Professional Documents
Culture Documents
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
Text and pictures:
Danilo Cartacci
volume, I was immediately enthusiastic about it. Observing all the
parts - texts, photos and captions - blending in a coherent and
Copy editing:
Thomas Abbondi organic whole during the editing and paging process, gave me the
exciting sensation of something really well done. Transforming a
Book design:
Cristina Bonanno, manual process such as miniature painting into an exhaustive and
Alessandro Bruschi
useful book is a delicate task, that implies both the skill to summa-
Graphics: rize and an even greater ability to shot high quality pictures in neat
Cristina Bonanno,
Alessandro Bruschi manner.
Danilo proved to have these gifts at a high level and you can see it
Translation:
Andrea J. Richardt clearly in the figures that he paints.
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from an idea by
Danilo Cartacci and
Alessandro Bruschi
Thomas Abbondi
Printing:
S.A.T.E. - Zingonia
(BG)
Publisher:
AURIGA PUBLISHING
INTERNATIONAL SRL
Copyright Auriga
Publishing International
srl © 2007
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CHAPTER 2 Preparation and assembling Page 12
INTRODUCTION
The aim of this book is that of introducing this particular ‘art’ to the
widest possible public. I’m aware that there’s much more to write
on this subject, and even more to learn. The techniques I have
been developing are the result of a great number of experiments
and precious advices that I’ve been putting in practice in a constant
and mutual exchange of experiences with fellow modellists.
Particularly, the help from my wife Angelina had been precious
during the realisation of texts, since she took notes while I was at
my workbench, helping me to develop a reader’s point of view. A
thank you goes also to all the authors, the sculptors and the
Companies that have been driving the production of soldiers to
unbelievable levels, to the editors that promote them and, above
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all, to all the collectors who widely contribute to the growth of
such a fascinating world.
Danilo Cartacci
MATERIALS
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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.
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MATERIALS
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Van Dyke by Ferraio,
Winsor & Newton,
Maimeri (classic series)
and enamels by Model
Master are above aver-
age.
PAINTING MINIATURES 9
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MATERIALS
Files, pliers, cutters,
scalpels and sand-paper
are the most classical
tools.
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A well lit workbench is
crucial. The best bulb is
narrow and long.
10 PAINTING MINIATURES
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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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Colours a dropper. Andrea, Vallejo, Maimeri Polycolor and APA
With the passing of years, my approach to painting by Ferraio provide the best results. Apart from oils and
evolved: after using oils only, I now use both oils and acrylics, Humbrol and Model Master enamels are excel-
acrylics. Oils are perfect for flesh, skin, leather and, in lent for settings and metal parts. A common disposable
general, for natural materials, such as wood, stones, furs plate is a great colour palette.
which require a remarkable fading depth.
Tools and accessories
Artist oils A good workbench must be well lit, possibly with a
Oil colours usually have a poor covering power. long and narrow bulb, to enlighten the biggest possible
Therefore they require a matt base, which should also area. The most important tool is the drill, with different
provide a good level of permeability to ease the evapo- sets of drill bits for metal and wood, brushes and
ration of oil. Excellent results can be achieved with milling cutters. Files, fine sand-paper, pliers, cutters and
Andrea Color acrylics and Humbrol enamels. White spir- scalpels are essential for a good cleaning and assem-
it can be used to dilute oils. Remember to use one cup bling of the models. Glues and putties are very impor-
for metallic colours only. tant too.
Oils can be easily faded one in the other: contrasting In the next chapters we will focus on the correct usage
tones next to each other (usually a light and a dark of all these materials.
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
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or imperfections. Let’s now see base. Holes can be performed using a drill at low speed
with specific drill bits. 2 centimetres in depth are usually
how to prepare a model for pain- sufficient. The wooden base needs a deeper hole, from 3
ting, giving it enough strength to to 4 centimetres.
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Patafix is a soft putty
which provides with
excellent support for
handling the parts.
