S
10 Siena
40 Genova
6 In Parade
04 milistoria:Layout 1 3-08-2017 9:17 Pagina 1
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Editorial Director
W
Thomas Abbondi hen you will read these lines, the World expo in Chicago will
be taking place, where we will be present and will give you
Publisher
Auriga Publishing International S.r.l. a detailed reportage. We hope that our presence on American
soil unites even more our little world and recruits more talent for our
Administrative Office publication.
Via Bressanone 17/1 - 16154 Genoa
In these last years we have had many new artists from all over the globe.
Chief Editor And we hope we continue. I like to bring up an argument already
Thomas Abbondi
discussed in this publication with regards to the contents. I had a perso-
Editorial Secretary nal discussion with an avid and passionate collector. He complained that
Giovanni Azzarà
there was too much fantasy on a publication named ‘Soldatini’. I gave
Publishing Director him my reasons and he replied. And we left it at that in a civil and
Alessandro Bruschi friendly manner, both having our opinions and which I personally feel
Graphics
that I learned a lot from this conversation. Apart from him, we also
Cristina Bonanno received some feedback from other readers, who heavily criticized us
for the not so historical content, not even enjoying the fantastic Tazio
Photography
Alessandro Bruschi Nuvolari, who, although a historical figure but not military. We were
criticized for the lack of show reportage and why we don’t print all the
Contributors
Piersergio Allevi, Maurizio Berselli, Giuseppe De Carolis, Ettore Giordano, new stuff on the market. I need to repeat that the magazine is open to all
Luca Gubitosi, Andrea Guidarelli, Stefano Lancioni, Fabio Nunnari because our world is too small. And being more selective, in my opinion
Translations
will do nobody any good. But I also like to read different ideas from
Stephen Mallia mine to learn and get better. I will treasure all that was referred to me
Publication registered at Court of Genoa on 03/04/2001 at no. 20. and we will try to do better. With regards to the shows, if we are able to
All rights reserved. No part of this magazine may be reproduced
without the prior written authorisation of the Publisher. go or the organizers send us the material, if it’s to the standard of our
© 2017 Auriga Publishing International S.r.l.
Auriga Publishing International S.r.l. readers, we will be very happy to print. With regards to the new stuff on
Via Bressanone 17/1 -16154 Genoa
the market we like to limit ourselves to the stuff we can actually touch
Correspondence and Advertising
so we can give you our personal advice.
Redazione Soldatini
Auriga Publishing International S.r.l.
Keep contacting us and push us to do better because we like to establi-
Via Bressanone 17/1- 16154 Genoa - Fax +39 (0)10 6001907 sh a dialogue relationship with our readers.
E-mail: soldatini@aurigapublishing.it
I leave you with the best wishes for the holidays and a very merited rest.
Hugs
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Created in Italy
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06 a 8 parata:08 a 11 parata 3-08-2017 12:17 Pagina 6
AK INTERACTIVE
Figure Series
Red, Blu, White and Yellow uniforms
Acrilic Paint
Website: www.ak-interactive.com
AK Interactive, the Spanish company that many of you already know, is one of the leaders
in the modelling business. Well, now he decided to launch 4 sets of colors deticated to histo-
rical uniforms. The sets, called Figure series, along the lines of others already present on the
market, can help to deal with any colour, giving us the whole spectrum, from the highest
lights to the deepest shadows. The 4 sets we review cover the white, yellow, red and blue and
include each 6 colors. On the boxart we can admire the beautiful illustrations of soldiers
whose uniforms are in the dominant colours of the set. On the back we find iexamples of
miniatures, also with the color dominant of the set.
The colours seem to have an excellent coverage, even the most hostile shades like whites and
yellows. The finish is opaque.
If I have to find faults, I have to say that the maximum shadows of red and blue do not satisfy
me, they are too clear or at least we can not make dark blue or give much depth to the Reds,
an additional dark colour has to be added.
Also I would have expected, as other manufacturers do with their sets, a minimum of "guide"
to explain which tint to use for basic colors, shadows and lights, giving a minimum of sequen-
ce and helping the newbies, to whom these sets seem to be dedicated.
PAGE 6
SOLDATINI 125
STEFANO SARTORELLO
BISONTE CON LUPI

Scale: 54 mm
Material: Resin
Sculptor: Stefano Sartorello
Here we are to review a vignette sculpted by the talented Stefano Sabri, composed of a bison in scale 1/32 and two wolves attacking him in the snow.
Unusual pieces for a figurine but very interesting, which are well suited to an articulated diorama. The first impression is very good, with an excellent
quality of sculpture, definitely above the average of the market regarding the reproductions of animals. I immediately state that the various pieces must
be combined together and that it would be difficult to use them individually. The bison is in resin and excellently casted, some bubbles, given the bulk
of the piece, seems inevitable. Beautiful the mane and the expression of the bison. The two wolves are even better. The snouts are beautiful and realistic,
like all the pose in general. A special note for their jaws, extremely realistic and sculpted to perfection. All the whole, as mentioned, is printed in resin,
which guarantees excellent definition and weight more content than the metal. At this point it is hoped that the series that already includes other ani-
mals can continue.
Fabrizio Marini
Packaging: 8,5
Casting: 7,5 bison, 9 wolves
Assembling: 9
Sculpture: 9,5
WOS FIGURES
Foreign Legion Skier WWII

Scale: 1/12
Material: Resin
Sculptor: Greg Girault
Box Art: Ernesto Reyes
www.troop54.co.uk/shop.html
Email: wos.figures@gmail.com
I am delighted to review this bust of the newborn WoS figures, firm of my dear friend Greg Girault. Greg, who we all know for his beautiful busts and
miniatures produced by many of the best companies on the market, decided to put himself on his own. Or rather, given his prolific production, he deci-
ded to sculpt and produce the subjects he prefers.
The first is a subject little known but extremely appealing, a skier of the Foreign Legion. Meanwhile I love skiing, it is already for this the subject deser-
ves a praise on my part; I find that the sculpture has a really high level, with a myriad of details, all extremely well sculpted. The backpack, for example,
is beautiful, full almost to burst, with the bread and the bottle that come out on one side, a great deal for the painters. Beautiful skis (whose tips are to
fold) and even more the chopsticks with separated straps, perhaps the only detail that will engage us in cleaning from the sprue of resin, given the fragi-
lity. The molding is free of casting lines or bubbles, the details are subtle and faithfully. Few sprue of resin to be eliminated, but always in hidden points.
The resin looks very smooth, almost glassy, but it is easy to work with. The pieces are stuck without using any putty. Also excellent packaging, a practi-
cal plastic blister, sturdy and protective. Congratulations Greg!
Packaging: 8
Casting: 8,5
Building: 8,5
Sculpture: 9
PAGE 7
SOLDATINI 125
RP MODELS
Douglas Bader - Battle of Britain

