~OSPREY MODELLING MANV4l~~

MODE LING A D PA II G FIGURES

Osprey Modelling Manuals Volume 8

Publication Manager: Rodrigo Hernandez Cabos

OSPREY

1

Osprey Modelling Manuals MODELLING AND PAINTING FIGURES

First published in Great Britain in 2000 by Osprey Publishing, Elms Court, Chapel Way. Botley, Oxford OX2 9LP. United Kingdom.

Email: info@ospreypublishing.com

© Accion Press, S. A., C/Ezequiel Solana, 16,2801'7, Madrid, Spain.

Reprinted 2000

All rights reserved. Apart from any fair dealing for the purpose of private study, resea rch, criticism or review, as permitted under the Copyright, Designs and Patents Act, 1988, no part of this pu blication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, electrical, chemical, mechanical, optical, photocopying, recording or otherwise, without the prior written perm lsslon of the copyright owner. Enquiries should be addressed to the Publishers.

ISBN 1 902579 23 2.

English edition Packaged by Compendium, 1st Floor, 43 Frith Street, London, W1V 5TE

Publication Manager: Rodrigo Hernandez Cabos Photographs: Antonio Soler Garcia, Salvador Gomez Mico, Rodrigo Hernandez Cabos

Modelling Team: Javier Sanz Sanchez, Sergio de Usera MUgica, Javier Moreno Rodriguez, Cristobal Vergara Duran, Joaquin Gonzalez Garcia

We thank the collaborators: Jesus Gamarra, Ma rio Ocana, Oscar Ibanez, Jesus Ara, Miniaturas Andrea and

EM. Bene.ito.

Printed in Spain

For a catalogue of all books published by Osprey Military and Aviation please contact:

The Marketing Manager, Osprey Direct UK, PO Box 140. Wellingborough, Northa.nts, NN8 4ZA, United Kingdom. Tel. (0)1933 443863, Fax (011933 443894.

Email: info@ospreydirect,co.uk

The Marketing Manager, Osprey Direct USA, PO Box 130. Sterling Heights, MI 48311-0130, USA. Tel. 248 399 6191, Fax 2483996194. Email: info@ospreydirectusa.com

Visit Osprey at: http://www.ospreypublishing.com

2

Introduction

There's no doubt that modelling figures is the most difficult part of the model-maker's art and the one that can make or break a diorama. There are so many things that can go wrong: if the posture is wrong, if the physical attributes and features aren't lifelike and in the right proportions, or ifthe clothing and the play of light on the clothing is inaccurate the figures will look stilted and inhuman. And we all know what happens when the figures in a diorama look wrong: it doesn't matter how good the rest of the model-making is, the overall effect will be ruined.

Modelling figures well starts with the general proportions of the human body: get these wrong and you're already modelling a fantasy figure! After getting the proportions right, you then have to get the posture right: it must be lifelike and human. Then you've got to make sure the clothes hang properly, that the paint job is realistic.

The eighth of this series of Modelling Manuals' provides a masterclass in the art of figure modelling and painting. The work of many talented modellers is shown, identifying how to meet this demanding challenge and produce models of the highest calibre. The meticulous techniques are skilled but simple enough for the amateur modelling enthusiast to learn from and improve their work. Figure modelling of all kinds Is explained, from adapting existing commercial models to starting from scratch.

IN

The presence of human figures within a diorama greatly enhances the overall quality of the model. However, the greatest challenge lies in making the figures the correct scale, with the right posture, clothing and physical attributes, all so as to make their integration into the diorama as seamless and natural as possible. Fortunately, there are many talented artists working for commercial model-making companies whose work is of the highest calibre. As explained here, their meticulous techniques are skilled but simple enough for the amateur modelling enthusiast to learn from.

3

Modelling by Adriano Laruccia

Modelling and painting by Bill Horan

4

Modelling and painting by Alberto and Bianca Mussini

Transformed and painted by Nello Riveccio

Modelling and painting by Michel Saez

5

PROPORTIONS OF THE HUMAN FIGURE

COMMONLY USED SCALES

Careful analysis of successful dioramas shows clearly the varying factors that make an attractive, eye-catching model setting can be determined. A good diorama always has a balanced composition, backed up with meticulous attention to detail. The clinching feature is the quality of the figures - a factor all too often overlooked by the modeller.

Figures need a realistic stance, and above all realistic proportions. An understanding and knowledge of the human frame and how it moves will prevent stiff and unnatural poses as well as a disproportioned anatomy.

In lead and plastic the most commonly used scales are from 1/48 to 1115. These scales allow correctly proportioned figures reflecting human bodies around 1.75m and 1.85m in height.

The scale of 120mm (approximately corresponding to 1115) is the largest size in common use and has recently become popular. The resin figures produced by Verll'nden are in this scale.

The 1148 scale is the smallest practicable if you want to show minute details; nevertheless, even sma/ler figures than this are found in fantasy and science fiction modelling.

6

THE lAWS Of PROPORTION

The laws of human proportion are simple: they were practised by the great artists who used the size of the human head as a unit of measurement to work out the correct size of a body, The height of a normal body is considered to be seven to seven and a half times the size of the head. In modelling, we use the ratio of eight to one, not only for aesthetic reasons, but because it makes the mathematical calculations much simpler.

While this is true for detailed models, on the whole massproduced figures rarely reflect these rules accurately. In an effort to provide a greater sense of realism, commercial figures are intentionally elongated, resulting in what would be excessively tall and unusually broad human beings. To counter this tendency use the following analysis as a guide when adapting your own model figures.

The best quafity, most detailed figures are made at this size - to ~H=~--r--+--T:"':+tr-"l a scale of 90mm (1120).

By studying our drawings the allowing rules can be identified. Using the head as the unit of measurement, the height is eight times this, divided as follows: the bottom of the second eighth reaches the nipples, the third falls within the area of the waist line,

he fourth reaches the pelvis and groin, the fifth reaches half way down the thighs, the sixth reaches the bottom of the kneecaps, the seventh falls half way down the shins, and the eighth reaches the sales of the feet.

An arm stretched out at a 90" an g I e to the body exten d s three - r-----.-------,---.------,.--I"'o.,---,

E~H~~

This 70mm (1124) scale is most commonly. • '~.I

used for civilian vehicles - allowing for t;:~~~~::;:;~s4=~t=:::c:~~::::~~·~1i~~,~c-1

the creation of magnificently detailed - r- --, I '"

dioramas. L---__J__-_j_----th~\~~J,=>:::m+.

1~\Lr0

-t----7~~:r'_+~-7-.~f-'.,/~:-+I!---'I ~,-:,!~.

I )1' r I'"\\,.JY

'J " .... ·il '''\'-t/ I

.l~. "I" ,1)

.- '-'

e ~if1
_,. 71"\ r:
~-
" 1'" <~
j \.
The widest I :~,~;
" "I'
variety of \ '.--:/ , ,
commercial I (gi \ " !) ~I
figures I
come in the 'f -I j ~
scales of .,.... +-!'~ )
I ~~
54mm (1132)1 -( JL
and 52mm J. J
(1135J. ~~ I "

-+-h~'~-~--,-~f~~~~-+~~~> ~-"'''---.l.-.<.--=----,-,J)_ u

eighths of body length from the fingertips and the shoulder; this becomes half the body height between the fingertips and the body's centreline. The centreline splits the body in half, giving the figure a width of almost two 'heads' - ie a quarter of its height. Note where the axis of a raised arm is on the drawings - slightly above the middle of the second eighth. Also consider where the elbow and wrist match up: the elbow three-eighths of the way down and the wrist at half the body height. Finally, the hand, measured from the wrist, is slightly smaller than the face from jawline to the top of the head.

There is little practical difference between 70mm

and77mm

figures, however, the lalter corresponds to 'the 1126 scale and is often used in lead models.

