IHA Mag 001 201707

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CONTRIBUTORS
Marion Ball needs no Matt Wellhouser Maria Alberta Iaia is a Sergey Popovichenko David Powell is an Ben Curry is a figure Paul Homer is agood
introduction, a Grand hails from sunny prolific figure painter is a Russian Artist incredibly talented painter whose friend, hobbyist
Master and winner California with from Rome whose whose style is and humble artist development has and rookie painter
of so many medals a penchant for subjects of interest instantly recognisable from Los Angeles been astounding! who in a short time
it would be easier military subjects are varied, in this for its gritty In a series aimed at Here he paints for has developed
to list those she has and was happy issue she provides realism and brutal covering the BASICS us Nuts Planets somewhat of a
not won. We sat for a to provide the a glimpse into her characterisation! A he explains his process Saladin bust, the obsession with all
chat and she showed explanation behind process for painting box art producer for for painting the most best painted version things Latorre and
us a glimpse into his paint job on this a beautiful bust of a several, high quality, important part of any I have seen in my here provides us
her hobby life with iconic Stormtrooper somewhat flawed figure companies kit, the face! opinion. Ben leaves with an expose on
her equally talented bust figure and cult hero, specialising in no stone unturned the legendary Raul
husband Alan Lawrence historical pieces in this account Garcia Latorre!
2 The Illustrated Historical Figure Artist 07.2017

WELCOME
ARTIST
H
End
orse
Pega d by
Mod so
els ere at The
WWW. FIGUREMENTORS.COM Illustrated
Historical Artist,
We believe that the moment any artist
we really wanted to
create something
decides that they wish to improve then they
that went beyond a coffee table
Art book or magazine. We
are embarking on a journey
CREATING BEAUTIFUL ART TOGETHER...
wanted to create something both
inspirational and aspirational. techniques and just as importantly full of learning, practice, successes
We approached the magazine why you do X over Y. but more importantly failures. Its
design in such a way that its Inside this first issue you will remembering this concept; it will
content should be useful to find in-depth articles by Sergey give you the newfound belief in
painters of all standards. Not only Popovichenko, Matt Wellhouser, what you are doing, its a journey
that but we hope that the quality David Powell and more. In we all hope to share together,
of its design and layout makes this addition we present an insightful through the website and here.
a must have collectible magazine conversation with one of the true
for anyone with an historical legends of our little world, Marion Quality and depth
interest, so that over time it will Ball and a fellow hobbyist Paul We sincerely hope you will enjoy
become an invaluable resource. Homer provides a knowledgable todays read and come back for
tribute to Raul Garcia Latorre. more when we release the next
Why, How in addition to What We hope you will thoroughly issue. We will endeavour to offer
This initial release, as you enjoy this our first offering and a competitive price, a price that
have just found out, was FREE support us going forward, helping reflects the quality and depth of
to download! We made the us to truly create a modelling our new magazine. In many ways
decision to do this so that you, magazine for modellers by the love of fantasy along with the
the discerning hobbyist/Artist modellers. As you will see we have influx of the war gamer, Games
could see for yourself, without also encouraged our readers to Workshop and the incredible
having to make the leap in faith send in their finished historical Golden Demon competitions
and purchase a new product, the projects for inclusion in our made the Fantasy genre the most
quality and depth of our content. Readers Gallery, it will be really attractive for many painters
To decide for yourself what is interesting to see development in around the World.
Figurementors possible with The Illustrated our readers style and skill over We hope that showcasing some
team are: Historical Artist. time. Just like our figurementors. of the greatest talents, presenting
David Powell We believe its important that com site, we aim to continue the and challenging new techniques
Dmitry Fesechko our collaborating Artists provide theme that surrounds the fable of and lifting the lid on the Historical
Jay Martin the Whys and Hows to what The Journey. It is an underlying genre we can breathe new life into
Kristian Simonsen they did in addition to What tenet to all that we do, both in this rich, historical tapestry.
Kyle Kolbe they did. This means that rather the magazine and on the site. Thanks for being here!
Nils Holmbergh than just being told What to We believe that the moment any Lets go!
Steve Bodycomb do, you will develop your own Modeller/Painter decides that they
Steve Cornish skill set through understanding wish to improve then they are
and learning how to replicate embarking on a journey, a journey Jay
07.2017 The Illustrated Historical Figure Artist 3