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This toothpick was dip-
ped in alcohol to make
it non-sticky.
14 PAINTING MINIATURES
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When the assemble is
finished, only a few
parts need to be painted
individually.
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A few passages with
Tamiya matt grey primer
are enough to make
the model ready for
painting.
Primer
A good layer of primer provides an excellent base for
both oils and acrylics. Sprays should always be used in a
well ventilated area, placing the model inside a box. It
also important to start spraying before actually ‘being’ on
the model, and finish after it, to avoid drips. Those parts
which don’t have to be primed should be masked
(Patafix works perfectly). Once the paint dries, use pliers
to remove the mask. One of the best primers is produced
by Tamiya (the dark grey one).
16 PAINTING MINIATURES
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FLESH 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.
Human skin has a translucent
finishing and a great number of Oil colours
After a couple of layers with the acrylic base colour,
shades, shadows and different (the colour palette with artist oils can be prepared) we
tones. We all perceive these cha- can prepare the oil colours on the palette as follows:
from left to right ivory black, raw umber, burnt Sienna,
racteristics daily, our eyes are Naples yellow deep, titanium white. Place some rose
very accustomed to them. 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
Undoubtedly, faces represent the most expressive featu- (from raw umber to titanium white), then from right to
re of a figure. This is why we say that the face ‘gives left (from burnt Sienna to black), to keep the black
life’ to the figure; it is therefore crucial to paint it care- away from the light part of the colour we are creating.
fully. The numerous shades of the skin blend into one
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Then mix part of the colour with the red and the violet,
another, making oils particularly suitable for the job; and enlighten the colour you chose for the eyes (in this
their translucent finishing largely contributes to a reali- case cobalt blue) with white. We now have the whole
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 don’t spoil them. For all these
reasons, the ideal choice is an oil finishing on an acrylic
base. Such base will have to be darker than the shade
that we actually have in mind.
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
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FLESH
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FLESH
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.
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The upper eyelid is
painted using a medium
tone.
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FLESH
A ‘light-line’ along the
eyelid will make the
eyes look more tridi-
mensional.
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An extremely light
shade of flesh is then
applied the upper part
of the nose and in the
areas of maximum light.
20 PAINTING MINIATURES
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FLESH
On the lower part they
will be finished with a
flesh tone (enriched with
grey), which emphasises
the shadows and gives
the idea of a straggling
beard.
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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.
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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.
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As a finishing touch,
sweat can be simulated
with little streaks of
gloss varnish (where
appropriate).
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FLESH
Finally, shadows are
emphasised with a
darker tone.
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To reproduce veins, I
first draw them on the
body or on the hands,
using a colour lighter
than the base.
PAINTING MINIATURES 23
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FLESH
Private Light Company
XXVIII Regiment of Foot,
Waterloo 1815, 110mm
sculpted by D. Grieve
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24 PAINTING MINIATURES
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FLESH
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.
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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 one’s tem-
per, as in the case of
this Sergeant.
PAINTING MINIATURES 25
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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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26 PAINTING MINIATURES
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FLESH
Using artist oils, we
start from the face, then
we proceed from the top
to the bottom, working
first on the torso, then
on the limbs (one at the
time). While painting, it
is important to 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.
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PAINTING MINIATURES 27
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Pagina 28
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PAINTING MINIATURES
17 a 28 III cap UK OK
by A. Laruccia.
FLESH
28
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DRAPING
The characteristics of acrylic Once the model is primed, it should be obser- control on the stroke. It would also be better
ved under the light, to analyse the pattern of to prepare enough colour at once to accom-
colours (opacity, covering the draping and the creases. plish each phase, storing some extra base
power), make them the The starting point is the base colour. It is colour. The mix can be kept for a few hours
important to find the correct shade since the keeping it refrigerated. The common degree of
ideal choice for painting beginning, a successful paint job depends dilution is rather fluid, but not too much.
textures. greatly upon it. Colours should be placed on
the palette and diluted with distilled water.