7

THE DEPORTMENT OF THE MOVING HUMAN BODY

8

When walking, the body is subiect to a series of forces and functions relating to anatomy, dynamics and gravity. The human body is designed to use the least amount of energy for the greatest economy of movement.

The extremities move in inverse relation to each other: as the right arm advances, the left arm moves back, The legs move .similarly but opposite to the arms - as the right leg advances, the left foot seems to move back.

Running movements are exaggerated, resulting in extreme physical positions, As the speed increases the .body leans furiherand fUriher forward. Also, the torso turns s/ightlyas the arms push back in the opposite direction.

The human body moves in a very precise way; when walking and

. running, the arms and legs thrust back and forth in a pendulum motion. Note how the lower body falls slightly behind when the upper body advances, neve.rtheless the whole figure moves in perfect harmony.

Jumping involves several stages: using the toot as a lever, the body stretches when leap.ing over an obstacle, the legs are tucked in and tilted as the body turns and the arms are extended iorwerd. On landing, the body straightens to regain its balance.

At the moment just before impact with the ground the arms art!' stretched back. Once landed, the body undergoes a total change of position - as the legs bend, the arms move forward and outwards.

Every action creates a reaction. In the throwing of a javeHn, the body settles, legs and arms symmetrically braced, the left arm and leg move forward, while the right arm and leg, counter' positioned,act as a lever.

9

FIRST STEPS IN FIGURE ADAPTATION

Our first prOject. involves using plastic figures, because they are easier to transform than metal. Start with small moveabl.e figures like these space marines from the series Warhammer 40,000. To increase the number and variety of positions, take 'afigure apart by making a clean cut with a curved, sharp blade at the junction of the limbs .. The clean edges of the

The Citadel figures from Warhammer 40,000 are easy to transform; to increase the number of possible positions cut each figure into a number of pieces.

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JUst a slight turn of the waist, arms and head; such a posture can be ac.hieved by cutting the figure and rejoining it "in its new position - filler can be used to cover unwanted hollow areas.

separate parts will make

subsequent gluing easy.

Think about human anatomy when you choose and fix the new positions. For example, a figure holding a weapon in one hand positioned as if about to fire, will appear more dynamic if the waist is slightly turned and the opposite arm is pushed back and bent upwards. The use of a natural posture will give the impression of a running or jumping figure. Never forget to place arms and legs in opposite positions, turning the torso to give the effect that it is draqqad by the arm pushing back.

Another variation; movement is implied by turning the upper bodv, pushing back the left. arm and slightly turning the head.

Apply the laws of movement: with the body leaning forward, push the left arm back, the left leg forward, with the right arm and leg positioned the opposing way.

It's easy to give a blocky figure like this a sense of movement. Once the pieces have been changed, make the finishing touches using putty.

Once the figures are transformed, eye-catching dioramas can be created using the exaggerated postures of these caricatures of humans.

When showing actions such as walking or running, figures should be positioned in the extreme phases of the movement - an intermediate position will not appear as dynamic as the initial or final phase. Think before cutting a figure apart at the arms and legs; consider which angle will be most

Once cut, parts that do n'ot fit in should be eliminated (knives, hip flasks, etc), instead create new ones with modelling putty.

. The particularly expressive qualities of the Orcs make this type of figure ideal candidates on which to practise constructing new body positions.

convenient for the new position, and remember that it may be necessary to sand down and refit the cut surface in order to get the right form when rejoining. Once glued, cavities may be covered with filler, epoxy, or putty, sanding down the rough edges until the newly joined parts form a coherent whole.

Although the figures are small, many different changes can be carried out, such as changing the positions of weapons, legs, hands and bodies, and even adding new elements. By working carefully so as not to create unnatural shapes, it is even possible to make anatomical changes

A group of marines and Orcs. These little figures take up very little space, so offer many possibilities for an interesting diorama in a small area.

Airfix's Multipose figures are ideal for adapting. Here the torsos and heads of diHBrenf WWIGerman soldiers are mixed - epoxy putty is used for their clothing.

This figure has been posed realistically and has a real sense of movement. Make sure you use specialist books to provide authentic uniform details.

The next step is to learn how to recreate figures entirely - how to reclothe and reposition them. These examples use Airfix's Multipose figures which have interchangeable parts, thus allowing a wide variety of options in terms of fig u re positioni ng.

It is important to not lose sight of proportion when joining torsos with limbs belonging to different figures. Varied cutting angles can easily result in an awkward joins, thus creating strange proportions and unnatural positions. To avoid mistakes of this kind refer to the p ropo rtio ns outl i n ed a n page 7. Don't forget that wedges and other similar supplements should be used to fix such problems.

12

The hardest epoxy putty - such as that manufactured by Tamiya or Ceys - is ideal for blankets, backpacks, skirts, etc.

Puttees can be made using a thin strip of plastic or thin strips of putty coiled around the limb

When beginning an adaptation make use of the plentiful archival illustrative material available in books and magazines. This will give you contemporary information on the particular details of uniform and equipment of the unit you wish to recreate.

Once you have decided on the figure's position, create the clothing, eliminating any unwanted details with a blade. Clothing is best made from putty, but be careful when selecting a putty, choosing the right one for the job;

Make knee and elbow pads from thin, pie-shaped layers of putty - making creases in the pads adds greater realism.

Make sure the putty is not too thick; once dry, carve, sand down, or lightly tear into the material to create a worn-out look.

You can get the figure to the position you want through a process of cutting and replacing - don't forget to fill in any remaining cavities.

Replacing a missing piece may require the use of bits from other kits.

I

for example, Ceys and Tamiya putties are hard and flexible - ideal for uniforms with coattails, wide sleeves, kneepads, blankets and back packs. Other types of

This figure provides an excellent example of the extent to which a position can be modified using wedges, accurate cutting and pieces from different kits.

putty, such as Verlinden, Milliput or Powermax, are perfect for creating subtler cloths, cravats, pockets, buttons and other common elements of clothing and uniforms.

You can adapt figures realistically into any position you want for a diorama as long as you take into account the proportions of the human body and the rules of movement.

Hands should hold objects firmly - cut the hands to open or close them, and use putty to cover any cracks.

Think'carefully about the direction and distribution of creases, pockets and other details when covering a large area of a figure.

Metal is also an important material in the adaptation of a figure. One foot of every figure should be anchored to the base ground - this foot needs an opening through which a wire can be inserted. Additionally, flexibility of movement may be given to the elbows and knees by using wire in the area of the joints, and metal can also function as a handle or belt used to carry an object such as a knapsack or waterbottle.

13

The putty is mixed in small pieces and applied using a tiny.spatula.

Moisten the paste to smooth it down in precisely.

14

The first step is to get the figure Into the desired position.

NeX(. eliminate the most prominent details from the originaf uniform.

Spread a thin .Iayer of putty. but ensure that the layer is thick enough to carve details in.

Etch details on the breastplate using a blade or similar sharp tool.

To make a smalt spatula, begin with an engraver's chisel (the kind used to engrave soft metals).

Using a file, make both sides of the spatula smooth and, if necessary, sharpen the edges.

PORTANT TOOLS

" hen using epoxy putty, a series ::~ small tools will be required for :Jtting, distributing, refining and

Once the modelling has been completed, smooth down and polish the figure to balance out the proportions.

Place the chisel on a metal surface, then hit it with a hammer a few times until the desired flatness is obtained.

Using a chisel with a curved tip makes a different, but also useful, modelling tool; it, too, wilt need filing to sharpen.

forming the putty while it is still soft. Dentist's tools are ideal for modelling use, but are very expensive. The best solution is to

PARTIAL MODELLING

This chapter deals with a process more advanced than the simple changing of positions - the partial remodelling of a particular figure into a distinctly different one. In this instance we will show the conversion of an American Tamiya tank driver (scale 1/35) into a science fiction pilot of the future.

Documentation for this project can be found in illustrated science fiction books, graphic novels and comics. The pilot is wearing an armoured suit made up of various elements.