Scale: 1/72, 1/32
Material: Resin
web: www.rpmodels.pt
Email: sales@rpmodels.pt
For the series dedicated to the Aces of aviation, RP models has reproduced a
truly incredible character, Douglas Bader, an accredited English pilot of 22
kills and a protagonist of the Battle of England. The story of Bader is fascina-
ting, especially since in the 1931 the pilot lost the legs in an airplane crash.
The consequences were tremendous and they all felt that it was fortunate to
come out alive, albeit crippled, but this did not stop the pilot who after 8 years
from the accident returned to fly in the RAF at the dawn of the Second
World War.
The audacity, the talent, but also the particular physical impairment (the
pilot suffered less the G accelerations that led the blood to flow from head to
toe) allowed to quickly climb the military ranking until he was to command a squadron. He was captured by the
Germans in 1941, after being shot down, and became a friend of Adolf Galland, Ace of the German Air Force. Despite
his impairment he tried several times to escape from the camp of captivity, without success, and was released in 1945
by the Americans. The sculpture is very beautiful, with great details and very resembling. In the 54 mm version there
are pieces for three options well cast and with a minimum lines to be eliminated. In the version 1/72 instead the figu-
rine is printed in one piece. I saw the sculpture in 3d, pity that the various textures are lost in the smaller scales. I
highly recommend it to fans of this period.
Packaging: 7,5
Casting: 7,5
Building: 9
Sculpture: 8,5
French Dromedaire Regiment

Scale: 75
Material: Resin
Finally Mr. Hugo began to produce also Napoleonic subjects and the first of the new
series “Napoleon's Wars” is a wonderful soldier of the Dromedaries during the cam-
paign of Egypt. The packaging is perfect, sturdy and all the pieces are well protected
and packed, even the longest pieces such as the spear or the rifle are free from dama-
ge. The casting is free of faults and lines. The joints are perfect thanks to the 3d
modelling that allows minimum tolerances and the breakdown in strategic points to
avoid the use of putty. The sculpture is excellent from an anatomic point of view, of
drapery, detail and dynamism. The mounted piece makes a beautiful effect even
without paint! As a lover of the period there is however some error: the rifle, the car-
tridge box, the sabretache, the sword of magnificent workmanship but that hardly I
would see in the hands of a simple trooper. The piece is really remarkable. The edi-
tion is limited to 300 copies, the 5% of the revenues goes in favor of the Portuguese
Military Museum.
Packaging: 9,5
Casting: 8,5
Building: 7,5
Sculpting: 9
PAGE 8
SOLDATINI 125
09 pubbla:Layout 1 3-08-2017 9:45 Pagina 29
PAGE 9
SOLDATINI 125
10 a 23 siena:54 a 65 calenzano 3-08-2017 10:00 Pagina 10
The true news of this 10th edition of the

show/competition sponsored by the
‘Comune di Siena’ and Pegaso models, was
the good weather. It felt strange, but finding
yourself in the heart of Toscana in May, was,
according to previous shows, no guarantee
of tepid temperatures and sunshine. This
time yes, and thanks to the 1000 Miglie car
race, the number of visitors was good.
This year too, the modelling group of Siena
worked very hard to put up a good show in
the ‘Magazzini del sale’, on the insides of
the public palace of Siena. The show was on two floors.
One entirely dedicated to the historical figures and fantasy, with about 600 pieces in
competition from Italian, Spanish,German, Cech Republic, Austrian, Belgian artists and
showcases from the judges and collectors like Barazza, Scuterini e Lambertucci. On the
ground floor were all the other sections of static models, with about 200 pieces and a big
diorama about the battle of Montaperti( special price from the Comune di Siena). At the
entrance was a small vendor area with names like Pegaso models, BestSoldiers, Pivato,
Perecio models, modelland, fanatic model, Artemisia belle arti and the Spanish Salvia
distribution.
The jury, headed by the usual Fabio Nunnari, was made of Raffaele Nalin, Maurizio
Berselli, Alfonso Desiderio,Mirko Cavalloni and the foreigners Micheal Volquarts, Pepe
Gallardo, Antonio Zapatero and Delfine Agnello, who worked hard to get the judging
done by Saturday evening, while the show and the civic museum were left open until 23.00
hrs. After the usual Sunday lunch, full of delicacies from this part of the Toscana, the
awards ceremony was held in the ‘ Salone delle Lupe’
Thanks to the open system, many medals were awarded, especially in the standard class,
were the level was very high, while the master class had important names missing, which
the club from Siena hopes to have back next year( maybe they were getting the figures
ready for the WE Chicago which was very close).
The best in show in the historical figure class was won by Maurizio Berselli with a piece
dedicated to the 92nd Gordon Highlanders in the battle of Waterloo. The fantasy best in
show was awarded to the couple Farabi/Kontraros with the ‘OZ’ piece., while the special
price from the 186th Parachute Regiment ‘Folgore’ went to the piece ‘ A new dawn’ by
Mario Pratico’.
The next edition of ‘History in small steps’, which should be held on the 18/19 May 2019,
is a date you should mark on your calendar. Soldatini did that already !
SOLDATINI 125
1 2 3
4 5
1) Officer Siberian Rifles 1904
Pezzotti Marco, A.M.B. Gold
2) Aide De General De Division
54mm, Cenciarelli Orlando
3) Robert I Bruce King of Scotland
75mm, Berettoni Marco Alfa
Model Club Bronze
4) Pradash 54mm, Praticò
Matteo, Masp
5) Porcorosso 1/12, Di Poce Paolo
Lab 54, Bronze
6) Soviet Bomber Pilot 54mm,
Ortolani Giuseppe Alfa Model
Club Gold
7) Ludus Doctore 54mm Ciattini
Alfonso GPF, Bronze
8) Confederate Colonel 54mm Del
Cima Roberto GPF
6 7 8
9 10 11
12
13 14
15 16 17
9) Ausiliario Romano 54mm, Baialardo Alessandro