V
TAKE
This issues Cover Story sees
Sergey Popovichenko
putting oil on water-based
paint to create calming
effects on Romeo Models
Roman Commander,
sculpted by Viktor Konnov

Cover story Roman Centurion Painted by Sergey Popovichenko
BRIEF HISTORICAL DIGRESSION
T
he Roman Centurion is very high. Near Dyrrhachium there
one of the most striking were some 960 soldiers and 32
and impressive figures of Centurions killed; near Pharsalia
ancient history. Dont try to find any 290 soldiers and 30 centurions,
compassion in these people, War does i.e. half of all the centurions of a
not cultivate a gentleness of manners legion, if not more, and a quarter of
and wars of those times even more soldiers therein. Before a battle for
so. Absolute power over the defeated Pharsalia,the old Centurion Kristin
enemy gave the winner plenty of said goodbye to Caesar with the
scope for the fiercest of rampant and words alive or dead, but today youll
basest lusts. Its hard to remember at thank me, Emperor, because he
least one Roman commander, who knew what he was signing up to, and
acted graciously. The soldiers did not went fearlessly. After the battle near
fall behind their commanders, and the Dyrrhachium, Caesar was shown
centurions were no exception. the shield of one of the Centurions,
During a merciless massacre, which Scaeva, it was pierced in one hundred
resulted in the seizing of Avarice, and twenty places.
the soldiers were indiscriminately
murdering children, women, and Cruel and greedy people
the elderly anyone who caught The case when the centurion declined
the eye and tucked under the arm, to participate in the battle under the
of course, the centurions, were not pretext of a camp protection, firmly
just simple spectators. The atrocious stuck in the mind of the Roman
Caesars command cut off the people as something out of the
hands of all Ukseladun defenders ordinary. Yet the Romans expected
was undoubtedly executed under not only personal courage from a
the supervision of centurions, and centurion, even a simple soldier
probably with their participation. To could fight in epic battles. However,
the credit of the fighting centurions of a centurion was not just a soldier
Caesar, it should be noted that murder but a leader which was supposed
committed not in the battle, did not sit to be clever and rational enough,
comfortably upon their shoulders. able to order and plan how to harm
the enemy more but to lose less. He
Reckless daredevil was obliged to have a clear head
Once during a seemingly friendly in combat situations, immediately
meeting, one such Centurion was taking into account all the changes,
supposed to kill one of the most benefit from enemies misses and
tenacious and evasive of Caesars straightaway rush for help. He needed
enemies, Comeau, stabbing him in to be quickminded, alert, skilled in
the back, but the murderers hand making rapid and correct decisions.
trembled, probably, the author These cruel and greedy people were
notes, because such an unusual task rather ambitious and envious.
touched him. Sometimes in the rush The rivalry between Titus Pullo
of a battle, the centurion could lose and Lucius Vorenus had been
his head and turn from a rational entertaining Gallic legions of Caesar
and prudent chief into a reckless for a long time. The Centurion had
daredevil, who, being headless, not neither education nor a broad mind;
only led himself but also his soldiers his thoughts usually did not fly
to a certain death. beyond the moat the soldiers had
Fabius for instance climbed the created around their camp. The
scary walls of Gergovia, he did not Centurions from the 1st century
realise a definite and senseless death BC, contemporaries of Varro and
cavorted before him. Centurion Lucretius, Catullus and Cicero
sometimes happened to be reckless knew nothing about the intellectual
in his courage and perfectly brave as trends and cultural values of that
usual. Caesar, noting the loss of his time. Herennius, who brutally killed
troops, almost always allocated losses Cicero, had no idea what his hand
of the centurions: they were invariably was laid on.
Pic 3
INTRODUCTION
I had painted this figure some time ago, and you
could see it on the Internet however, the photos of
the process had been kept waiting for the occasion
until my friend Jay Martin offered to write an
article for his magazine.
What can be said about the figure? It is beautiful
and one of my favourites. The sculptor Viktor
Konnov created an impressive and remarkable
image of the Roman commander and the 90 mm
figure size allowed me to work out every detail of
the equipment perfectly. The figure is manufactured
by Romeo Models. I would say, the Centurion
might well be considered a classic of military
historical miniatures.
PREPARATION
As a rule, the moulding by Romeo is of an
excellent quality and the figure requires
minimal preparation. However, this step is
required if you want to achieve the best
possible result.
To remove moulding seams I use needle
files, a knife with a replaceable blade, and
fine-grained sandpaper. The figure surface
is smoothed out with a round synthetic
brush, clamped in a holder of a high-speed
mini-drill. To make the fit of the figure parts
perfect and secure I use metal pins at the joins
Pic 1
(Pic 1).
For the following painting of such a figure, it is
convenient to leave the arm with the shield not
glued and do it at the final stage. Before priming
it is necessary to degrease the surface and I do
this with the help of white spirit. I fitted the figure
parts with two component Poxipol, but you can
use any kind of glue. It has easy-to-use paste-
like consistency and becomes stiff in a matter of
minutes. It takes not much but enough time to
adjust the parts correctly. I prime the figures using
matt grey primer spray Champion (Pics 2-5).
Pic 2 Pic 4 Pic 5