The last couple of blows should give the spatula blade a slight angle.

A variety of tools can be used for modelling, some may not even require adjustment.

customise engraver's chisels using a hammer, and subsequently filing them down to make the required tool shape.

Logic will dictate which tool to employ. Although the spatula-type

tools are the most

useful, there are a

variety of other

chisels that will suit

particular purposes.

Once the piece is finished it needs polishing.

Milliput epoxy putty is used for this figure. The first job is to mix together two identically sized pieces of putty. Take two small balls of different coloured putty and mix together thoroughly. Do not make up a very large quantity - use no more than the amount you'll use in a half an hour: after this time the putty will begin to harden. In hot weather, it will dry even faster.

Do this on top of any flat, cool surface - a ceramic tile, or a piece of glass, or smooth metal. Cut the putty with a spatula; then use an engraver's chisel to apply and extend the putty directly onto the actual figure.

Long fine seams can be made using the sharp edge of a blade.

16

To cover medium-sized surieces, prepare a fine piece of putty to a suitable thickness.

Stick the putty in position, fitting it as precisely as possible.

When working on a torso or leg, it is easiest to work in two stages. For example, for a torso, first work on the front, then on the back; or when working on a leg, first work on the right side, then on the left

The putty should be applied in small thin pieces measured to fit the area to be covered. Once extended, flatten the putty until the required thickness is obtained; the item being modelled - such as armour or creases in clothing - will determine the thickness. Calculate the depth in proportion to the fina I size. Ti mea nd experience will train your eye and dictate how you work.

Cut out the required size, checking for the correct depth.

When dry, sand the figure down to get closer to the final shape.

Once dry, finish off the edges using the end of a file.

A thick, half-moon file is used for the first stage.: to reduce the thickness of a piece.

Using different tools to draw profiles and define shape, the final form starts to appear, It now becomes important to understand how the putty performs over time - the qualities of the putty change quite crucially as the material hardens.

At first the putty will be sticky and possess greater adhesion to surface. Progressively, the putty loses its sticky quality, but will still retain an amount of flexibility - it is at this stage that fine lines, wrinkles, creases and other details are most effectively made,

The hardening. process can be accelerated with heat (the greater the temperature the faster the

Items such as belts can be created using strips of plastic,

Next use fine sandpaper to smooth down the .ridge marks left by the file.

Pliablefile.s are extremely useful for working on rounded torms. giving uniform smoothness.

With time and care, scratch-built or modified figures can have the smooth and polished finish of a commercis! product.

The smallest gaps can be reeened using fine strips ol sandpape.r,

hardening); if working with a plastic-based material, however, the mere presence of a light bulb at a 10cm to 15cm distance from the figure will cause melting. So be careful.

Once the putty has hardened, use a nail file .. The most usefu I ones are half-moon shaped with a round, triangular or square edge .. Use th e fi le to get rid of excess putty and to define and sharpen up the final form of the fi.gure.

Afterwards, sand down and contour the surface using pliable files and strips of fine-grain sandpaper. When finished the model should have a uniformly polished surface ..

Work on the head separately; the different shapes are made with putty' and strips ol plastic.

17

MAKING A SPACE HELMET

EPOXY puny

As well as putty, strips and thin rods of plastic can be used to make bits of equipment such as belts, holsters, helmets and glasses. For the pilot's helmet, the p I a stic stri p s are atta ched wit h superglue; afterwards, various files are used to shape the req u i red co nto u rs.

1.8

STRIPS AND PIECES OF PLASTIC.

CARVE WITH FILES.

SAND AND POLISH

Pieces that are separately fi.led .and shaped are then glued into position.

The triangular file is useful for making slots and corrugated surfaces.

Once the pieces are firmly held together, use flat and triangular files to finesse the final planes. It is easiest to work on the head, and sometimes even the arms, sep a rate Iy.

Extra details on the suit are made from coiled copper. The pilot is finally fitted into the seal. his hands will be placed in their final position once the handlebars and control panels are added to the model.

FIGURE TRANSFORMATION

., this adaptation, a Tamiya 1/25 :cale American World War II -gure is transformed into a World " ar I pilot. In doing so, every ::8 ail will be removed from the

dy of the figure until the hands and pa rt of the head a re a II that "emain of the original.

Usualfy the body and limbs are separated before the adaptation begins.

The new position angles the lower body s.lightly backwards, avoiding the excessively rigid stance of the original figure.

After cutting the legs at the knees, drill a hole for a metal rod.

The metal rod through the centre of the figure not only keeps the different pieces together, but also allows the position of the foot to be angled.

With a thick file, the creases in the lower part of the trousers are removed.

Other unwanted details from the American uniform are cut off over the length of the entire figure.

19

Apply the first layer of putty and smooth it out with a fingertip.

The first operation consists of dismembering the figure using a fine saw. By separating the torso from the legs and then subsequently cutting the legs at the knees, the new figure will not be as unnaturally elongated as the original. Fit the legs with a metal rod through the axis, push on the legs making them jut slightly forwards and partially turn the torso. Before joining the other separate pieces, remove the trousers with a blade by carving the anatomical form of the legs below the knees, and eliminating trouser detail above the knees. The army jacket should also be removed.

Make a small depression in places left for buttons.

20

Create thin wrinkles using a fine, curved instrument pressed softly into the putty.

Use a wet brush to make the textures consistent and to give subtle edges.

This special pocket is also made by adding a separate strip of putty.

A wider tipped modelling tool is more suitable for making larger creases.

The overlapping of clothing or fabrics is achieved by adding a separate strip of putty.

Before giving form to the lower part of the jacket, fill the upper section of the trousers.

The bottom seam is etched with a blade.

For visual reference we used he famous photograph of Erich oewenhardt, the war ace who chalked up 53 victories. His clothing is rather unusual: the leather jacket is very similar to an

Use a brush to flatten and soften any unwanted tool marks left behind.

The upper body has been completed in sections and now appears as a whole.

Cover with putty and mould the clothing using the same methods as for the lower body.

To show the overlapping coat, add a separate strip of putty and then make the creases in the leather.

A wide-ended tool is the perfect instrument to smooth out and blend the putty.

RFC British jacket, the trousers belong to the cavalry, but the high boots, helmet and glasses are typically German.

Once prepared, all the pieces are joined except for the arms. Begin applying putty to the torso by covering the front side. Use a wet finger to smooth out the putty, then form the details using a variety of flat engraver's chisels. Use the bigger chisels to make large creases and the finer chisels for cracks and small wrinkles.

After every operation, refine the new shapes using a wet brush. After the general figure is modelled, make the pockets and any areas where the clothing

Refine and fjnish the final details.

21

Begin the sanding w,'th a rub.ber file.

Use increasingly fine-edged tools to make the different shapes and depressions on the figure.

A fingertip is still the best tool for smoothing out the putty.

22

The final sanding is made using a fine metal scouring pad.

Once the putty is hardened, make the final touches by getting rid of any rough edges.

Carefufly study the creases around the instep of the boot before forming them.

The various creases in the trousers are etched using the tip of a chisel; use a thicker chisel for larger creases.

Partial view of the figure, which at this stage has a soft sanded finish..

Modelling consists of two stages: the use of chisels whife the putty is still soft followed by the use of files once the putty is dry.

:.. erlaps by placing a separate 5~'ip of putty over the figure. =en, when the putty begins to -arden, etch the seams and ceoressions for buttons.

Once this stage is complete, let :"'e putty dry and harden. -' erwards, polish the figure _sing small thin strips of s andp.a p sr and a fine metal securer, By working this way, the =-.,ished figure will be naturally contoured with a fine, smooth

ish. Attach the buttons and :~en carefully sand them. The --ousers and boots are prepared .., he same way.

Creases in clothing occur in a :lgical and ordered way, showing : e areas of stretch and wear :i"oduced by the knees and : bows, and where trousers are __ cked into boots. Look at a variety :Jt" photographs to see how ::- erent types and weight of fabric crease, In the case of the boots, for exarnp le , notice the peculiar zreases produced by the leather in ::"'e area just above the heels.

