Tommy's War German Stormtrooper painting guide

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

T MMY’S WAR

1914-1918 in miniature

Painters

Guide

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Trade Order Catalogue

April 2014

tommyswar.co.uk

German Stormtroopers


T MMY’S WAR

TW32001

Painters Guide

1914-1918 in miniature

Foreword

For this painting guide I wanted to focus more on

the German Infantry uniform & equipment and

weathering, as preparation and flesh painting have

already been covered in my first guide to painting

TW32001.

So with that in mind this guide will begin with the

figure(s) already assembled, primed in black, with the

face(s) and hands completed, and the initial rough

layer of uniform basecoat informing the main areas of

highlight, as can be seen in fig1

2

Fig 1

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Painting - Uniform colour choices

As always the wet palette is my preferred way to

work, fig2 shows the colours for the uniform laid out

on the palette with the transitions in shade already

mixed in order of light to dark. I have used Vallejo

Acrylics for these as their German Field Grey is a very

good approximation of the original colour and easily

manipulated with tonal changes to represent

fading and wear. I have chosen Dark Sea Blue to

darken the Field Grey, this is because it is on the

green side of the blue spectrum and will not

“muddy” the Field Grey, helping maintain the

correct tone in the shadows. The same principle

applies to the Sunny Skintone used in the highlights,

as this flesh colour leans towards yellow and will not

turn the highlights grey, as pure white would.

Fig 3

Now that the transitions are adequately blended

the next stage is to return to the highlights and

shadows and gradually increase the contrast again.

This is achieved by again using very thin layers of all

the pre-mixed uniform colours, gradually building

up to the lightest light and down to the darkest dark

in the areas of highest contrast. Fig4 illustrates this

process, we can also see in the later of these images

that the belts and ammo pouches have been basecoated

in burnt umber.

Fig 2

Painting - Uniform and Equipment

As the figure is already black I have chosen to begin

with the 2nd highlight in thin layers fig1 to provide

contrast before moving on to the 3rd highlight fig3

applied in a more textured fashion.

The harsh transitions between dark and light are

now blended out by applying thin filtered layers of

the mid-tone uniform colour, these should be quite

thin and built up in layers being mindful to allow

each previous layer to thoroughly dry before

progressing to the next fig4.

Fig 4

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3


TIP

Filtering colour in thin glazes should be

done with the side of the brush not the

tip. The key here is always to keep the

layers thin.

As the colour pigment is suspended in

medium and thinned with water, more

colour will settle in the area of the final

sweep of the brush, therefore highlights

should be glazed towards the lightest

point and shadows towards the darkest

point. If you feel the contrast is too high,

then filter over the entire area with the

mid-tone.

Fig 2

Fig 1

4

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Painting - Palette

I always use a wet palette for painting, simply

because it keeps the paint workable for longer,

enabling the painter to come back to his work

without having to re-mix paint. In the photo right

we see the palette with a selection of colours used.

I lay the paints out beforehand and pre-mix all the

colour transitions ready on the palette. Below I have

listed all the colours used, all coming from the

Vallejo range of acrylics:

Fig 3

Flesh

70.951

70.928

70.860

70.804

70.814

70.859

White

Light Flesh

Medium

Flesh

Beige red

Burnt Red

Black Red

Uniform

70.830

70.898

70.950

70.845

The colour transitions for each

area of the figure are mixed on

the wet palette from dark to light,

additional tones are created by

adding more volume of either

warm or cold colours.

German Field

Grey

Dark Sea

Blue

Black

Sunny

Skin tone

Equipment & Gewehr 98

70.941

70.821

70.950

70.856

70.845

70.823

Burnt Umber

Weathering

German

Camo Beige

Black

Ochre

Brown

Sunny

Skin tone

Luftwaffe

Camo Green

70.983

70.950

70.856

70.928

Flat Earth

Black

Ochre

Brown

Light Flesh

Colours are referenced from the Vallejo acrylics range. The guide indicates the major parts of the figure only:

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

to the figure.

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5


Fig 5

Fig 6

Fig 8

Fig 7

6

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Fig 11 Fig 12

Painting - The Uniform and Equipment

( Continued )

The burnt umber is highlighted with Sunny Skintone

and focus is put on the edges of all the leatherwork,

this will help give definition to the straps and

pouches and help them stand out against the

uniform, it is also the area which is likely to receive

the most wear. A very dark red (almost black) is then

washed over the leather areas and allowed to settle

in the creases to further define the details. Fig5

shows the development of the leatherwork.

The canvas bag is painted with German camo beige,

darkened with black and highlighted with light

flesh.

Fig 9

To achieve a simple woodgrain effect for the Gewehr,

it has first been painted brown umber and then a

grain pattern applied using sunny skintone fig 6.

This looks very harsh to begin with but with a few

thin glazes of a red brown it is made much more

subtle fig 7.

For the tortoise shell camo pattern on the helmet, it

has first been base coated in Ochre Brown, following

this a rough pattern has been painted in with black

fig 8, the resulting segments are then painted in

with a darkened brown umber and Luftwaffe green

fig 9. In addition, the water bottle has been painted

with Ochre Brown, using sunny skintone to highlight

and a dark burnt umber to shade. Gasmask case

is painted in field grey, using the same mix as the

uniform. All metallics have been painted using either

gunmetal or brass as appropriate and washed over

with thin black filters.

Painting - Final details and weathering

With the figure approaching completion it’s time to

add some final details and weathering for a more

authentic look. I began with thin applications of a

flat earth/black mix using a dabbing/stippling action

with the brush, progressively lightening this mix by

adding more flat earth. Small dots and spatters are

added with the tip of the brush, along with changes

in tone created by adding ochre brown and using

a grey/white mix to represent chalky earth marks.

Metal chip marks are applied to the helmet using

a finely sharpened pencil. The Gewehr and leather

straps have also been given a wash with a brown/

orange filter diluted with a touch of satin varnish to

help provide a different texture. See fig 10

Fig 10

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79


This series is commissioned by

Tommy’s War Limited

Figure sculpted by Nino Pizzichemi, box art by Alex Long

T MMY’S WAR

1914-1918 in miniature

www.tommyswar.com

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