Tommy's War German Stormtrooper painting guide

Our German Stormtrooper painting guide by Alex Long shows how to paint late-war German infantry.

Our German Stormtrooper painting guide by Alex Long shows how to paint late-war German infantry.


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T MMY’S WAR<br />

1914-1918 in miniature<br />

Painters<br />

Guide<br />

www.tommyswar.com<br />

Trade Order Catalogue<br />

April 2014<br />

tommyswar.co.uk<br />

<strong>German</strong> <strong>Stormtrooper</strong>s

T MMY’S WAR<br />

TW32001<br />

Painters Guide<br />

1914-1918 in miniature<br />

Foreword<br />

For this <strong>painting</strong> <strong>guide</strong> I wanted to focus more on<br />

the <strong>German</strong> Infantry uniform & equipment and<br />

weathering, as preparation and flesh <strong>painting</strong> have<br />

already been covered in my first <strong>guide</strong> to <strong>painting</strong><br />

TW32001.<br />

So with that in mind this <strong>guide</strong> will begin with the<br />

figure(s) already assembled, primed in black, with the<br />

face(s) and hands completed, and the initial rough<br />

layer of uniform basecoat informing the main areas of<br />

highlight, as can be seen in fig1<br />

2<br />

Fig 1<br />


Painting - Uniform colour choices<br />

As always the wet palette is my preferred way to<br />

work, fig2 shows the colours for the uniform laid out<br />

on the palette with the transitions in shade already<br />

mixed in order of light to dark. I have used Vallejo<br />

Acrylics for these as their <strong>German</strong> Field Grey is a very<br />

good approximation of the original colour and easily<br />

manipulated with tonal changes to represent<br />

fading and wear. I have chosen Dark Sea Blue to<br />

darken the Field Grey, this is because it is on the<br />

green side of the blue spectrum and will not<br />

“muddy” the Field Grey, helping maintain the<br />

correct tone in the shadows. The same principle<br />

applies to the Sunny Skintone used in the highlights,<br />

as this flesh colour leans towards yellow and will not<br />

turn the highlights grey, as pure white would.<br />

Fig 3<br />

Now that the transitions are adequately blended<br />

the next stage is to return to the highlights and<br />

shadows and gradually increase the contrast again.<br />

This is achieved by again using very thin layers of all<br />

the pre-mixed uniform colours, gradually building<br />

up to the lightest light and down to the darkest dark<br />

in the areas of highest contrast. Fig4 illustrates this<br />

process, we can also see in the later of these images<br />

that the belts and ammo pouches have been basecoated<br />

in burnt umber.<br />

Fig 2<br />

Painting - Uniform and Equipment<br />

As the figure is already black I have chosen to begin<br />

with the 2nd highlight in thin layers fig1 to provide<br />

contrast before moving on to the 3rd highlight fig3<br />

applied in a more textured fashion.<br />

The harsh transitions between dark and light are<br />

now blended out by applying thin filtered layers of<br />

the mid-tone uniform colour, these should be quite<br />

thin and built up in layers being mindful to allow<br />

each previous layer to thoroughly dry before<br />

progressing to the next fig4.<br />

Fig 4<br />

www.tommyswar.com<br />


TIP<br />

Filtering colour in thin glazes should be<br />

done with the side of the brush not the<br />

tip. The key here is always to keep the<br />

layers thin.<br />

As the colour pigment is suspended in<br />

medium and thinned with water, more<br />

colour will settle in the area of the final<br />

sweep of the brush, therefore highlights<br />

should be glazed towards the lightest<br />

point and shadows towards the darkest<br />

point. If you feel the contrast is too high,<br />

then filter over the entire area with the<br />

mid-tone.<br />

Fig 2<br />

Fig 1<br />

4<br />


Painting - Palette<br />

I always use a wet palette for <strong>painting</strong>, simply<br />

because it keeps the paint workable for longer,<br />

enabling the painter to come back to his work<br />

without having to re-mix paint. In the photo right<br />

we see the palette with a selection of colours used.<br />

I lay the paints out beforehand and pre-mix all the<br />

colour transitions ready on the palette. Below I have<br />