Sanding with the fine metal scourer creates a smooth surface - and an ideal imitation of leather.

Here putty is spread over the head for the flying helmet.

Form the outlines with a file once the putty has hardened.

You can clearly see the difference the scouring makes. Keep doing it until the surface looks perfect.

The basic form and small details are made with a flat·edged spatula.

Carefully sand the head until a uniform texture is obtained.

23

The final quality of the figure depends entirely on the last stage of the project - the sanding.

The marks left by the chisel need to be retouched and softened using a brush.

Such details are initially created using files and sandpaper. Once the putty is dry, sand the figure again, using a fine metal scourer for a smooth finish.

Follow the same process when working on the arms and

The final job is to join the arms to the body. Use putty to create seams and creases.

Once the buttons are placed, very gently sand them.

headgear by adjusting your techniques to fit the requirements of the job at hand. After taking measurements, cut the glasses out from a sheet of plastic, sand them and place on the figure. The belt is made from a strip of plastic.

24

Sleeve creases form around the armpit and elbows - areas where the material is stretched and stressed.

The flying goggles are built out of two pieces of plastic: one for the frame and one for the lenses.

When the figure is finished, spread a thin layer of diluted putty over the entire piece to create a sense uniformity, correct any small flaws and

even add final detail.

'.6

Lead soldiers are a perennial favourite with children and adults alike and have been so for centuries. The earliest figures were mostly crude representations with little actual authentic detail, but nowadays the best are highly precise miniature sculptures, exact in every respect. Most of the artists whose figures we show on the following pages are still working as model-makers. Their love of the skill and continued challenge of modelmaking drives them to remarkable pinnacles of excellence. Thanks to the generosity of Miniaturas Andrea, Miniaturas Beneito and Miniaturas ARA we are able to share some of their model-making secrets. The f_allowing photographs have very rarely been published before, so only the professionals and collectors will be familiar with them. By watching how such figures are made, amateur model-makers will gain a better idea of how to approach their own work.

25

PREPARING AN ANATOMICAL FIGURE

BASE S'T'RUCTU.RE

Earlier in this book we studied. human proportions, and the relation of the size of different parts of tae body to the head. We also adapted existing model figures into another form. However, this - by the very nature of adaptation - was limited because it meant working on an existing figure in which the general proportions were already resolved; the task, therefore, was limited to that of providing new equipment and clothing.

Now we will look at how the professional approaches his work, along with all his methods, materi:als and tools. Of course, the models made by an enthusiast rarely are in the same class as those of a professional - both natural ability and years of experience are fundamental to modelling. Nevertheless, you can only get better by learning,

26

Using .this drawing as reference, a 120mm figure can be built, using wire and putty to make the threedimensional version.

Anatomy for a 38mm (1148) figure. It is very difficult to model faces and hands at this scsie - instead buying these pieces separately may provide better results.

A structure can be prepared for each scale. The enthusiast can make his model at whichever scale he feels most comfortable working with.

MODELLING ANATOMY

Moulded and

Open spaces for bending

6

6

8

To make a model figure from

scratch, start with wires and putty. The

various elements are built separately by covering thewims with putty, these are then shaped to get the proper anatomical forms. Once this is completed,

let the figure dry and then refine the

shape with a file.

These proportions are for 90mm figures. Spaces not covered with putty will allow for the movement ollimbs.

especially once knowledge of the properties of putty and how quickly it dries are thoroughly understood.

MAKING A MODEL FROM A :DRAWI'NG

Begin by measuring the proportions of the drawing, and then cut pieces of wire to match the resulting measurements. The extremities, the torso, pelvis and head will be modelled separately. The figure will be made of metal but the first work is with outtv, Working with a metal as opposed to a plastic anatomy is useful as the metal nardens and is workable much quicker than plastic.

1.

Anatomy for a 70mm figure (1124 scele}. This size ls often used in the making of civil vehicle figures, making the task of mdelling original piet:es relatively simple.

This drawing "'epresents

135 seele.

First take pieces of putty and roll them up around the wires, making their size approximately the volumes of the different members. Give general form to the putty with spatulas, brushes and other tools. Once the desired shape has been obtained, place the figure close to a heat source such as a stove or radiator to let it narden quickly - this should take between 20 and 30 minutes. Once the putty is hard, {he final shapes can be roughed out by filing, then small holes are made to help the assembly of the figure.

Once the basic anatomy has been obtained, tin and lead alloy copies can be made by preparing a mould from red silicon. For transformations the head and ieet are not necessary, only the body is

Dummyat a 1126 scale; this siz« tends to be made in tin rather than plastic.

27

needed, the other elements can be added later by using kits containing lead, plastic and resin versions of heads and feet.

CONSTRUCTING HEADS Although human heads come in a variety of shapes and sizes, we can generalise about the basic features that give a head' of good proportions from which variations can be made. Using the length of the forehead as a unit, a human head measures three and a half units: starting from the bottom of the chin, the first section reaches the bottom of the nose; the second reaches the eyebrows; and the third reaches the hairline, with the skull making up the half unit.

These divisions demonstrate that the bottom of the ears is at the same height as the bottom of the nose, and the tops of the ears are at the same height as the eyebrows.

An important detail to consider is that the eyes are situated in the middle of the head. By drawing a straight, vertical line dividing the face equally in two, the width of the nose falls exactly within the gap between the eyes; this width is also the same as the width of one eye, and the width of the chin. The lower lip falls within the middle part of the lower section.

The head can also be divided into three and a half units when viewed as a profile. The width of the head as seen from the front is the same as the distance between the outer edge of the eye and the end of the head in the profile view.

By dividing the profile into three and a half parts vertically, the first section takes in the chin, mouth, nose, eye and forehead; the second section includes the jaw, cheek, end of the eyebrow and temple; and the third takes in the ear and the back of the neck. The half unit takes in the back of the skull and hair. By using these measurements the modeller will build correctly proportioned heads, whichin turn will give a proper guide when judging proportions of an awkward nature.

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DIFFERENT HEAD SIZES AND THEIR PROPORTIONS IN THE MOST COMMONLY 4~~!l-------!';t:~~::::"

USED SCALES.

1148 SCALE

1115 SCALE ~,~~

lCffYi.·

~L--h!tl

1120 SCALE

PROPORTIONAL RELA TlONSHIP BETWEEN THE FACE AND HAND

PROFESSIONAL MODELLING

3efore starting to model it is essential to become familiar with -~e various brands of epoxy putty.

IlUPUT There are three different pas: a greenish-grey putty of ~'Ierage quality; a pure, fine-:=xtured white putty; and a blue (or ~'Iver) putty that comes in between ::""e other two in terms of quality.

~+B This putty is very malleable :'1d adhesive, and especially easy ') manipulate when soft.

!lTHOS MASTIC (PLUMBER) A erv soft putty that is easy to model 'lith. It is softened by water.

EPOXY~CEYS A very dense putty

Ihich does not work well when :reating detailed forms, but is excellent for large pieces.

EPOXY·TAMIYA Very similar to Epoxi-Cevs,

VERLlND:EN PUTTY Possesses similar properties to A+B.

DURO Has considerable elasticity; 'n fact it's not unlike chewing gum!

It is important to apply the laws of movement to metallic figures. In particular, the placing of arms and legs is fundamental.

The angle of the torso and the positioning of the hips, shoulders and spine give this piece a sense ot movement.

29

Metal figures provide a firm foundation for the peculiarities of human features"

HOW FERNANDO BENEITO AND OSCAR IBANEZ WORK

Beneito's remarkable modelmaking technique is based on a metal anatomy similar to the one already studied. After deciding on the posture, the anatomy is shaped using mastic putty, followed by the shaping of the clothing. The modelling is divided into several stages involving

This close-up shows the fine stranding which makes up the hair and beard.