Pic 6 Pic 7 Pic 8

Pic 9
I PAINTING repetitive symmetric elements
Viktor Konnov has created require precision and considerable
a remarkable image of a Roman periods of time. I began with Its
centurion. He looks confident, making a schematic marking
calm and gloomy. His posture (Pics 9-11). Next, I mapped out always a
seems to have come out of the the general shape, sizing and
battle with victory. So it is perfect positioning of the feathers on the pleasure Pic 10
for my favourite style of painting. wings with a lighter mixture and
I will use muted shades, add dirt, illuminated other elements. to paint
scratches on the shield, and of The shades on the emblem I
course the obligatory application worked out with a great amount a Roman
of blood. of black paint (Pic 12). When the
Paints used: acrylic and metallic emblem was ready, I made zones shield
acrylic Maimeri Polycolor (Italy); along the edging and umbo
oil paints Masterclass (Russia). even darker. With a very
dark tincture of a base
II SHIELD
This time I decided to begin
layer using a piece of
polyurethane foam,
with a shield painting. It is painted I add some texture Pic 11
throughout with acrylics. and rubbing
Having applied a base layer marks right upon
(Pic 6), I illuminated the the surface of the
upper part of the shield; I also pattern.
highlighted the vertical bars on Base (acrylics):
the inward surface (Pics 7, 8). It Burnt Sienna + Red + a
was achieved with a light shade small amount of White and Pic 12
of a base layer. I did it in strokes Black.
using an old brush and a piece of Highlights: Base mix + more
polyurethane foam. I wanted to White.
make the shield dimensional and Shadows(acrylics): Base mix +
worn. more Black.
I used the same technique to Preliminary marking: Burnt
make some parts darker. I tried Sienna + more Black.
to focus them in the upper part of Working out and illumination:
the shield, along the edges and in Yellow chre + White.
an umbo zone The umbo is covered with an
After the emblem on the acrylic mixture of Silver + Black.
shield is painted, I will be able to Darkening was done with black
work out final marks of dirt and oil paint, and illumination with
emphasise the dimension/volume. pure silver acrylic (Pic 13). The
Then I did the painting itself. shield trimming was painted with
It is always a pleasure for me to Bronze acrylic, the rivets and
paint a Roman shield. However, edges of the lines in Gold. Pic 13