The brush should not be overcharged, to keep
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Arrows indicate the direction of strokes, which follow the sculpture’s shape. For the protagonist of this chapter, the base colour is a
mix of dark flesh (Andrea AC-10), matt yellow (Model Color Vallejo MC-953) and small quantities of dark brown (AC-17), English
khaki (AC-2) and white (MC-951).
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.
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DRAPING
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LIGHTS
The first passage consists in adding a drop of matt yellow to the base colour, beginning to emphasise the volumes which need to be
enlightened.
Then add some matt white on the palette and slightly enlighten the base colour. The new mix will be then used to emphasise the
lights, decreasing at each passage the surface to enlighten. The base colour can be used to patch up a too marked shade.
30 PAINTING MINIATURES
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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.
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DRAPING
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OUTLINES
The shadows of seams, buttonholes and borderlines are outlined using a very dark brown hue.
32 PAINTING MINIATURES
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DRAPING
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Now apply a well diluited brown veil.
The last passage consists in a black veil on the jacket to soften the shade, resulting in a weathered effect.
PAINTING MINIATURES 33
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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.
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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.
34 PAINTING MINIATURES
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DRAPING
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.
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PAINTING MINIATURES 35
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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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36 PAINTING MINIATURES
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DRAPING
Finally we add the thin-
ner lines and the wea-
thering effects with the
same procedure used
for the jacket.
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PAINTING MINIATURES 37
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Pagina 38
11:10
7-08-2007
PAINTING MINIATURES
sculpted by G. Russo
Highland clansman,
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DRAPING
54 mm
38
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DRAPING
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.
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All colours must be
added to white in small
quantities.
PAINTING MINIATURES 39
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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).
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flesh (AC-9). Add white
for maximum lights.
40 PAINTING MINIATURES
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METALS
WHITE METAL
The first step to realise a
convincing armour on a
metal figure is to polish
its surface, using a brass
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bristle brush. Do not use
the drill, since it could
blacken the surfaces.
The same applies for
yellow metals.
PAINTING MINIATURES 41
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METALS
Next, intensify the sha-
dows and outline the
different parts of the
armour, using less dilu-
ted oil.
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Sigismondo Pandolfo
Malatesta Master of
Rimini 1417-68 54mm
sculpted by A. Iotti
42 PAINTING MINIATURES
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METALS
YELLOW METAL
After polishing the figu-
re (as described above),
apply Tamiya Clear
Yellow X-24.
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Use the same colours to
intensify the shadows,
and outline the parts of
the armour. Finally, for
maximum lights, use a
Model Master gold ena-
mel mixed with typogra-
phic ink.
This mix makes the
typographic ink
rub-resistant providing
brightness.
PAINTING MINIATURES 43
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Pagina 44
11:35
7-08-2007
PAINTING MINIATURES
54mm sculpted by Y.
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Serebriakov
METALS
44
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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.
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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
PAINTING MINIATURES 45
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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
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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.
46 PAINTING MINIATURES
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CHEVRONS
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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.
PAINTING MINIATURES 47
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CHEVRONS
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Shadows are realised following the dra- Chevrons, epaulettes and braids receive Then outline the borders of the chevrons
ping, adding more brown to the underco- an oil wash with burnt amber, which using the lighter colours on the palette
at colour. emphasises the weave of the sculpture.
CHEVRONS
The weave of the braids
is painted in small sec-
tions.
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Then use a dark hue to
outline the different ele-
ments, chevrons, the
division lines etc.
PAINTING MINIATURES 49
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PAINTING MINIATURES
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CHEVRONS
50
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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
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Officer of Red Lancers
1811, 54mm sculpted
by M. Numitone
Guard’s Grenadier
1812, 90mm sculpted
by S. Borin
PAINTING MINIATURES 51
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Pagina 52
11:25
7-08-2007
PAINTING MINIATURES
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CHEVRONS
52
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THE HERALDRY
HERALDRY LION
Once found the suitable
drawing, we apply the
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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.