30

A tin structure can be manipulated until the required posture and sense of realism is achieved. Afterwards, the processes of filling with putty and refining the anatomy begin.

In the case of this original by Miniaturas Beneito, several applications of putty were layered

one on top

of the another; then modelled and sanded down in order to obtain the final finish.

This type of modelling is .slow and meticulous. However, duplicate figures can be reproduced much more quickly from a mould.

The process is alwa ys the same: metal skeleton, then putty for covering and all anatomical formation and clothing details.

successive applications of putty. Such applications will vary depending on the type of project - some figures will only need one application, and other's may require 50 or more!

Always begin by

mixing two separate balls of putty until a homogeneous blend is obtained. Calculate the amount required for only 20 minutes'

work- after that time

mastic putty will

harden and lose its stickiness. A fi.gure with a metal skeleton can be placed near a heat source to dry out

Use strips of putty in layers to create pieces of clothing such as belts and

shoulder pads.

Large pieces such as this 90mm figure require particularly close attention to detail.

thoroughly. In 20 minutes the figure will be ready for sanding or a new layer of putty - time may become an important factor when rendering' complex fabrics requiring several lavers. It is also important to become familiar with the way each putty works asit hardens. For example, to make thin strips with this putty takes at least 10 minutes, after which time

31

Anatomies may be varied in several ways. Aside from the obvious changes - such as beards and moustaches - elements suc.h as eyebrows, noses and cheekbones can also be altered resulting in considerably different faces.

the putty has hardened a little, and can be worked without it sticking to the fingers.

Once the layer of putty has been applied, give it shape and then smooth it out with a finger. To make creases, use different modelling spatulas; those used by dentists are ideal. Study the formation of creases and how they relate to the posture and characteristics of the fabric being represented - thick materials form fewer ridges, while old and used fabrics tend to be much more creased with much more surface texture.

With large figures, the hair can be created by carefully layering fine strands of putty.

After using the spatulas, define the shapes better by using a slightly wet number 3 or 4 brush. At this stage use the brush to build up and spread out the putty until the desired form is obtained. After hardening the piece, use a variety of files to give the final moulding, then finish the model using a very fine (300 or 400) file.

Heads have to be modelled differently, by using small pieces of putty. Carefully apply these bits building up first the areas of greatest volume, such as cheekbones and jaws. At this point let the figure dry, and then continue modelling by defining

32

Facial expressions are an essential factor in giving the figure a sense of life.

This detail shows the brilliance of the model/er's art.

This particular headpiece required special sanding and meticulously rendered details.

By using the correct modelling putty, any detail, regardless of its size, can be made.

The modelling process begins with small applications of putty.

When working at very small sizes, the brush can take the place of the spatula.

.hs facial muscles. A knowledge of basic anatomy is important ner e, so that the volumes are correct and in proportion for the

The initial work takes place using a spatula and is refined with a brush.

Often, only the minutest quantities of putty are applied, as in the case of this upper eyelid.

human body. Once this is understood, the modeller can create various postures and proportional. relationships by

All the materials and tools needed for figure modelling: epoxy putty, files, sand paper and wire wool, and engraving instruments, plus a magnifying glass for the finest detailing.

All of the shapes are created by carefully placed thin str~ps of putty.

With another tiny piece of putty, the lower eyelid is rendered.

simply adding or taking away strips of putty.

The smallest elements that make up the face (such as eyelids,

Once the putty has been applied, refine the shapes using a brush.

The diHerent details of the ear are modelled using the end of a thin modelling tool.

Use the brush to define the teeth and tongue and to further refine the lips as weft if necessary.

lips, teeth and ears) are made by applying tiny amounts of putty rolled into balls or cut as strips. Make the forms using the edge of a thin spatula and a brush until the desired shapes and proportions are obtained.

34

The next step is to perfect and polish using a file and sandpaper.

The general expression has been achieved, but it still requires perfecting.

An ear is made from a small ball of putty that is then shaped in situ.

Refine the facial details by touching up with a damp brush.

OTHERELEME NTS

Along with the human figure, there are often other elements - such as animals, tools, weapons and equipment - that complement the main model. When creating items other than the human figure, consider

There are many cutting instruments that can be used to carve into hard putty, but there are only five or six in common use.

-:1e type of putty that will best suit :')e project. For example, when ""'laking blankets, backpacks, or .:.a nteens use a ha rd type of putty :0 which metal can be attached, 50 that belts and seams can be rnitated.

The basic structure of rifles and sunchers can be made from brass

r plastic rods. For instance, a rifle can start off as a th i n brass rod or =vpoderrnlc needle, the end of the • .. eapon can be carved from alastlc and subsequently joined to :.,e main body, while small details zan be added using putty.

Animals, however, are made in me same way as human figures. Start with a structure based on an a to mic a l drawings and ohotoqraphic references and then add whatever small details, such s s belts and harnesses, are

ecessary.

In this original and copy of a crossbow, it can be seen how even the finest details can be obtained using small portions of material.

Very thin and long pieces of equipment will require a metal framework as the main body. Thicker pieces, however, can be made from putty.

When modelling animals follow the same procedure used for human figures, but keep in mind that there will be a greater diversity of shapes.

For this horse, the legs of a plastic model were used - the rest of the body was made from putty.

An unusual depiction of a reclining figure on a fully integrated background.

Animal hair is model/ed in the same way as that of a human.

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As well as putty and fille.r, another common modelling material is metal.

Thin metal thread is also useful to imitate the helmet net,

Copper thread and sheets of tin, when laid over putty, become plaits and belts.

a very satisfying material to work with. Julian Hullis created these two miniatures for Miniaturas Andrea, in the process making full and effective use of many different types of metal. Copper was used in the form of threads and sheets, strips of lead,

The solid metal sinks into the putty, helping to give a sense of realism to the figure.

aluminium, and brass, and even knitting threads have all been used. Notice how copper thread has been used for flaps, buckles and for the frame of the glasses .. A brass or tin sheet has been used for the belts, cuffs and eyeshades.

Although putty can be used for almost any kind of shape or texture, the use of metal saves time and often results

in a cleaner finish.

USING METALSJUL.IAN HULLIS

Some model-makers make extensive use of metal; this allows them to work at a quicker pace in order and saves them a great deal

of time. If mastered, metal can be~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

36

An interesting use of copper wire and a tin sheet to create clasps and buckles.

Incorporate all metal elements while the putty is still soft, to ensure a firm bedding. Then fill any gaps between the materials with putty. Using these materials and methods will help to create cleaner detailing in less time, especially when it comes to details such as a pocket seam. It 's quicker to create buttons by using a leather punch or the same method as for making rivets.

Despite the absence of equipment for this German soldier, metal wire was used in the creation of pocket seams and on the edges of his jacket.

A small copper rod was used for the framework of this rifle. Metal rods can also be used for the basic structure of canon, while plastic is used for the rest of the weapon.

Elements such as the spade handle are made of metal. Equipment made of tin or plastic will slightly sink into the putty.

Example of the extensive use of metal - used for everything from the flaps to the framework of the glasses.

37

The original figure is carefully dismembered so that the pieces can be cast successful/y. Take a close look at how the limbs are separated.

The emblem on the shield is entirely created in putty over a metal base; the fine details are executed using thin strips of putty.

THE ANDREA BROTHERS

In an entirely different style, Carlos and Fernando Andrea only use putty (mostly Milliput) in any of their three modelling processes. These artists start from a basic skeleton and slowly cover it in the manner discussed earlier. Their figures are proportioned on the rule of eight heads, and their work is characterised by a sensitive attention to detail.

When worki ng on their figures the Andrea brothers mix the techniques of modelling and carving. The clothing of their figures begins to take shape while the putty is still soft, while the final forms are shaped with files and wet

sandpaper when the putty is hard.