listed all the colours used, all coming from the<br />

Vallejo range of acrylics:<br />

Fig 3<br />

Flesh<br />

70.951<br />

70.928<br />

70.860<br />

70.804<br />

70.814<br />

70.859<br />

White<br />

Light Flesh<br />

Medium<br />

Flesh<br />

Beige red<br />

Burnt Red<br />

Black Red<br />

Uniform<br />

70.830<br />

70.898<br />

70.950<br />

70.845<br />

The colour transitions for each<br />

area of the figure are mixed on<br />

the wet palette from dark to light,<br />

additional tones are created by<br />

adding more volume of either<br />

warm or cold colours.<br />

<strong>German</strong> Field<br />

Grey<br />

Dark Sea<br />

Blue<br />

Black<br />

Sunny<br />

Skin tone<br />

Equipment & Gewehr 98<br />

70.941<br />

70.821<br />

70.950<br />

70.856<br />

70.845<br />

70.823<br />

Burnt Umber<br />

Weathering<br />

<strong>German</strong><br />

Camo Beige<br />

Black<br />

Ochre<br />

Brown<br />

Sunny<br />

Skin tone<br />

Luftwaffe<br />

Camo Green<br />

70.983<br />

70.950<br />

70.856<br />

70.928<br />

Flat Earth<br />

Black<br />

Ochre<br />

Brown<br />

Light Flesh<br />

Colours are referenced from the Vallejo acrylics range. The <strong>guide</strong> indicates the major parts of the figure only:<br />

The <strong>painting</strong> reference should be used as a <strong>guide</strong> only. It is recommended that you test the colours before applying<br />

to the figure.<br />

www.tommyswar.com<br />


Fig 5<br />

Fig 6<br />

Fig 8<br />

Fig 7<br />

6<br />


Fig 11 Fig 12<br />

Painting - The Uniform and Equipment<br />

( Continued )<br />

The burnt umber is highlighted with Sunny Skintone<br />

and focus is put on the edges of all the leatherwork,<br />

this will help give definition to the straps and<br />

pouches and help them stand out against the<br />

uniform, it is also the area which is likely to receive<br />

the most wear. A very dark red (almost black) is then<br />

washed over the leather areas and allowed to settle<br />

in the creases to further define the details. Fig5<br />

shows the development of the leatherwork.<br />

The canvas bag is painted with <strong>German</strong> camo beige,<br />

darkened with black and highlighted with light<br />

flesh.<br />

Fig 9<br />

To achieve a simple woodgrain effect for the Gewehr,<br />

it has first been painted brown umber and then a<br />

grain pattern applied using sunny skintone fig 6.<br />

This looks very harsh to begin with but with a few<br />

thin glazes of a red brown it is made much more<br />

subtle fig 7.<br />

For the tortoise shell camo pattern on the helmet, it<br />

has first been base coated in Ochre Brown, following<br />

this a rough pattern has been painted in with black<br />

fig 8, the resulting segments are then painted in<br />

with a darkened brown umber and Luftwaffe green<br />

fig 9. In addition, the water bottle has been painted<br />

with Ochre Brown, using sunny skintone to highlight<br />

and a dark burnt umber to shade. Gasmask case<br />

is painted in field grey, using the same mix as the<br />

uniform. All metallics have been painted using either<br />

gunmetal or brass as appropriate and washed over<br />

with thin black filters.<br />

Painting - Final details and weathering<br />

With the figure approaching completion it’s time to<br />

add some final details and weathering for a more<br />

authentic look. I began with thin applications of a<br />

flat earth/black mix using a dabbing/stippling action<br />

with the brush, progressively lightening this mix by<br />

adding more flat earth. Small dots and spatters are<br />

added with the tip of the brush, along with changes<br />

in tone created by adding ochre brown and using<br />

a grey/white mix to represent chalky earth marks.<br />

Metal chip marks are applied to the helmet using<br />

a finely sharpened pencil. The Gewehr and leather<br />

straps have also been given a wash with a brown/<br />

orange filter diluted with a touch of satin varnish to<br />

help provide a different texture. See fig 10<br />

Fig 10<br />

www.tommyswar.com<br />


This series is commissioned by<br />

Tommy’s <strong>War</strong> Limited<br />

Figure sculpted by Nino Pizzichemi, box art by Alex Long<br />

T MMY’S WAR<br />

1914-1918 in miniature<br />


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