10) Nobile Rinascimentale 75mm, Bergamin Claudio
18 19
Museo Modellismo Storico
11) Despoiler of Eternia 75mm, Fortunato Fabio,
Silver
12) Mirmillo 54mm, Del Cima Roberto GPF
13) Joachim Murat 54mm, Vanderkelen Jean Pascal
14) Gino E Fausto, Col Du Galibier 1952 1/35,
Evangelista Lorenzo & Cerilli Riccardo Lab54
15) Crusader 1/10, Rainone Davide La Compagnia
del Figurino, Gold
16) La Mummia, Cesa Marco Alfa Model Club
17) Geisha 1/9, Loretucci Tiziana
18) Hasta Siempre, Sportelli Igor Rione Bianco
Faenza
19) Rebel 1/12 Di Poce Paolo Lab 54
20) Balles, Poudre et Vin 75mm, Scotton Fausto
21) Wo ist der Treffenpunkt? 1/35, Carotenuto
Francesco Luci E Ombre Club
20 21
22 23 24
22) 44th Rgt Gandamak 1842,

Rajani Emilio Alfa Model Club,
Bronze
23) Saxon Huscarc Hastings
1066 1/16, Martirano Giulio
Lab54
25 24) Berserker Viking 1/12,
Pollaert Danny, Silver
25) Trionfo di Massimiliano:"I
musicanti" 30mm, Cavina
Claudio, Bronze
26) Battaglia Di Poitiers 1356
54mm, Ramacciotti Alberto La
Societa' Dei Balzani
27) Busto Celta 1/10, Jumanji,
Bronze
28) Franz Joseph 54mm,
Cigersa Enrico, Bronze
26 27 28
29 30
32
31
29) Jeanne D'arc 90mm, Evangelista
Lorenzo & Cerilli Riccardo Lab 54
30) Breda 1624 75mm, Cigersa Enrico
31) Minuteman 1775 70mm, Rajani
Emilio Alfa Model Club
32) Scottish Laird 1/16, Evangelista
Lorenzo Lab 54
33) The Defeated 54mm, Cipriani
Arianna
34) Riccardo cuor di Leone, Ramacciotti
Alberto La Societa' Dei Balzani
33 34
35 36 37
38 39
35) Lieutenant French Chasseurs
Alpines 75mm, Ronchi Paolo La
Compagnia del Figurino Storico
36) Marilyn 1/9 Loretucci Tiziana
37) Mameluk Garde Imperiale
38) Jean Dominique Compans 54mm,
Favaro Enzo / Gil Campos Gustavo
39) Dama Francese 1/10, Bianchessi
Giovanni
40) Dumah, Agostini Riccardo Gold
41) Norreni sec X, Montini Massimo
40 41
42 43 44
42) N.P.
43) N.P.
44) Officier 3 leggeri di linea, 1/32
45) Max Wunsche, De Luca Di Labio,
Silver
45
46 47 48
49 50 46) 1st. Foot Guard, Gren. Coy, 1808

54mm Vaccari Paolo Museo Modellismo
Storico
47) Fuciliere delle due Sicilie 54mm,
Isola Ivan Rione Bianco
48) Cedric of Wessex 54mm, Isola Ivan
Rione Bianco
49) Wazabi 28mm, Ciattini Alfonso
50) Nowina Clan Knight XIV Cent.
75mm, Fortunato Fabio, Bronze
51) Gen.Bonaparte 75mm, Bassetto
Andrea Alfa Model Club
52) Cavaliere del Santo Sepolcro 54mm,
Bartolucci Mauro
53) Moschettiere Messonier 65mm,
Olivieri Luca, Gold
51 52 53
54 55 56
57 58
54) Celtic Warrior III sec.
54mm, Isola Ivan Rione Bianco
55) Ronin 75mm, Barros
Paulino Almeria Modelismo
56) Lawrence of Arabia, Iaia
Maria Alberta Alfa Model Club
57) Teniente ruso 120mm,
Barros Paulino Almeria
Modelismo
58) Oficial SS 90mm, Barros
Paulino Almeria Modelismo,
Gold
59) Rorke's Drift 1/32, Del
Cima Roberto
60) Non pervenuto
59 60
61 62
63 64
61) Officier Demibrigade Egypte 1799
54mm, Fabri Alberto Alfa Model Club
62) Cosimo de Medici 70mm, Ciaccio
Riccardo Alfa Model Club
63) Hamssa (Whisper), 1/10, Lustri
Cristina
64) Evening Star, 1/10, Lustri Cristina
65) Jolly Roger, Antinori Paolo
66) Non pervenuto
67) German Knight Montaperti 1260
67
65 66
68 69 70
71 72
68) Tambour, Antonio Miguel Calisten