The Andrea

technique requires parts of

the figure to be worked on in successive stages in order to form reliefs, so that in some areas,

several layers of putty

Even at a small scale, a clean finish enhances the quality of the piece.

will be applied. They carefully calculate how much putty is needed during a particular period of time, as well as exactly the amount required to cover a specific area before starting to work on it.

Andrea brothers' Conquistador. This 80mm figure is designed using the eight-head anatomical rule.

The boots of the conquistador are perfect for studying the creases that leather forms,

The figure has adopted the classical stance in which the weight of the body rests on the right le.g,

It is easiest to use soft metals (such as lead) when working on long and thin objects,

The entire body is a.ffected by the stance, with the pelvis and shoulders shifting slightly sideways.

Three different views of the head featuring the modelling of the helmet, the beard and moustache,

All the details are made from putty.

All of these pieces required multiple layers of putty.

39

A high finish and tremendous detail can be achieved with putty.

PUTTY FOR EVERYTHING

This figure of a modern soldier by ARA is an excellent example of a high-quality piece. The application of putty, the sanding and the finish are all notable. The original is 54mm high including the hood.

Despite the photographic enlargement of the figure in the

This close-up shows the qua.lity of the transformation; the original is in 1/35 scale.

pi ctu res, fl aws are u ndetecta b Ie. The methods used to create this figure are identical to those of other model-makers: after covering a skeleton with putty, shape is given to the anatomy before adding layers of putty for clothing. Especially interesting in this figure are the boots, which possess magnificent curves from the top to the heel, and convincing creases in

40

The boot is straight, but possesses a characteristic curve that makes it seem real.

These are soh and carefully considered creases on a thick piece of clothing.

the area around the ankles. The belts are made from very flat strips of putty, and slight depressions have been made under the belt to show pressure - a subtle effect. The jacket seams are thin strips of putty applied slightly irregularly.

The subtle creases on the sleeves are outstanding for their resemblance to the actual texture of such a fabric.

The creases will be more or less prominent depending on the nature of the clothing.

Detail of the use of strips of putty to imitate seams and belts.

This 90mm conquistador from Miniaturas Beneito is outstanding for its vitality.

COPYING ORIGINALS

These days it is quite simple to reproduce high quality figures in quantity; indeed, many craftsmen 'lave their own sophisticated machinery to do this. The first step is to obtain master copies of the initial metal reproduction of

the original (not copies of copies). If necessary, the figures should be touched up and sanded so

that they appear identical to the originals.

The cast is obtained by working with two large moulding sections. The master figures are firmly laid out in a circle in one piece ofthe mould, with the opening for the molten metal in the

Freshly cast figures still attached to their metal leads.

A good example of how placing a figure in a natural stance reinforces its sense of realism.

Give your figures a good variety of interesting and realistic positions - this gives even a static pose, such as this figure from Miniaturas Beneito, 'life'.

centre and tubes branching into the legs of the figures. The second half of the mould is fixed in place on top. Then the entire mould is put under pressure and heated and the casts are made. Remove the originals and the tubing. Place the cast into a spinner and pour in the molten metal. The centrifugal force forces the molten metal into every corner of the cast. Allow to cool

Perfect integration of

American Indians in a canoe from Miniaturas

Andrea.

41

The complexity of the shield design adds to the beauty of the overall figure.

Although uniforms became less striking after World War I, post-1930 soldiers still make very interesting models.

Even without colourful uniforms, World War II soldiers make eKciting subject matter.

There exist a wide range of model painting techniques that vary depending on the materials employed. Acrylic, enamel and oil paint can all be used, individually or combined. All the figures on this page come from Miniaturas Andrea and are painted using a technique of light to dark gradations. The whites used in light areas contrast strongly with the darker tones found in other parts of the figure.

Meticulously crafted 90mm figures can be very impressive.

Camouflage suits are especially challenging to paint due 'to their fine detail.

Any theme can be recreated in miniature by the skilled modeller.

It is no coincidence that warriors are a particular favourite of miniaturists.

Cavalry is both an attractive and complex theme, combining as it does horse and rider,

A figure's initial impact often determines its charm,

PAINTING WITH ACRYLICS

Acrylics give figures a striking intensity of colour and, because of this, a unique vitality. The figures on this page are from Miniaturas Beneito and are executed using a painting technique that sees a gradation

of paint from light to dark (as discussed in other sections). Cha racteri stic of th is style is the smooth merging of colour and tone.

The historical soldiers found on this page illustrate the vibrant nature of acrylics. With this type of paint all sorts of colour scheme can be imitated thanks to the wide range of colour and tonal varieties avai lable in acrylic. The ability to combine successfullv the different elements of form and colour is the

sign of a skilled model-maker. An example

of a piece combining

The type of uniform often determines the popularity of certain themes.

Given the time and effort put into a model, it makes sense to explore all kinds of visual opportunities ..

The e.laborate designs of Napoleonic u.niforms mak'e these figures especially popular with collectors.

Shadow and lighting effects pfay an important part in the modelling of modem uniforms,

these two vital. elements is the conquistador and parrot in which a natural form and posture is combined with the strong plumage ofthe bird.

All the miniatures on this page were painted using the same tech n iq ue, but different pa i nts:

Plaka, Decorfin and Vallejo Film Color. Just follow a few simple rules: use matt colours for modern clothing, and glossy colours for flesh, wood, flags or any piece of equipment.

The classic figure postures have always been fairly static; it is only recently that more dynamic positions

have become popular, LfJft is a 54mm Miniaturas Beneito figure.

Acolourfu/ French uniform from the fate 19th/early 20th century,

Metal figures have been around for 200 years and, until recently, their production methods had not changed substantially .. Technology has moved on, however, and reproduction figures are better than ever; today, great richness of detail is possible with pieces made from resin, lead and plastic injection moulding. Lead, as an alloy, remains the most popular metal, as it allows for the production of miniature sculptures of a high artistic and technical quality .. Traditionally, these figures were decorated

with oil paints, but now acrylics have taken over as the most popular medium among miniaturists.

45

1808 Hussar. This magnificent 54mm figure combines superb modelling with a complex uniform, complete with filigree, braids, frogging and cords.

Horse-mounted figures - such 'as this 1775 Spanish captain - pose particular production difficulties. However, at90mm, even the smallest detail should be reproduced, and the paint job requires a special technique due to the sheer amount of figure surface ..

'.

COLLECTIBLE MODEL SOLDIERS

MINIATURAS BENEITO

Co. ntem.porary. metal s.oldiers have come a long way from the old-fashioned figures that are considered classic collectibles today. However, many model-makers are still attracted to the field of collectibles for reasons of both beauty and volume - such figures are not only attractive, but a good collection occupies little space. Spanish manufacturers and model-makers have embraced this trend, perfected their techniques and made sculptures of internationally reputed quality .. Such is the case with Miniaturas Beneito, who create h iqh-qu alitv figures at 54mm and 90mm.

A captain from the Spanish regiment that sailed the Atlantic and conquered Peru. This 90mm figure is a good example of the exciting variety of Spanish army themes; the differing elements of his uniform are reproduced in great detail.

This scene from the Vietnam war (at 54mm scale) is outstanding for the expressive nature of the figures.

When figures are combined with other objects, the alignment of al/ the differing elements becomes an impo.rtant factor; as with this 54mm scale 1880 sheriff at his desk.

MINIATURAS ANDREA

Fernando and Carlos run Miniaturas Andrea. Their collection of work is a reflection of the great diversity of themes that can be found in the realm of metallic figures .. Possessing mag nificent qua lity and beautiful compositions, their figures can he made to work beautifully in a variety of combinations.

World War I German soldie.rs are rare collectibles.

American cavalryman of 1880 perfectly reproduced in 54mm scale.

Beautiful dioramas can be created when highquality figures are combined with other elements, as is evident in the case of these native Americans in a canoe.

47

FIRST STEPS IN ANIMAL PAINTING

This horse was cast in a single piece; it was subsequently sanded, polished and readied for painting.