All flakes
of the
jambart
were
outlined
with pure
Pic 15 gold
Pic 14
III ARMOUR
Painting on metal, I try to
achieve maximum contrast and
tonal gradients on surfaces, from
maximum light to maximum
dark hue. Thus I emphasised
deepening (contouring) as well Pic 16
Pic 17
as highlighted all the edges of
the armour or weapons (edging).
Painting a helm I used acrylic
and oil paints. Paint strokes in
The base is done in acrylic
Maimeri Policolorsilver + a bit relevant zones
of black (Pics 14,15). Then I
continued with oil Pic 18 were stumped
paints.
The most with a dry brush
darkened zones
were done with
strokes of a
paintbrush and
stumped with a
dry brush (Pic 16). Pic 19
Such detailed items
as decorations and
scabbards were cast Pic 20
with black oil paint mixed with
white spirit. Then I highlighted
shaped parts with pure silver
(Pic 17).
The base layer of a coat of
mail was done with an acrylic
mixture Sienna Raw + Black. The Pic 21
base layer of a jambart is golden
acrylic (Pic 18, 19). Pic 22
The greaves were worked out The base layer of Pteriges is
with oil paints. The mixture for acrylic White+ Burnt Umber +
shadows is Black + Mars Brown Black (Photo28). Illumination
applied in the same technique is achieved with a base mixture
as that used for the helm. Paint + a great amount of white paint
strokes in relevant zones were (Pics 22, 23). The fringe on the
stumped with a dry brush (Pic Pteriges is contrast-enhanced
20). All flakes of the jambart were with mixture Yellow Ochre +
outlined with pure gold (Pic 21). White. Pic 23

IV TABARD
I painted the Centurions It will make the tabard more
tabard using the glazing technique
mostly using acrylic. I brushed on vivid and imitate a dirtier and
semi-transparent layers of paint one
by one to achieve desired deepness worn look.
of each shade. There were applied
finger-tip brush strokes to imitate
the rough texture of the fabric.
The main paint mixtures and
techniques are as follows
(Pics 24 - 28)
Base (acrylics): Black + White + a
small amount of Raw Sienna.
Shadows (acrylics): Black + Raw
Sienn.
Then in some zones, I deepened
shadows even more with black
acrylic paint.
Highlights 1 (acrylics): Raw
Sienna + Black + more White.
Highlights 2 (acrylics):
mix for Highlights 1 + more
Pic 24 White.
I achieved the desired
illumination in some steps
adding little portions of
Pic 25
white and filling the upper
part of the tabard with lighter
shades. Performing a final stage I
diluted Raw Sienna oil paint with
white spirit to make it very thin
and did some fillings/washes. It will
make the tabard more vivid and
imitate a dirtier and worn look.
I should note some
peculiarities of the whole
tonal gradient. There
should be more aggressive
illumination in the upper
part, while the bottom
ones should be enriched
with deeper shades. Also,
the tonal gradient is applied
Pic 26 in vertical pleats.
Pic 27 Pic 28
Pic 29 Pic 30 Pic 31

SWORD
Similarly to the armour, the sword is painted with oil (Pics 29-31). The base layer is silver acrylic. The
darkening on the downward planes and edges of the sword is done with black oil paint.

V STAND PROCESSING
The stand The figure with its initial base was glued to a
wooden stand previously protected with painters
should tape. The level difference was smoothed with filler
(Pics 32, 33). The stand should supplement and put
add to emphasis on the figure as well as to be in harmony
with it regarding their overall painting, for instance
and put the colour palette and textures. This time I decided
to imitate clods of wet dirt mixed with branches,
emphasis roots and fallen leaves.
It is not very difficult to imitate dirt. I prepared
on the the mixture of sand and PVA glue. It is necessary
to consider the proper ratio to keep crumb-like
figure structure and prevent it from becoming shapeless.
There could be added a bit of brown paint or
earthy pigment, leaves (imitation products), grass
for modelling, and tiny roots.
This mixture I applied on the stand trying to
make it as dimensional as possible. I soiled the
tabard, sword and feet of the figure. I added dead
leaves and a few blades of grass to the shield
and tabard (Pics 34, 35). The clods of dirt were
illuminated with sand acrylic using the dry
brush technique. Before the dirt became stiff, I
pressed upon it some lengths of debris such as
roots and branches (Pics 36, 37). At the final stage,
I darkened the hollows filling them with highly
diluted black acrylic. After the dirt became
stiff (to hasten this a hairdryer can be
useful), I made a thick layer of high-
Pic 33 gloss acrylic lacquer.
The work is completed. Now, it is
time to remove painters tape from
the stand and enjoy the results of
your own work.
CONCLUSION
Pic 34 I have tried to describe the main stages
of the figure painting, although I only feel
some nuances and apply them, and they might have
remained unmentioned. The most important thing
as an Artist and a connoisseur of military-historical
miniatures is to remember neither a thick book
on the painting will replace the many hours of
personal practice and experience. Try, experiment,
Pic 35 create!
Pic 36
Pic 37
Pic 32

It is
beautiful
and one
of my
favourites.