Mayarga Timeline
69) Stuart recapturado 1/35, barros pau-
lino almeria modelismo
70) Carrista SS 75mm, Olivieri Luca
71) Sarah Fortune, Di Diomede Matteo
72) Oz, Farabi Francesco Gold/Best
73) Kira 1/10, Bianchessi Giovanni
PREMIO SPEC PIVATO
74) Norman Warrior Hastings 1066
1/16, Martirano Giulio Lab54 BRON-
ZO
75) Lord Of Chaos 28mm Sportelli Igor
Rione Bianco
73 74 75
76 77 78
79 80
76) Saxon 1/16, Di Massimo Alessandro Alfa Model
Club
77) Generale di Brigata 54mm, Favaro Enzo / Gil
Campos Gustavo
78) German Warrior, Pavol Hansel, Bronze
79) Hougomont braves 54mm, Flauto Gennaro
80) Lanzichenecco 1/10, Bianchessi Giovanni
81) La Conversione 54mm, Praticò Mario Masp
82) La quiete prima della tempesta Francia 1940,
Salvi Piero
82
81
83 84 85
86
89
83) Jessica Thunder, Ramacciotti
Alberto La Societa' Dei Balzani
84) Lt. Mechan Hodson's Horse India
1858 54mm, Poltronieri Andrea
85) Giochiamo? 54mm, Todaro Pietro
Club Modellistico S.Giusto Trieste,
Silver
86) Ambush In Yellowstone 1/30,
Marini Fabrizio Gms Verona
87) Tartaro Lituano 54mm, Favaro
88
Enzo / Gil Campos Gustavo
88) Ussaro Alato 54mm, Zoli Mirko,
Silver
89) Kurt Meyer 1/35, Cipriani
Arianna, Bronze
90) Barone Rosso, Marzullo Salvatore
Lab 54
90
87
24 a 27 confederato:12 a 15 azeglio 3-08-2017 10:16 Pagina 24
Stefano Lancioni
PAGE 24
I
was very happy when Pier Sergio Allevi
gave me this project, not just because I
had the chance to experiment with the
painting of a horse, but also because it was a
compelling project.
Before I tackle a project I always look at it
very closely, I try to imagine the moment,
the place, and to listen to the story it’s
trying to tell me. This will help me set the
tones, staying true to uniform correctness.
In my opinion representing well the
uniform without discarding the drama or
action of a figure is not easy to do. We can
refer to it as the artistic licence. You also
have to consider the groundwork which will
influence the whole figure.
THE PAINTING
OF THE HORSE
I used a mixed technique, which at the
moment is very well used by Danilo
Cartacci, so I roughly followed his advice.
Base colour and volumes in acrylics and
transitions in oils. I find oils to give the best
sheen to the horse coat. As a personal choi-
ce I went for a dark bay, maybe the easiest,
but ideal for this project. The colours in
acrylics are by Vallejo:
• Leather brown
• Orange brown
• Golden flesh
• Black
The oil colours are series C by Maimeri:
• Ivory black
• Burnt umber
• Earth sienna
• Naples yellow
• Titanium white
Like I said I gave the entire horse a coat of
leather brown, adding the orange brown
and golden flesh to highlight, looking for
the main volumes. At this stage, perfect
transitions are not necessary. These will be
done later in oils. Substantially, I used all
the colours in the list, basically mixing
them little by little, to get a full array of
tones, from the medium tone (siena) up to
black and then I did the same from the
medium tone up to white. This not to pol-
lute all the range of colours with the dark
ones and vice versa. I used pure colours (not
diluted) and only use thinners to clean the
brushes. Once I created the palette, I laid in
the necessary colours where needed, in
small amounts, using the tip of my brush to
obtain the transitions I wanted. The fact
that the oils don’t cover as much helps in
the volumes created with the acrylic colours
underneath showing through. Apart from
the transitions, I also enhance the light and
lows. Details like hooves were done in acry-
lics.
INTERVIEW WITH
A COLLECTOR
WHAT IS A FIGURINE?
WHAT DOES A COLLEC-
TOR SEE IN A
FIGURINE?
Who loves history looks for the best reali-
SOLDATINI 125
sm. A good frontal view point, a good focal cations and hundreds of volumes on the WHAT DO YOU GET
point, dynamic and realistic poses. Balance ACW. I spent a lot of time studying pain- FROM IT?
is very important. I would add impact, dan- tings and old photos, films and other illu- Infinite pleasure ( I admire the pieces every
ger and a sense of movement to the scene. stratiions. I collect plates that come up on night before I go to bed). I meet a lot of peo-
Atmosphere is important. I like to see Pinterest. I imagine the whole scene and ple from all over the world and strike friend-
movement, action and battle wear( worn draw sketches before I start the work. I like ships. This is a fantastic hobby and my
out looks on faces and torn clothes) . Firstly to relate with the sculptor and painter from favourite is the Victorian period but I col-
I look at the face of the piece, the eyes and start to finish. That’s how I work. lect pieces from every period of history. It’s
realism. A perfect face on its own sells a hard for me not to accept a piece which is
piece. Does it have the right period hairsty- AND WHAT IS YOUR sculpted and painted perfectly. Very hard!!
le, beard and moustache. Is the style of POINT OF VIEW?
uniform good. Is the cloth matt and leather I like to add as much detail as possible. Even
in satin finish. I like small details, like a the groundwork is important because it tells
good pattern or is a chequered shirt well the story along with the figure. I look for the
painted. Or the braid on the pants or the best realism, I use natural elements and add
make of the shoes on the soles. weathering, wear and tear on the uniforms
and look for the right base for the figure:
HOW IS AN IDEA BORN?
PAGE 26
dark, elegant and high enough.

A deep research is necessary. I have a large
collection of period books and other publi-
SOLDATINI 125
CREATION of Piersergio Allevi

54mm
SOLDATINI 125
28 a 35 scenetta:12 a 15 azeglio 3-08-2017 10:24 Pagina 28
Giuseppe De Carolis
PAGE 28
T
he battle was fought between the 20,000 strong from the 27th Infantry
20th and 23rd November 1943 on Division, who were to be used for the
the island of Betio, the largest in the second wave, and the 2nd Division
Tarawa atoll, in the Gilbert archipelago. Marines, with 3 regiments ( 2nd, 6th and
The US marines won the island after 4 8th ) who landed first.
ferocious and bloody days. The 2nd Marine Operations started late2 0th November and
division had about 1000 dead and 2000 it was soon discovered how strong the
wounded. The Japanese Imperial navy suf- Japanese defences were on the island of
fered greater losses, with over 5000 dead, Betio, 3,700 meters long, and 730 meters
practically all the troops present during the wide at best. Along the coastline was a
landings. The Americans only managed to thick barricade of coconut tree trunks, one
capture 17 Japanese soldiers, all wounded, and a half meters high, and positioned
and a little over a 100 Korean workers. In close to the shoreline. This sort of blocka-
fact the Japanese took to suicidal attacks de was intended to stop the landing opera-
rather than suffering the humiliation of sur- tions and the amphibious vehicles. Also
render. the Japanese built small forts to be able to
hit from the side whoever was sheltering
THE HISTORY behind the trunks. To this you have to add
In 1943 the Americans wanted to open a the American lack of preparation for the
new front in their operations in the pacific, attack. The tides were not taken in consi-
starting the slow but steady action of recon- deration, forcing the landing crafts to get
quering; to choose the landing beaches was stuck on the coral reefs, with the Marines
not easy, considering that the Gilbert up to their neck in the water and receiving
islands, Marshall and Caroline islands fire from the enemy positions. The first day
could be attacked without hindering future was a massacre and not much was gained.
plans. At the end, the commander in chief, The marines found themselves pinned
Admiral Chester Nimitz, chose the Gilbert behind the trunks under risk of Japanese
island because they were close to Australia suicide attacks.
and well not so well defended. In fact he The following days, with the use of fresh
chose to occupy the Tarawa atoll due to it’s troops and other means, using Shermans
central position, while the others would be and simple tractors, the American slowly
tackled in the same manner used in March advanced. Major Ryan’s of the 1st Battalion
43 in the Solomons. Only one island, used a good tactic to defeat the strong
Betio, in the atoll would be attacked. It Japanese forces: it involved moving forward
was the only one with a runway and had under the cover of the tanks and heavy
access to the internal lagoon. In September machine gun fire, and the bulldozers
43, the sector for the new offensive was pushing sand in the loopholes, neutralized
decided, codenamed operation Galvanic, the Japanese position in question; in the
and it was to start on the 10th November. meantime, the defending side was to be cir-
The force at their disposal aws tremendous, cled by other soldiers who eliminated the
the fifth fleet with 13 aircraft carriers( 5 Japanese that came out of hiding. This was
squadron, 5 light and 3 escorts), 9 armored, relayed to all the troops so the loss of men
8 heavy cruisers, 4 light cruisers, 66 torpe- and time was minimized.
do hunters and 36 transport ships. The fifth These same troops reached the airport on
amphibious corps was used for the landings, the 22nnd November. The battle for the
PAGE 29
SOLDATINI 125
THE SHERMAN AND