The saddle is painted in basic, flat colours.

The first coat is applied using Decorf;n; keep the brushwork consistently in the same direction as the animal's coat.

The accessories have all been painted using a basic colour: At this stage it is not necessary to render excessive detail.

The light areas on the saddle and saddleGloth have been made using yellow and ochre - the dark regions are not Glean enough at this stage.

48

Consult a bookon horses to improve realism and ensure accurate brushwork.

Using diluted black paint, apply successive brush strokes to paint the hindquarters and nose.

Using very difuted white paint, blend and merge a smooth transition between the va.rious tones.

PAINTING A. HORSE

As anintro .. duction to a.nimal painting, we show how to

paint a horse - a.lways keeping in mind the role of the horseman - using Film Colour acrylics and Decorfin.

The colour white invariably gives successful results and will, therefore, be the base colour. When painting the horse, fill in the body by applying several thin coats of paint, making sure that the brush strokes follow the direction of the animal's hair. When dry and complete, paint the saddle, s addlecloth and bridle by first applying a flat base colour common to all the accessories.

Paint the dark regions of the horse, such as the quarters, I.egs, and parts of the head, using a diluted black paint layered several times this will give the desired density. Apply subtle white spots over the body as highl.ights, but dilute the paint and shade off any spots that are too bright.

These first white spots spread over the body of the horse seem much too harsh.

App./y diluted brush stokes to imitate the horse's coat. and shade off the harsh whites ..

Unify the surface texture by lightly applying diluted whites and greys.

The saddle is outlined and the highlights put ln.

The completed horse is attached to his rider by means of the bridle and reins, as well as their complementary postures.

49

EROTIC META

FIGURES

These Phoenix figures, modelled by Tim Richards, possess an exuberance of form and standard of quality that has made his work famous.

All these figures are made in the unusual size of 80mm. Although they come in a variety of themes, the perfection in the modelling and the balanced proportions provide a consistent quality.

The tone of exuberance is not necessarily maintained in all the figures - in the case of this figure, there is a softness of form, along

with a sense

of quality

and beauty.

50

A subtle treatment is particularly required for the painting of female flesh. This is achieved by making the transitions between light and shadows very gradual. Several highlights of similar tones are needed in the execution of a successful figure.

No two figures are ever the same - the features, costume and proportions always vary.

Tim Richards began modelling this type of figure ten years ago, and they have been a success ever since. The key to these pieces is how the model-maker combines a strong technique with a voluptuousness of form. These are not the first erotic figures created, but they are certainly among the best. Beautifully made, a series of these figures offers a variety of poses and features all within a consistent framework.

Details of the knife, case and bag of gunpowder, all painted and outlined.

MOUNTAIN MAN

Belonging to the popular 77 Series, this mountain man is a classic 90mm piece, and makes an interesting subject to paint. Covered in skins and leather, this figure will result in an exuberant and brilliant finish.

The figure was painted in Film Color acrylics - they achieve a fantastic finish but their

This typical figure from the Series 77 is heavily wrapped in leather clothing. To get the texture right, experiment with a variety of colour combinations and brush strokes.

Carefully use the tip of a brush to draw on the patterns of the moccasins and trousers.

application requires a special technique that is explained in the detailed analysis in the final section of this book. Mastering this technique will greatly improve your flexibility and capability with figure painting.

The method comp rts e s the

The rifle is painted coffee brown, with lighter lines imitating the texture of wood.

application of several, progressively lighter, coats of paint, layered one on top of the other .• It gives a tonal gradation with a successive increase in lightness.

In the case of the mountain man, the base colour over the entire figure, is ochre, mixed from white and yellow.

51

PAINTING WITH ACRYLICS

First step: Cover the figure with flat colours - use two flat colours for the shield.

Second step: Basic tonal variation appears aher three successive applications of increasingly lighter colours.

Aher six applications the variety of colours and shapes in the clothing and gear are perfectly defined.

52

First stage in the execution of the back part of the figure. The armour can be painted using a metallic paint such as Metalcote.

The base colour of the leggings is a soft grey ~ use increasingly lighter greys to highlight. The boots are covered in a darker brown colour.

Flesh is initially covered in a slightly dark colour and then covered in successively lighter tones to define volume. Only paint the upper eyelid.

COLOUR RANGE

This 90mm conquistador by Fernando Beneito is an excellent example of how a high sensitivity to detail and an outstanding technique combine to form a remarkable figure.

The painting method is based on a progression from dark to light tones in a series of six to eight applications. Mix the base col au r with prog ressively lig hter tones, and blend to obtain the full tonal range. Keep in mind that depressions in the surface of the figure should be painted over using the darkest colours and

lighten the surface as the relief changes from low to high. To make this easier, imagine the figure as giant-sized and the creases as mountains. The valleys are painted darkest, with a smooth transition towa rds 1 ig hter tones up the valley sides, until reaching the summit and the lightest colour.

These colour gradations are so subtle that the human eye is incapable of appreciating the change between the different tonal levels. Therefore, an optical illusion of a perfect transition from light to dark is created. To

A brown coat of paint is lightly applied to the armour. Highlights on the boots are made with light

browns. .

obtain this gradation, the brush should cover less surface as it closes in on the lightest area.

One important factor to keep in mind is the viscosity of the paint. This technique requires the paint to be sufficiently dissolved in order to apply several coats of paint and obtain tlhe required density through the gradual accumulation of colour.

This enlarged face shows the distribution of different tones, shadows and brush strokes.

53

The peculiar texture of leather can be obtained by overlapping lighter tones of colour over a dark background.

There are faint traces of rust on the shield. The application of thin outlines will enhance the various surface elements.

This detail shows the different spots of colour which go to build up the highlights and shadows.

54

A view of the figure and the gradation of colours required to build up the impression of size and shape.

The shield is painted using a combination of golds, greys and ochres.

Oil-based colours from Meta/cote end Modelmaster make the best metallic paints. Ten minutes after the application, the surface can be made to shine by lightly rubbing

with a cloth. .

A fine brush and a steady hand are required to draw thin lines on the clothing.

The he/met is painted in gunmetal plus black, silver and gold. Lightly wash over with some brown.

Many model makers paint from the lightest colours and work towards the darker ones, but in our technique, you start from the mid-tone and work up to the lighter; then, wash over with a dark tone to create the darkest areas.

55

FIRST STEPS IN PA NTING

INITIAL APPROACH

This type of painting is laborious and difficult to explain, although in practice it is easy to learn and provides quality results. Sable brushes (numbers 1, 2 or 3 and 4) will be required. The prime virtue of a brush is the quality, not the quantity of hair. Work with a number 3 for large surfaces, and

Before assembling the figure, go over it with a blade and sandpaper until the tin surface is smoothly polished.

56

Any kind of putty can be used to fill in gaps between the pieces.

tems such as trousers, jackets and boots; then work with a number 1 to outline and paint small details.

BEFORE PAINTING

Prepare a container full of water, a surface on which to deposit the paint (plate, glass, etc.). and a cloth wit h wh ich to wi pe off excess paint and to clean the brush after use.

Logically, the first step will be

a assemble the figure using a good, strong glue. Assem ble the main elements of the body (head, arms and so on), and leave smaller pieces (anything that will interfere with the painting of the figure, such as swords, belts or ropes) for final assembly.

Once the separate parts are joined, fill in any gaps that appear - such as that between the

Epoxidico glue is strong, creating a good bond between the pieces; use the five-minute quickaction kind.

Cyan acrylate, which has as a quick drying agent, can also be used.

Make thin strips and apply with a wet brush.

shoulders and neck - with putty, adapting the material to suit the shape of the body. Although some model-makers paint directly over the tin, it is advisable to cover the surface with a thin coat of putty {thin enough so that the details of the figure are clearly visible} to create a better key on which to paint.