I would
say, the
Centurion
might
well be
considered
a classic
of military
historical
miniatures

A perfect
Storm
Matt Wellhousers
interpretation of German
Stormtrooper by Andrea
Miniatures in No-Mans Land
on the Western Front during
the First World War. Through
his brushwork he tells the story
of a worn-out soldiers journey
through the mud; always ready
for a gas attack.

Step by step German Stormtrooper Painted by Matt Wellhouser
No Mans Land
The Abode of Madness
The quote pretty much sums up helmet was a little soft- the liner
trench warfare in the First World rivets on the outside were not
War. It was brutal- cold, hot, wet, clearly defined, so I made new
dirty and everything in between. ones out of plastic rod. I also
Andreas bust of the WW1 Storm rebuilt the lower edge of the
trooper has been on the market helmet- it is a rounded bead edge.
for a while and is moulded in This was done by using a hobby
white metal and resin. I have only knife, sand paper and files.
done three other WW1 figures, all The gas mask was temporarily
of a smaller scale. I was contacted fitted with a mock-up of the gas
by a collector who wanted me to mask can. I used measurements
paint this kit. The process took a from an original example to
few months to complete- partly determine to scale dimensions
because I have other projects, and cut a rough blank with
and partly because I work very acrylic rod. I used blue tack to
slowly. The collector had a bunch hold the sample can in position
of great ideas on how to display and I coloured it with magic
and finish this piece. We worked marker so it would be seen clearly.
together and the modifications he This allowed me to see how the
suggested worked beautifully. position would fit with the mask
Andreas kit consists of 5 parts and experiment with different
although the bust itself is one locations. Once we (the collector
piece sculpted with the head, with and I) were satisfied with the
smaller helmet detail parts being layout and position, I started to
metal as well as the gas mask. As work on the final product.
this piece was a commission, the I used Evergreen styrene rod,
collector wanted to display it with sheet and tube to make the basic
the gas mask carrier (can) slung can. Using the original to copy
across the front of the bust. We the details, I added the ribs at the
also decided to leave the helmet centre and bottom of the can.
strap unfastened. Then I made the top by slicing rubbing some ground up pencil
Work commenced with cleanup a short section of the tube and lead (graphite) on the edges of the
of the figure. I found that the adding a sheet plastic top. The can, and filters of the base colour
detail on the hinges were made from lead The lightened with yellow ochre oil
foil and the latch from paint.
brass wire. process The carry strap for the can was
I painted fashioned from Kneadatite Green
the can with took a few Stuff . I rolled it out with a scrap
Gunze piece of brass tubing. I added
German months to texture to the strap by rolling
Field the knurled part of a Xacto knife
Grey complete- over the semi-hardened putty.
paint Green Stuff is more rubbery
and partly than standard A&B putty. This
scuffs allowed me to position the strap
and because and can into place without the
scratches strap breaking off. Later when the
were I work can was positioned after the bust
replicated was painted; I drilled a hole in the
with Vallejo slowly figure along with a corresponding
SS Camouflage hole to the can so I could use a
Black Brown. short section of brass wire to hold
A final touch was it in place.