MARINES
I had an old Sherman M4A3 by Italeri. I
started cutting it up because I did not want
to use it all for a big diorama. The figures
on and around the tank, sand, and a part of
the Sherman and a lot of figures. When I
started cutting up the turret I realized it was
not correct for the period. I needed a turret
of the M4A2. I found one from the Dragon
kit M4 Sherman Compo PTO and cut in
half, and placed it on the right place on the
tank, leaving the side entry trap open. At
the rear I added some cans and blankets. At
this stage I added the extra armour to the
sides of the tanks, so commonly used in the
pacific. These served to limit the damage
from Japanese mines. On the sides I built
with A+B some sand bags which were some
added protection for the tank. I positioned
them while the putty was fresh so I could
position the Marines on top.
I managed to sort out all the figures
occupying the rear of the tank from the
Dragon set 2nd Division USMC Tarawa
1943 and MiniArt US Tank crew and other
sources. The Marines all needed to be
airstrips was long and violent but by the Two more years and two atomic bombs either firing or taking cover behind the tur-
evening they were cleared of any Japanese. were needed to have the better of the empi- ret. I dry fit them and tried to have them
The Marines dug in around the airport for re of the rising sun, along with a massive interact, looking for the right poses and
the night, but the Japanese started with human sacrifice. modifying parts of the bodies to make them
their suicide attacks, which broke the sit better on the tank. This was the most
defenses, with many hand to hand combat THE SUBJECT important part of the work, starting with
taking place and some Japanese even jum- Reading the history of the battle of Tarawa the central standing figures and ending on
ped in the foxholes blowing themselves up and studying every step I was impressed the sides with figures lying down or crou-
along with the occupants with grenades. with the tactics used by the Marines to ching. This to give the effect of the figure
Only at noon of the 23rd, after 4 days of overcome the Japanese forts, the common taking cover from enemy fire and still visi-
fighting and bayonet charges, was the effort of men and means to reach the objec- ble if you turn the scene 180 degrees. Once
island Of Beito occupied. Both sides suffe- tive inspired me to recreate a little scene positioned I started the modifications,
red heavy casualties. For the Americans it dealing with the facts of the 21st changing the heads with parts from Hornet
was a hard lesson, which served to change November 1943. I wanted to put as many and modifying hands to make them hold
the approach and tactics for the following marines as possible on the back of the their weapons better. Special attention was
landings. The battle of the pacific was still Sherman, which, with its fire, helped in given to the machine gunner on the outsi-
long and tiresome and the enemy tough. getting them closer to the Japanese forts. de and the tanker inside the turret; these
two figures have many locating pins and
require a lot of attention, especially when
fixing them at the end after the painting.
From period photos one can see Marines
with little equipment, especially right after
the landings. In fact they only had their
weapons, ammunition and water bottle.
Very few carried side arms and knives for
the hand to hand combat. All was done
using A+B putty. Two figures can carry the
flame thrower which was used to move out
the most stubborn Japanese soldiers from
their positions.
PAINTING
THE SHERMAN
On the pacific front, apart from the usual
olive green color, many tanks, even in 1943,
adopted schemes specific to their theatre of
operations and added patches of sand and/or
reddish brown on the base color. I gave two
coats of Tamiya primer and painted the ends
of the vehicle and turret matt black XF-1.
Then I painted the rest with XF-62 Olive
PAGE 30
drab. Once dry I used the masking putty by

Mig to paint large patches of XF-64 Field
SOLDATINI 125
brown, XF-59 Desert Yellow and XF-60

Dark Yellow. Then lightened with XF-57
Buff. After removing the masking putty I
lightened the green areas adding Buff with
Olive Drab. I painted the cans in Yellow
sand or green and the sand bags in khaki
XF-49. I gave two coats of matt varnish and
after 48 hours I started the weathering with
the brush. I added chippings on the edges
and the areas most used with a small spon-
ge and the tip of a pointed brush and
Vallejo acrylics. I highlighted the external
part of the chippings with grey, sand and
greens lighter than the colors used for the
vehicle. Same treatment for the cans. I
applied some washes with AK products,
whilst on the wooden parts I used Raw
Umber and Burnt Sienna colors by W&N.
With acrylics I painted the tarps on the
cans and started on the heavy machine
guns and flame throwers to be put after the
figures were put in place.
thrower wear the camouflage tunic. All

have the helmet covers, like we see in
many period photos; weapons differ too. In
fact I included all the weapons the marines
used at the time., with pistols, rifles and
machine guns of various types and calibers.
LAST THOUGHTS
Once finished the figures were positioned
on the tank starting from the tanker and
the external machine gunner, which were
glued to the handles. The officer followed
PAINTING THE FIGURES

On the pacific front, the main clothing of
the troops was in dark green cotton and
leaning towards the blue. The tank men
and some Marine were issued with camou-
flage tunics with varying color tones and
patch size, including the helmet covers.
These items got worn out quickly due to
the climate and extreme conditions.
Usually the heat was really bad with high
humidity. After a few days the tunics would
look worn out, torn and weathered. I tried
to portray this in all seven figures that com-
pose the scene. They all got a coat of
Tamiya primer and painted all in acrylics by
Vallejo; The tanker and the machine gun-
ner on the outside have a bluish tunic; the
tanker wears a complete suit with helmet
with earphones and a pistol under the left
armpit, while the machine gunner has the
pistol attached to his belt. The officer and
PAGE 31
the two crouching figures wear the green

uniform and the lying figure and the flame
SOLDATINI 125
and the two external figures, left and then fixing it behind the cans. To finish I added
right. While gluing the figures I heavily a lot of spent machine gun cartridges on
weathered them with 4061 Sand Yellow the turret to give a sense of action to the
Deposit by AK, which I found very useful. I scene.
also weathered the tank. I positioned the
reserve machine gun along with tripod,
PAGE 32
SOLDATINI 125
PAGE 33
SOLDATINI 125
Changes based on DRAGON and