Start with the face, beginning at the eyes. Spot the eyes and teeth with white. Paint the pupil of the eye and then draw a dot in the centre. Join this black dot with a fine line drawn above representing the eyelashes - never leave the dot in the centre of the eye, otherwise the figure will look drugged or startled.

With small figures (a scale of 54mm [1/32, 1135] or smaller), the eyes can be implied by drawing a vertical line. At such small sizes, these details will hardly be noticed. With a light brown line, outline the lower part of the eyeball.

To protect the metal, apply a coat of putty dissolved in acetone.

Begin the face by painting the eyes; first the white, then draw a point indicating the pupil, and a black line to show the upper eyelid.

57

It does not matter if the line defining the upper eyelid is large, so long as it is pointing upwards; afterwards, it can be slightly covered and refined using flesh colour. Black eyes can be rendered using a fine black pen (O.2L which can also be used to paint the upper eyelashes.

FLESH COLOUR

To paint flesh, start with an ochre tone made from sienna, golden brown, yellow or a golden cadmium. All visible flesh can be covered with this mix which,

A dark brown tone is used as the base colour; the tonal variations for the different parts of the face are produced by mixing with white.

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Some erees obviously need to be lighter than others, such as the cheekbones and point of the chin.

The hair is painted using a bluish.black.

The hair is lightened with blue-greys, but not too excessively or the hair will appear too grey.

essentially, represents midtones. Then lighten the face by successively applying small quantities of white. Every new lighter tone will cover less surface (remember the mountain example). Do not entirely cover the original base colour on which the painting began. With practice, this procedure is quite quick. It will be

important for the paint to be thin and fluid, so that an excessively thick coat is not created. Use only a judicious amount of white - remember that a head the size of the one we are painting will require seven or eight tonal transitions. Practice these procedu res on a separate sheet to become familiar with the various techniques.

HAIR

The colour of the figure we are painting is black; cover all the hair with this colour, then lighten with blue and a touch of white. Do not

Hands are painted using the same procedure as the face. Light touches of paint define the fingernails.

A cadmium red was used to provide a dark base.

The first highlight is made with vermilion (a brighter red than cadmium) which gives a strong gradation.

The rest of the gradations are o.btained by combining cadmium red with yel/ow.

The shirt is white, but will require another colour to define its surface.

Start with a soft grey and lighten by mixing with white. A range of greys is made by mixing black and white together or blues, black and white. Black should be used only in very small quantities.

The tie and the jacket decorations are painted black and a range of greys.

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Paint the shirt grey and lighten with white; three different greys are needed.

Highlight the tie with touches of grey.

The jacket ornaments are painted dark.grey.

The final grey Is almost white, in fact, the last touch can be a pure white spot.

Lighten using different greys; two or three gradations w1ll be needed.

The finishing touches on these ornaments are made with a fine black outline ..

Yellow and white are mixed to work on the sleeve ornaments.

The ornaments on the sleeve have . been drawn using a light yellow.

The tip of a fine brush is used to outline the different elements of the costume.

Touches of yellow or smalf amounts of gold paint are carefully spotted over the surface to imitate polished buckles and shiny braids.

Different pigments are to be found in every colour; so the best way to lighten a tone, such as b.lue, is by starting with a dark blue. Add, for instance, an intense blue to a dark Prussian blue; with this mix plus a little white, a full tonal range can be obtained.

Mid brown is used to emphasise the darker areas .

Prussian blue was used as the base colour for the trousers.

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An intense blue begins to lighten the base colour.

exagg>erate and use too much of these two colours, otherwise it will look as if the figure has a full head of grey hair. A range of four colours is all that is needed for the hair.

Analysing the face, we find that the 'mountain summits' (referring to our earlier analogy) in other words the cheekbones, the chin and the tip of the nose are lighter than the 'valleys' - the corner of the mouth, the neck, etc,

PAINTING THE JACKET

Not all colours are toned down with white, but rather the colour used to lighten a surface will depend on the intended surface colour, For highlights on the red jacket, use yellow to produce a lighter range of reds .. If white were used to lighten red, the result would be pink and comp.letely wrong.

Start with a cadmium red, which will provide a dark base colour. The first light tones will be added using cadmium vermilion; subsequent lighter levels are made

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The gradation is obtained by adding white to the blue,

The buttons are painted in black over a red background,

by adding yellow. Note that the crest of the crease will be an orariqe-red tone, which wi!l be closer to red than yellow; therefore, ensure that the gradation is soft and progressive, For enhanced contrast, colour the 'valley' of the crease a cadmium red mixed with some black or even dark green, This mix requires a light hand and a damp brush used with precision. The sleeves

are decorated with small, gold thread motifs, To get this colour use a yellow-brown tone which can be lightened with yellow and white. To fake shiny highlights, apply a light tone and then spot it with a dissolved metallic g.old.

PAINTING THE SHIRT

Even though we are dealing with a white fabric, the tone will have to

The wide belt is covered with yellow lines outlined in black

Careful touches of white have been added to the buttons

Black is used as the base colour for the sombrero. A second coat is painted using dark grey.

The next, lighter, coat of grey shapes the top of the hat and its surrounding area. An even lighter grey will define the sombrero's highlights.

The pike handle is painted dark brown and the banner the same colour as the jacket.

The scabbard for the sabre is painted with silver, black and brown, with gold for the handle.

The pike is painted with light brown intersecting lines.

be mixed with another colour to obtain the many shadows in the creases. The colour can be a range of greys or grey-blues. White combined with a tiny amount of black and four or five transitions will suffice to obtain the gradation.

PAINTING THE TROUSERS

The colour range for the trousers is based on a Prussian blue. Mix with an intense blue and finally with a bit of white to obtain the

Highlights give the final touches to the banners and the ends of the pike.

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full range. There are a total of eight tonal tr an s rtro ns to complete the gradation. For a perfect blue gradation avoid making an excessively light blue - such a blue would create a peculiar impression of light and a n un natura I fa bric textu reo

FINALDETAILS

To paint the boots, the same procedures are used as for the other elements. The paint is a coffee brown followed by a range of four tonal variations. Yellowbrown is used for the lighter highlights.

The figure's sombrero is decorated with greys made up of a mixture of well-diluted black

The finished piece has a variety of shading which greatly enhances the form and volume of the figure.

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and white paint. The sombrero's rings are a lighter tone.

The pike is painted dark coffee brown, with added diagonal lines in light brown. The ends of the pike are silver and lightly washed over with a very liquid brown to show where the ends join with the wood. The banner is painted using the same technique as used for the jacket. Paint the hands in the same way, and at the same time as, the face. The scabbard is painted with silver with just enough black to darken the edges and fixing points; the handle is gold and black. Finally, the edges of clothing elements such as buttons, seams, and belts are picked out in a very thin and delicate black outline.

This particular technique, provides high contrast between light and shade - much softer tonal variations can be used if preferred.

MODELLING

. OSPREY MOPJL~IN~. MAN. L5 ra

- --

IS

In many ways modelling figures is the most difficult part of the modelmaker's art. If the posture is 'WTong, if the physical attributes and features aren't lifelike and in the right proportions, or if the clothing and the play of light on the clothing is inaccurate the figures will look stilted and inhuman. If they are in a diorama, it won't matter how good the rest of the model-making is, the effect will be ruined,

The eighth of Osprey's Modelling Manuals provides a masterclass

in the art of figure modelling and painting. The work of many talented modellers is shown, identifying how to meet this demanding challenge and produce models of the highest calibre. The meticulous techniques are skilled but simple enough for the amateur modelling enthusiast to learn from and improve their work. Figure modelling of all kinds is explained, from adapting existing commercial models to starting from scratch.

Already published in the series: 1 Basic Aviation Modelling

2 Advanced Aviation .Modelling

3 Basic Military Vehicle Modelling

4 Advanced Military Vehicle Modelling 5 Airbrush P.ainting Techniques

6 Intermediate Vehicle Modelling 7 WWII Dsoramas

Printed in Spain

ISBN 1-902579-23-2

9 781902 579238