Step by step German Stormtroacxoper Painted by Matt Wellhouser
Now that I had the can completed,

I could commence painting
the bust (sounds a little twisted
right?). First the bust was primed.
I like to use Tamiya primer in the
spray can, which is great stuff.
Since the head is sculpted to the
torso as a single piece, I started
with the face. I wanted a weary
look, but also a look that shows
the soldier was outside in the
elements. Unless noted, all of the
colours are Vallejo Model Color.
First things first, I painted the
eyes, I always do this first when
tackling a face it helps me to
develop the look right from the
off. I start with an off-white colour
for the basic eyeball- usually Basic
Skintone with Off White added,
not too much white or he will
look pop-eyed.
Then I add the cornea- coloured
part of the eye, starting with black
I then add a blue in a medium
tone, as the edge of the cornea has
a darker tone. As I work towards
the centre I gradually add a lighter
colour until I am happy and then
finally black for the pupil. Keep
the paint thin so its easy to work
with but not so thin that it pools each coat is thin - 80% water and Uniform. Most of it cant be seen
or disperses across the whole I add more water as I reach a because the helmet covers a lot
eyeball. I edge the eye with a bit lighter shade. Before I hit my final of the area, but when handled or
of Cadmium Red and Old Rose to highlight, I start on the shadows, studied closely all of these little
simulate the fleshy part of the eye. by adding Burnt Cadmium Red to touches adds a great deal to the
the base colour. finished project.
Plenty of Art books Working with acrylics means
When I am done I coat the eyes you constantly go back and forth As the Push the narrative
with Future floor polish. On and add mid tones, highlights, The lips are a combination of
this figure I added a very small shadows, to cover the transitions story I Burnt Cadmium Red and Basic
amount of diluted flat red flowed as they do not blend like oil Skin tone, you can shade and
into the eye as a wash to give him colours, you have to create a wished lighten these as you see fit, or
a bloodshot eye effect. One great transition area between shadows, add striations and textures for
way to teach yourself to paint eyes highlights and base colours with a to tell chapped lips etc. I constantly go
is to study drawings of eyes, there light mid tone that disguises any back and check for areas that
is a plethora of suitable images border between the shades. I was of a need improvement or touch up.
online perfect for reference and add black to the Burnt Cadmium As the story I wished to tell
plenty of Art books and such Red to create the deepest shadows, soldier was of a soldier facing a gas
like Pick a few and study the these are usually under the chin, attack, he had his gas mask out,
placement of the cornea, the under the brow and under the a facing and at the ready. I wanted to
size and shape. My basic mix nose. A lighter shadow with push that narrative further and
is all Vallejo paint: Brown Sand black mixed in yet heavily diluted a gas suggest maybe he suffered a
Base, Basic Skintone, and Burnt simulates the five oclock shadow. short exposure, I decided to add
Cadmium Red. The face is base The hair and eyebrows were a mix attack more Burnt Cadmium Red to the
coated with Brown Sand and then of English Uniform and Black. areas under the eyes to give him
highlights are added. I add small I did streak the hair in a few a wearier bloodshot eye, to hint
amounts of Basic Skintone to the spots with German Camouflage at the irritation caused in early
base and bring up the highlights, Black Brown mixed with English stages of exposure.

Step by step German Stormtrooper Painted by Matt Wellhouser
Progressing to the helmet, I