MINIART
1/35
PAGE 34
PAGE 35
SOLDATINI 125
36 a 39 gubitosi:12 a 15 azeglio 3-08-2017 10:45 Pagina 36
Luca Gubitosi
Th e aim of painting in acrylics for me is, firstly, a

subtle finish and a very soft transition between
colours. In order to do th is th e dilution rate I use
is 3:1 water/colour, h ence getting to th e final tone
after several coats ( from 10 to 15). It's meticu-
lous work done with th e point of th e brush becau-
se every layer is th e base for th e successive one, in
order to get to th e final colour. Even in th e
'Ch iaroscuro' approach , every coat or wash builds
up a sh adow or h igh ligh t gradually. Th is h elps
also in keeping th e colours matt. Usually I start
with a base colour sligh tly darker, slowly h igh ligh -
ting, wh ilst in th e final faze I keep th e colour sli-
gh tly less diluted.
SOLDATINI 125
FLESH: 1 2 3 4
1) Figure primed
2) Straight on the primer I
lay a greenish tone which
will serve as an under-
painting which will show
through the flesh tones. I
do not do this with young
or feminine faces, on
which I use a lighter green
colour( sky green MC ) and
coloured and dark faces.
3) I lay in the base colour
with diluted layers (3:1
water/colour), letting the
under colour show through
in strategic areas.
4) First lights.
5) First shadows + washes of vermilion on temples and sides of the face
6) Adding the greyish/green tones in very diluted washes with unloaded brush on the beard area
7) Last lights and shadows
8) Extreme highlights and shadows and underlining.
5 6 7 8
UNIFORM The dark green of the uniform is obtained by using the green used before + X21 Tamiya
PAGE 37
SOLDATINI 125
After laying the base in the same way as the

flesh tones, I start building up the volumes with
highlights and shadows. At this stage it's impor-
tant to define the chromatic tones because later
they will help in the 'chiaroscuro' approach.
CREATION of Andrea Guidarelli

54mm
I then move to the highlights, shadows, and detailing and weathering effects. At this stage the dilution rate is 2:1. If I don't like the contrasts I correct
using washes with medium colours to tone down the contrast. I continue like this until I get to the extreme highs and lows, always reducing the areas in
which I apply the colours. The detail painting is very important because it will make every detail stand out, from the buttons to the stitching to the brai-
ding. For the weathering effects I usually use washes with selected colour like English uniforms, Ciuberta brown, olive green and sand. I lay in control-
led layers in these areas: edges of the pants,elbows, knees and cuffs. Successively, with an old brush I add touches of dirt with different tones of earth,
grass and mud.
Flesh:
Base: light brown+ medium flesh+ dark
flesh
Light: medium flesh
Light 2: medium flesh + dark flesh
Light 3: Light 2 + sunny skin tone
Light 4: Light 3 + light flesh
Light 5: Light flesh
Shadows: Base + English uniform

Shadows 2: Shadow + mohogany brown
Shadow 3: Shadow 2 + leather brown
Shadow 4: shadow 3 + red( filter)
Uniform: Napoleonic green XNAC10

+ dark green XNAC12 + navy blue
XNAC11
PAGE 38
SOLDATINI 125
PAGE 39
SOLDATINI 125
40 a 46 genova:54 a 65 calenzano 3-08-2017 11:05 Pagina 40
The local club 'lights and shadows' of Genoa, orga-

nized this year also, the Genoa modelling show. The
show was held in the historical centre, two paces
away from all the principal historical of which stand
out the aquarium and the galleon from the film pira-
tes.
The show was well organized by the club and atten-
dance was good. The models, all of good quality, in
the show were about 500. Well appreciated were the
works of Davide Chiarabella, who was not compe-
ting because he was judging.
The vendors were numerous too with the always
present, Perencin, Masterclass, Pivato and a fantasy
stand with Grymforge. But I leave you to enjoy the
pictures well taken by Ettore Giordano
SOLDATINI 125
1 2 3
4 5
1 - Display Acuto Giulio, Oro
Master Storico Open
2 - Guerriero Sassone, Giberti Ugo
e Carruolo Bruno, Bronzo Master
Storico Pittura
3 - Ufficiale Reggimento Napoli,
Isola Ivan, Oro Standard Storico
Open
4 - Jigoku, Lamonaca Salvatore
5 - Tueur De Robot, Grand Alain,
Argento Standard Busti Fantasy
6 - Maya Warrior, Collenzini
Enrico, Oro Master Storico
Pittura
Master Storico Open
6 7
8 9
10 11
Master Storico Open
9 - Il Grinta, Pirri Antonio,
Bronzo Standard Storico
Pittura
10 - Display Lamonaca
Salvatore, Oro Master Busti
Storico
11 - Ting, Lamonaca
Salvatore
12 - Assassino Caiafa,
Roberto, Oro Standard Busti
Fantasy
13 - Crusader,Mariani
Massimo, Bronzo Standard
Busti Storico
12 13
14 15 16
18
17
14 - 44th rgt. Gandamak 1842 Rajani
Emilio Bronzo Master Busti Storico
15 - Pinutzo, Nicolini Andrea, Argento
Master Busti Fantasy
16 - Pirata Montanaro, Gian Luca
Argento, Master Busti Storico
17 - Guerriero Cheyenne, 1850,
Lacerenza Angelo
18 - All’imbarco, Ferrari Stefano, Bronzo
Standard Storico
19 - Zappatore Dei Dragoni, Montanaro
Gian Luca, Bronzo Master Storico
Pittura
20 - Messicano, Pirro Marco, Bronzo
Standard Storico Pittura
21 - Varangian Guard, Pagliettini Fulvio, 21
Oro Master Busti Storico
19 20
22 23 24
25
22 - One More Cheers To Her Majesty 93th

Highlanders, Cazzola Mario, Argento Master Storico
Open
23 - Monaca 1917,Oligeri Giuseppe, Argento Basic
24 - Un Bain Chaud Pour L’Empereur, La Cioppa
Ivan, Argento Master Storico Pittura
25 - Revolution, Nasuto Luigi, Argento Standard
Storico Pittura
26 - Owen Glendower XIV Sec., Riverso Pasqualem
Bronzo Master Storico Pittura
27 - Gen. Compte d’Houtpoul, Bassetto Andrea Oro
Standard Storico Pittura
28 - Circus (Clown Bianco), Levati Roberto, Bronzo
Standard Fantasy
29 - Trombettista Maggiore 2° Rgt., Rosa Christian,
Oro Standard Storico Pittura
26 27
28 29 30
31 32
30 - Guerriero Vichingo, Benetello
Stefano, Argento Standard Busti
Storico
31 - Pierrot Et Colombine,
Mommens Adrienne, Bronzo Piatti
32 - Display, Rosano Renato &
Locarno Delia, Argento Standard
Fantasy
33 - Xmas, Natalino Diego
34 - Cavaliere Medioevale,
Nicolini Andrea, Bronzo Master
Busti Storico
35 - German Knight, Montaperti
1260, Cozza Mauro
33 34 35
36 37
36 - Afar Girl, Bianchessi Giovanni, Argento Standard Busti Storici