PAINTING MINIATURES 53
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THE HERALDRY
HERALDRY EAGLE
After painting the flag,
it’s 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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54 PAINTING MINIATURES
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THE HERALDRY
The same procedure applies for the heral- Bohemian knight XIV sec.75 mm sculpted by A. Jula
dry on the clothing.
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PAINTING MINIATURES 55
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THE HERALDRY
ROMAN SHIELD
The most important feature of a Roman shield is symmetry. The one we are about to consider has both a vertical and a horizontal
symmetry.
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After the red undercoat (with both lights and shadows) and the metal umbo, we use a lighter shade of red to drawn the silhouette of
the pattern, starting from a vertical line and a horizontal one. They can be easily traced using the rivets and the umbo as ‘reference
marks’.
Using the two lines as reference, draw each quarter making sure that each part is perfectly specular with the other. Then use the
appropriate colour to draw the other elements. In this case I used white and yellow.
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THE HERALDRY
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The dark shade will be enlightened,
following lights and shadows of the base.
It is now time to outline everything once
more, using a dark red.
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THE HERALDRY
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LILIES FLAGS
The best way to paint lilies, is begin from an upside-down cross, Flags are usually painted in the same way as heraldries. Always
adding the other details one by one. Constantly keep control on check for the right proportions.
horizontal, vertical and diagonal alignment of each element.
CRUCIFORM
Again, start from a vertical line and a horizontal one.
58 PAINTING MINIATURES
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NATURAL MATERIALS
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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).
PAINTING MINIATURES 59
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NATURAL MATERIALS
Now add the black
spots, bigger on the
back, smaller towards
the belly.
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60 PAINTING MINIATURES
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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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PAINTING MINIATURES 61
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Pagina 62
11:54
7-08-2007
NATURAL MATERIALS
PAINTING MINIATURES
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62
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NATURAL MATERIALS
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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).
As a finishing touch, a last oil veil with ivory black and burnt
umber softens and blends contrasts.
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NATURAL MATERIALS
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NATURAL LEATHER
Also natural leather was largely used in uniforms. Excellent results can be achieved
using oils on an acrylic base, to get the most from the saturation of oils.
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
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WOOD
For a good representation of wood, we need to get the most out of the transparency of oils and the brush strokes. After applying an
acrylic base with dark flesh (AC-10), we prepare the colour palette, with artist oils: Cassel earth, burnt umber, burnt Sienna, raw
Sienna, Naples yellow.
Starting with the darker hues, I begin painting the wood, applying the strokes always in the same direction, to simulate the grain.
The colour must be almost undiluted.
Then I highlight some of the grains with dark lines over lighter ones, simulating also cracks and knots. A good weathering completes
the process.
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NATURAL MATERIALS
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LEATHER
For coloured leather, the beginning is always an acrylic base
shaded with artist oils. In this case ivory black, burnt umber,
carminium red, dark cadmium red, Naples yellow and titanium
white.
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THE SETTING
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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-
First of all, decide the exact position of the figure on the base, i.e. the focus of
ting. the scene. A slightly tilted figure provides movement to the whole.
Use a marker, to determine where the holes will be performed; once you made
the holes, temporarily plug them with a toothpick, to keep them free from
paints or whatever you will need to complete the base. For the same reason,
mask the wood-base too with masking tape.
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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.
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The figure represents an
English officer, in service
in India. The exotic
plants, made with lead
and metal wire suggest
the idea of the location.
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.
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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.
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Small twigs can be
reproduced with roots.
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THE SETTING
All the different ele-
ments can be painted
with enamels and artist
oils.
The figure will be glued Acquistato da ivan pazmino su Bookrepublic Store il 2014-05-22 05:15 Numero Ordine Libreria: b1486609-9788888711409 Copyright © 2014, Auriga Publishing
to its base and blended
with it with some tou-
ches of paint or pastel
dust.
