Tommy's War painting instructions for British World War One uniform

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Fig 5 Fig 6 Fig 4 Fig 7 Fig 8 Fig 5 Fig 6 Fig 7 Fig 8 Fig 13 6 www.tommyswar.com
Fig 11 Fig 12 Painting - The Face (Fig 4) shows the figure with a dark basecoat to the uniform and webbing as well as some rudimentary work on the face. The closer shot in (Fig 5) shows the face with very basic highlights over a mediumdark flesh mix. This gives some shape to the face and helps define the areas of light and shade or in other words, contrast. Contrast is an important factor when painting scale miniatures, as a rule of thumb, the smaller the miniature the higher the contrast should be. Using the flesh colours laid down on the wet palette I create the various shades of flesh as follows: Mid-tone – Beige Red First highlight - Beige Red plus Medium Flesh Second highlight – Beige Red, Medium Flesh, Light Flesh Third highlight – Medium Flesh plus Light Flesh Final highlight – Light Flesh plus White First shade – Beige Red plus Burnt Red Second shade – Beige Red, Burnt Red, Black Red Third shade – Beige Red, Black Red, Black. Tones are achieved by adding more Burnt Red and a touch of Purple to the mid-tone. With the basic highlights applied some colour tone is added to the cheek area, as can be seen in (Fig 6). At this point we can start smoothing the transitions of colour between dark and light. Using filters is the easiest way to achieve this, bearing in mind that a filter is a little different to a wash. When using a filter technique, we are trying to evenly cover the whole area with a thin layer of paint with low opacity. With a wash on the other hand, WE would be trying to get the paint pigment to pool up at the edges or in folds and creases, not homogenously over the whole area. To smooth a transition between dark and light simply use a mid-tone thinned to the consistency of skimmed milk, load the brush with the paint and gently apply the filter from one side to the other. Remember, keeping the paint thin but not too watery is key. It will require a number of filters to gradually smooth out the transition, don’t be tempted to increase the opacity if you cannot see immediate results (which you shouldn’t) as this will eliminate any subtlety. We can see through (Fig 7 – 9) that the gradual smoothing of the out of the various tones is taking away any harsh lines. (Fig 10 & 11) show the further progression of the face following further filter layers as well as additional tones around the nose, lips and cheeks. The hair has also been blocked in ready for the finishing touches to the face. Moving on, (Fig 12 & 13) show the completed face, showing additional highlights, eyes, hair and five o’clock shadow. www.tommyswar.com 7
Page 1 and 2: T MMY’S WAR 1914-1918 in miniatur
Page 3 and 4: Drilling the Figure I always drill
Page 5: Painting - Palette I always use a w
Page 9 and 10: Fig 11 Fig 12 Painting - The Unifor

Tommy's War painting instructions for British World War One uniform

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