37 - Orki Kapi, Bello Billy, Oro Master Fantasy Open
38 - Narga, Bosio Popi, Oro Master Fantasy Pittura
39 - La Croce E La Spada (Il Vescovo Guerriero), Levati Roberto Argento, Standard
Storico Pittura
38 39
1 ª
4 DIZIONE
E
29 - 30 SETTEMBRE / 1 OTTOBRE 2017
PARCO ESPOSIZIONI NOVEGRO

ORARIO 9.00 / 18.30
MILANO/LINATE AEROPORTO✈
www.parcoesposizioninovegro.it - hobbymodelexpo@parcoesposizioninovegro.it
48 a 58 berselli:12 a 15 azeglio 3-08-2017 11:17 Pagina 48
Maurizio Berselli
F
or a while now I have been thinking dard bearer came from the painting by tical moments for the British during the
of doing a 54mm piece about the Philipottreaux. The two central foot figu- battle of Waterloo. The scots are tired, the
battle of Waterloo. The idea came res came from the painting by Butler: the dead moved to the center of the square to
from looking at two important famous officer pointing with his sword to an be replaced by soldiers still able to fight.
paintings, the battle of Waterloo by Felix enemy target and by his side the corporal The number of wounded is high and they
Philipottreaux and ‘Quatre Bras’ by Lady listening to his orders before lifting his are increasing rapidly. The files were redu-
Elizabeth Butler. In both paintings we see musket to his shoulder to fire. ced from 4 to 2, the enemy cavalry charges
a British square being attacked by French again but the highlanders do not give in.
cavalry. In the first, the highlanders are THE FIGURES They already gave the French a hard time
charged by Cuirassiers whilst in the There are 16 scots in the diorama. A in Spain and they know that the future of
second the 28th Foot Gloucester Regt. is mounted officer, an officer on foot, an offi- Europe depends on this battle, fighting
resisting the Cuirassiers and Lancers. I cer standard bearer, a back pipe, a ser- whilst thinking of England so they conti-
decided to portray an angle with the 92nd geant, a corporal and 10 foot soldiers. To nue to fight hard to repel the enemy.
Gordon Highlanders. In my opinion the breaks things up I put in a mortally woun- Usually, as standard bearers, new officers
uniform of this regiment is the most beau- ded carabinier, fallen off his horse. The were chosen. This brought me to the pose
tiful of the British regiments in the carabiniers did not take part in the first of the standard bearer, which, like already
Napoleonic period. The moment I captu- charge but took part in the last. The mor- mentioned, derives from the painting by
red happened on the afternoon of the 18th tally wounded carabinier indicates that Philipotteaux. From the stance one thinks
June 1815. Marshal Ney ordered the we’re looking at the final stages of the bat- that the officer is at his first battle. This
French cavalry to attack convinced that tle. The scene depicts one of the most cri- standard bearer is very close to the foot
Wellington gave the order to retreat. Ney
was wrong. Wellington only ordered his
troops to go back 100 paces to protect it
better from the enemy artillery. On top of
the hill the cavalry did not find a retrea-
ting enemy but 20 squares of infantry pla-
ced like a chessboard on two lines, with
the first row of soldiers on their knees with
bayonets and muskets at 45 degrees to
block the cavalry. The squares resisted,
and the French retreated, reorganized and
attacked numerous times. Both armies suf-
fered huge casualties. The British infantry,
with their volleys, proved to be another
hard nut to crack, with the soldiers resi-
sting the charges also due to their hard
training. Work started with a deep resear-
ch on the internet, with battle paintings.
Uniform plates for the 92nd, toy soldiers,
figure kits, a flag and a regimental drum.
Apart from the 1970 film by Sergej
Bondarchuk with Rod Steiger and
Christopher Plummer, on the internet you
will find many documentaries about the
battle. Great help with the research was
supplied by my friend Marco Lambertucci,
who everyone knows about his passion for
the highlanders, like his willingness to
help solve any problems about their
PAGE 49
uniforms. The idea for the mounted officer

and the proud stance of the officer stan-
SOLDATINI 125
PAGE 50
SOLDATINI 125
soldiers because I had to make everything three soldiers around him and the stan-
compact to keep the size of the base to a dard bearer behind him. And finally the
minimum. In reality the standard bearers third group composed of the backpipe, the
stood alone at the center of the square and soldier loading, the soldier putting a ban-
well away from the fire as depicted in the dage on his right hand and the soldier
diorama. The mounted officer is egging on wounded in the head. These three groups
his troops and is seen standing in his sadd- can be a small vignette on their own.
le. If you exclude the mounted officer you
can see three distinct groups in the diora- THE SCULPTING
ma. The first is composed of the officer To do the highlanders I started with legs
pointing with his sword, the corporal besi- and torsos by Historex. This helped to
des him, the hatless soldier in the corner, speed up things. Both legs and torsos were
the wounded soldier at the side and his sanded. Many legs were bent using heat
comrade helping him. The second group from a candle. This helped to get the right
on the right composed of the sergeant, the angles to create the necessary poses. The
PAGE 51
SOLDATINI 125
buttons on the gaiters were removed and from historex but it was widened by using after which I started to sculpt the head-
replaced by ones cut out from lead foil. some 1mm plasticard between the two gear(Kilmarnock). I sculpted the ostrich
Historex parts were used for the regimen- halves. I then chose 17 heads from my spa- feathers one by one shaping the putty with
tal drum, muskets, swords, the sergeant’s res box. Most are from Nemrod, 3 are a blade . The soldiers had 4 feathers, the
spike, water bottles and the cuirass and Andrea and 2 are Mussini. 1mm brass wire officer seven or eight. Then I sculpted the
boots for the carabinier. The horse is also aws used to attach the heads to the torsos little feathers and cockades with the
PAGE 52
SOLDATINI 125
sphynx above the left ear. All heads had not identical I did not make castings but does not harden immediately. The back of
hair and sideburns added, These were nor- sculpted every single one. With the back- the kilts were done with 2mm strips put on
mally kept long and thick. No moustaches packs in place I sculpted the belting from one after the other. This helps to create
for the British Infantry. Then I sculpted, flattened magic sculpt. To do the kilts I the zigzag effect. After the kilts a paper
always with Magic sculpt the backpacks made paper patterns to then replicate with pattern was used to make the coat tails,
and rolled cloaks. In order not to have the putty. To help me position everything I with 2 turn backs, from thinned out putty.
backpacks and rolled cloaks similar but use white glue which unlike super glue it Arms are 2cm copper wire bent to form
PAGE 53
SOLDATINI 125
total to 46 for every Scot, for a total of 736

buttons !!!
PAINTING
I started painting the highlanders with the
one kneeling without headgear in the cor-
ner. Being scratch built pieces very fragile
I painted them one by one and fixed them
with 2 part glue after each one I finished.
the elbows. Officers wore a crimson sash whilst the mounted one has a curved
across the body, with a knot on the right sword. Hands come from different sources.
side and going over the left shoulder. The Some are Historex, others Metal modeles
2 officers on foot, the sergeant and the and many are airfix. Finally I added the
bugler carry the typical Scottish spike, buttons which between jacket and gaiters
PAGE 54
SOLDATINI 125
PAGE 55
SOLDATINI 125
All figures were painted with acrylics by