70 PAINTING MINIATURES
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THE SETTING
71
PAINTING MINIATURES
Probyn's Horse, Indian Mutiny 1857, 54mm sculpted by M. Numitone
Pagina 71
12:05
7-08-2007
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THE SETTING
THE FLOOR AND
THE CARPET
Let’s take a look at the
base of an elegant Red
Lancers officer.
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After applying a couple
of layers with the base
colour, the surface will
be plugged with a small
sponge dipped in white
+ base colour.
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THE SETTING
Now reproduce some
light veins.
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Outline the silhoulette of
each square.
PAINTING MINIATURES 73
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THE SETTING
Once dried, apply a
couple of layers of gloss
acrylic varnish (Maimeri
667).
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Then draw the pattern,
starting from the dark
tones. The colours are
those used to paint the
marble.
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THE SETTING
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Marbles and decorated floors provide a great impact to a setting: the right technique and the correct work-procedures will make them
easy to reproduce. The colours of both the marble and the carpet reflect those of the officer, and blend the figure with the setting.
PAINTING MINIATURES 75
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THE SETTING
STONE WALL
Rocks or stone walls
(as in this case) are
realised with a grey
base, composed of
black and white with
different shades of
brown and green.
Try to differentiate
the base colour of each
element.
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Then apply a pure-black
wash to highlight the
relieves.
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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
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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.
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THE SETTING
SNOW
The starting point for a
snowy ground is a com-
pletely painted setting.
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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 MINIATURES 79
80 a 88 X cap uk OK 7-08-2007 12:17 Pagina 80
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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,
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Still with acrylics, add
the facial markings and
the socks (they are
usually either one or
three). Here I used white
(MC-51), black (MC-50),
English uniform (AC-2).
To accomplish this
phase, apply the base
on the hoofs. The leg
with the sock has a light
hoof (light flesh), the
one without, a darker
one (English uniform).
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pigmentation. The eye-
ball is reproduced with
a dark red/brown hue.
A small white dot will
suggest the glint.
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Adding veins on the legs
and on the belly will
provide a realistic touch.
These can be painted
with clear light underli-
ned with a darker one
which mimics the relief.
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Horseshoes are painted
with a thin line, using
dark metallic steel.
84 PAINTING MINIATURES
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PAINTING A BAY HORSE
85
PAINTING MINIATURES
Le Soleil de Austerlitz, 54mm, sculpted by M. Numitone
Pagina 85
12:17
7-08-2007
80 a 88 X cap uk OK
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Pagina 86
12:17
PAINTING MINIATURES
80 a 88 X cap uk OK
86
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DARK BAY
This bay horse received some details in the back:
the hair in some areas of the back quarters is
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oriented in a different way,
as in a sort of dappling.
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.
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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
88 PAINTING MINIATURES
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WEATHERING
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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.
PAINTING MINIATURES 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.
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90 PAINTING MINIATURES
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This mix will be used
WEATHERING
to reproduce stains
on the uniforms with
different veils.
91
PAINTING MINIATURES
Pagina 91
12:27
7-08-2007
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WEATHERING
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.
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Once the figure is glued
to its base, you can
brush some charcoal
dust (not graphite) to the
lower parts.
92 PAINTING MINIATURES
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WEATHERING
93
PAINTING MINIATURES
English gunner 1857 Indian Mutiny 54mm sculpted by M. Numitone
Pagina 93
12:27
7-08-2007
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89 a 94 XI cap UK OK 7-08-2007 12:27 Pagina 94
WEATHERING
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For muddy trousers, the staring point is a series of veils realised with a dark earth acrylic hue on the lower parts. Then, using a less
diluted colour (enlightened with flesh), we reproduce the dry mud. Fresh mud can be represented using various shades of artist oils.
94 PAINTING MINIATURES
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COMPLEX FIGURES
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PAINTING MINIATURES 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.
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THE HORSE
I begin with the horse,
which has a streaked
mantle, which colours
shade from dark grey to
white. I first apply a
medium grey coat using
white (MC-951), English
uniform (AC-2), black
(MC-950).