Vallejo, scalecolor and Josonja. First I
brush painted a couple of coats of black
matt after which I added all the base
colors so I get a clear idea of the color
balance. Then starting from the top I
painted the rest. The first one I painted I
tried to give an expressive face by painting
glaring eyes giving the impression that
he’s seeing the French cavalry charging
towards him, the earth trembles once
again, fear rising, maybe feeling that his
death is approaching swiftly. I then pain-
ted the kneeling figures starting with ones
on the right , including the one on the
ground to the side, and then the two on
the left. I tried to vary the red on the
jackets by using different highlight colors
to highlight the medium red. To do this I
used flesh on some and orange on others
and a mix of both on others. On some I
even added a touch of white. Apart from
the jackets, I also tried to vary the color of
the ostrich feathers, using different highli-
ght colors on the black base. These colors
were flesh, blue grey, grey and brown. Kilts
were painted all with scalecolor which are
very matt. Usually the backpipe has the
regimental tartan too like I did with the
player wounded in the shoulder. For the
kilt base I used Ardennes green SC-45,
adding some flat black SC-00 to do the
dark green stripes. Horizontally you can
PAGE 56
SOLDATINI 125
see three and a half with the latter at the feathers of the Kilmarnock were different
bottom. The dark green squares were pain- from the grenadier companies, whilst
ted with Cantabric blue SC-53. Again those in green were for the light compa-
adding some black I added the thinner nies. The visor was not attached to the
lines to the sides of the thicker ones. The Kilmarnock and it could be worn at the
small squares that result are painted with back of the head held with a string. To
black. Black was also used to paint the paint the cuirass I used printers’ inks
thin lines inside the green lines. Finally I which I got from Dino Pivato.
painted the thin yellow lines with Iroko
SC-27. Where these yellow lines crossed I THE FLAG
added a little touch of the same color to The flag of the 2/92, disbanded in 1814,
reinforce it. Finally, seeing the kilt of a was used as the 92nd regimental flag at
standing figure from the front you can see Waterloo and used by the 1/92 in the
three vertical yellow lines, with the center Belgian campaign, because theirs was in a
one in line with jacket buttons. For the terrible condition after the peninsular
officers it was different. The line of but- campaign. The difference between the flag
tons were in line with a stripe of dark of the 2nd to the 1st was a red central stri-
green with blue squares. The standard bea- pe. The flag I used was made from metal
rer is the only officer wearing the kilt. The foil sized 55 x 60mm , flattened with a pla-
officers’ jackets were scarlet and were stic ruler. I rolled the foil on a 1mm dia-
apinted with scalecolor. The buttons were meter rod after which I used the end of a
ten in two rows, in pewter both for the brush to create the folds. The advantage of
officers and men. The 92nd had the col- using foil instead of lead foil is that it
lars and cuffs in ochre yellow. The white holds the folds better and it’s not fragile
PAGE 57
SOLDATINI 125
like putty. The flag was painted in acrylics. imprints using a historex wheel, a figure with green branches and a crown on top.
foot and horse shoes. Then I removed the Static grass was glued after the diorama
GROUNDWORK toothpicks and put in the figures. Some was finished. The tufts of grass were done
Once I posed the figures I added 1mm dia- sand was added with with glue to the dry by using the round vegetation we find on
meter rods and placed them on a piece of Das. The Carabinier and the bugler were beaches. I glued about 200 tufts on a piece
Styrofoam, which was the same size of the glued right away. Same was the Chassuer of wood which I then painted in four sha-
base(150 x 140mm) by Dino Pivato. I colpack by Metal modeles, the British des of green. With the darkest color I
tried different compositions until I finally back pack and two cannon balls. I painted painted the base of the tuft, I cut them
decided on the definite one. To make sure the terrain and then everything already from the wood with a cutter and glued
the rods matched the holes in the base I glued on including the Carabinier. To them to the base one by one with white
made a paper pattern, which I put on the create the dirty puddles I used brown color glue. I did this because it was going to be
Styrofoam, which then I transferred to the mixed 50% with clear varnish applied in hard to paint the grass already glued and
base to mark out the holes with the drill. I several coats. The historex regimental blemishing the figures with green paint
put some toothpicks in the holes whilst drum which has a third of its circumferen- since they are so close together. Some tufts
using Das Pronto to form the terrain, sha- ce in yellow ochre of the 92nd which has were put at an angle to give the impression
ping it with a big brush and making a center in red with XCII RGT in gold of the passage of men and horses. Lastly I
would like to thank my friend Fabio
Nunnari and Paolo Mogni for their help
during the work.
CREATION
54mm
SOLDATINI 125
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French Dromedaire Regiment

The true news of this 10th edition of the

9) Ausiliario Romano 54mm, Baialardo Alessandro

22) 44th Rgt Gandamak 1842,

49 50 46) 1st. Foot Guard, Gren. Coy, 1808

68) Tambour, Antonio Miguel Calisten

dark, elegant and high enough.

CREATION of Piersergio Allevi

THE SHERMAN AND

drab. Once dry I used the masking putty by

brown, XF-59 Desert Yellow and XF-60

thrower wear the camouflage tunic. All

PAINTING THE FIGURES

the two crouching figures wear the green

Changes based on DRAGON and

Th e aim of painting in acrylics for me is, firstly, a

After laying the base in the same way as the

CREATION of Andrea Guidarelli

Shadows: Base + English uniform

Uniform: Napoleonic green XNAC10

The local club 'lights and shadows' of Genoa, orga-

22 - One More Cheers To Her Majesty 93th

36 - Afar Girl, Bianchessi Giovanni, Argento Standard Busti Storici

29 - 30 SETTEMBRE / 1 OTTOBRE 2017

PARCO ESPOSIZIONI NOVEGRO

uniforms. The idea for the mounted officer

total to 46 for every Scot, for a total of 736

All figures were painted with acrylics by

THE NEXT ISSUE!

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