96 PAINTING MINIATURES
95 a 104 XII cap UK Ok 7-08-2007 12:35 Pagina 97
A COMPLEX FIGURE
It will take two or three
light passages for a
good undercoating. The
same colours will then
be darkened and
applied as fluid as
water. The hue should
be spread using a big
flat brush, insisting on
the lower parts. The
brush shouldn’t be over-
charged with colour, to
obtain a series of small
dots of the right size.
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plug gently and define
some darker areas.
PAINTING MINIATURES 97
95 a 104 XII cap UK Ok 7-08-2007 12:35 Pagina 98
A COMPLEX FIGURE
To complete the ‘draft’
phase, soften some of
the passages with an
acrylic veil and add
some details, such the
hoofs and the veins.
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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.
98 PAINTING MINIATURES
95 a 104 XII cap UK Ok 7-08-2007 12:35 Pagina 99
A COMPLEX FIGURE
The veils to differentiate
the tones were realised
with black and dark
brown (AC-17) for the
saddle cloth and black
and carminium red
(Polycolor 166) for the
uniform.
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Finally reproduce the
red/silver braids on the
saddle-cloth.
PAINTING MINIATURES 99
95 a 104 XII cap UK Ok 7-08-2007 12:35 Pagina 100
A COMPLEX FIGURE
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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.
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).
A COMPLEX FIGURE
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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.
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
GALLERY
Pagina 105
12:49
7-08-2007
106 a 125 gallery UK OK
106 a 125 gallery UK OK 7-08-2007 12:49 Pagina 106
GALLERY
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Staff Sergeant Leib Battallion Duke of Brunswick 1815 54mm, sculpted by. M. Bruno.
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.
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Mathieu II Master of Marly, 1248 54mm,
sculpted by A. Jula. Gold, World Nation Trophy 2007
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.
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“Le Soleil d’Austerlitz” 54mm sculpted by M. Numitone.
Best Of Show Leon Rampante 2006.
GALLERY
106 a 125 gallery UK OK 7-08-2007 12:49 Pagina 111
GALLERY
Greek Commandander 54mm,
sculpted by M. Bruno.
The red tone makes the figure ‘dramatic’,
especially if it is used for almost every
element, such in this case. Gorgon’s head
was first drawn with the brush, using a
very light shade of pink, then drafted
with acrylics and finished with artist oils.
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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
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GALLERY
“Opolchenie” 54mm, sculpted by G. Azzarà.
This scene was painted with oils on an acrylic base, while the damasking of the flag (acrylic) was realised
with a hue lighter than the base.
Gold Euromilitaire 2001, gold W.E. Rome 2002.
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GALLERY
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GALLERY
Trumpeter II Regt. Major Guard’s lancers
1811-13, 75mm, sculpted by M. Bruno.
Gold medal Euromilitaire 2006
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GALLERY
106 a 125 gallery UK OK 7-08-2007 12:49 Pagina 119
GALLERY
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Cornet III Prussian Battallion Artillery, 1815, 54mm, sculpted by M. Numitone. Gold medal “Le Jamais Vues” Saint Vincent 2004.
PAINTING MINIATURES 119
106 a 125 gallery UK OK 7-08-2007 12:50 Pagina 120
GALLERY
Hannibal army Commander, 75mm, sculpted by M. Bruno.
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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
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Chinese Warrior, Han dinasty
54mm
sculpted by A. Jula
GALLERY
Joachim Marseille, 54mm, sculpted by M. Good
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Gregory “Pappy” Boyngton, 54mm sculpted by M. Good
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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Acquistato da ivan pazmino su Bookrepublic Store il 2014-05-22 05:15 Numero Ordine Libreria: b1486609-9788888711409 Copyright © 2014, Auriga Publishing
Painting rosy complexions, badges,
textures, armours, flags and bases will
be much easier after reading this
book.
ISBN 978-88-88711-40-9