painted the base colour a medium
green tone and I used a variety
of colours here - Russian Green,
Olive Green and Olive Grey. I
added a bit of Sunny Skin tone
to highlight the base colour. The
reddish area is a mix of Leather
Brown and Red Leather whilst the
yellow area comprises German
Yellow, Green Brown and Yellow
Ochre. These were applied using
pictures of WW1 helmets as
reference to get an idea on the
geometric design. The border of
the colours is Flat Black.
Once dry the helmet was
given a wash of Burnt Umber
and black oil paints, of which
most was wiped off, leaving a
filter. Then German Camo
Black Brown was used
to simulate scratches
and scuffs upon the
helmets surface. I
concentrated on
areas that would
receive most wear
and tear, details and
observations like
this really add to the
realism of the finished
piece. Finally the edges
of the helmet were given
some scuffs with a silver
Artists pencil and ground
up graphite and a dusting with
some various MIG Pigments
finished it off. The helmet strap and Vermillion was added for was painted German Field Grey
was scratch built from lead sheet
and plastic card.
a highlight. The edges of the
shoulder boards are a light blue
I usually and the straps for the gasmask
and can were painted from a
Additional sheen
I mixed from blue, white and
black and finally the buttons were
dont add mix of Khaki and Olive Green,
highlighted with straight Khaki.
The tunic was a straight forward
affair, it was painted a mix of
painted a mix of Citadel Dwarf
Bronze and Boltgun Silver.
so much The gasmask and its container
were glued to the chest of the
German Field Grey and Neutral
Grey. I added black to the mix for
The gasmask was base coated
with English Uniform and
mud and bust and at this point I added
pigments and my homebrew
shadows and Sunny skin tone and
Field Grey for the highlights, with
German Camo Medium Brown,
with highlights of Base plus Sunny
dirt, but mix of mud/pigments mixed with
acrylic gel matte medium to the
more Sunny Skin tone added for
the highest points of light. The
Skintone. The lenses were base
coated with a mix of Green Brown
I took a model.
I usually dont add so much
piping on the tunic and numbers
on the shoulder boards is red, to
and Sand Yellow with a little more
Sand Yellow added for highlights.
chance mud and dirt, but I took a chance
and I think it paid off.
achieve a nice even red tone, the
piping areas were undercoated
Then I coated the lenses
with Future floor polish to add
and I Last of all I mounted the bust
on a lathe turned aluminum
with Flat White, followed by
the red. In some areas I added
additional sheen. I improvised
some small scale ships rigging to
think it rod which was fitted to a lovely
walnut base, the colour of which
some Burnt Cadmium Red to
create a darker shadow colour
the mask for the string you often
see attached. The filter portion
paid off added extra contrast to the bust
and its colour scheme.

Step by step German Stormtroacxoper Painted by Matt Wellhouser
This was a
great project - a
collaboration
between myself
and the collector. It
is also a great kit to
hone your painting
skills - a small parts
count and simple
color scheme

Ship to
SHORE
In our first Grand Masters
conversations Jay Martin
talks with multi-awarding
winning artist Marion Ball
...with occasional further
musings from her equally
talented husband Alan

Step by step Interview: Grand Masters Jay Martin in conversation with Marion Ball (with occasional musings from husband Alan)
I never had
the slightest
idea that
these little
men really
existed
I believe youre initial interest I saw on a top shelf two Poste

was building wooden ships? Militaire figures standing there
How did that progress to and I was completely hooked by
painting figures? them. I still can remember the
I built my first wooden ship excitement when I discovered
when I was sixteen and for the my dream came true. So very
next ten years I stayed with quickly I bought my first two
that. I always loved to work figures and I couldnt wait to go
with wood even when I cut my home and start to paint them.
fingers several times. What I
always wanted was to man my Can you describe some of the
ship with figures and that was advances youve seen in figure
my bridge into miniature figure kits since the days of Historex
painting. When this happened and Post Militaire?
it was more of an accident than The advances in creating figure
anything else. I was at a Placido kits the last twenty years are
Domingo concert in Vienna, insane. At my time the only real
when I discovered my first animated figures came from
figure shop ever. Poste Militaire, Phoenix, Barton
Over the years, I always and my absolute favourite ones
dreamed to have my own little from R. Almond. Beside of
army of toy soldiers, but I never them almost all figures were
had the slightest idea that these lacking movement. When you
little men really existed. When were lucky to find some in an
I was standing in this little shop action pose then they were

There is rarely a
single reason
why we choose a
subject or subjects
either having a left arm up or a detailed and pleasing as many what will follow whether its
right arm up or one foot slightly resin kits . hand sculpted or 3D printed
moved forward or bent at the Historex were many peoples (which will still depend on how
knee. The sculpting and casting first contact with the whole idea good the person wielding the
quality was sometimes poor yet of detailed kits and converting computer is).
at that time I was happy with them to a more anatomically
what I got then because I did
not know anything else. Today
The correct form, while making
use of the many detail pieces
Can you describe the creative
process shared between
for every painter not having
any modelling skills the figure
figure included was (and still can be) a
bit of an adventure.
yourself and your husband
Alan and why you choose
world is just like a big candy
store where everybody can find
world is Having said that, things have
moved on, and what these two
particular subjects?
This question I better let Alan
his goodies. The companies
raised the quality and variety
just like a firms in particular introduced
has now become the basis
answer for both of us.
This is going to be about
so high that there are no limits
any more.
big candy of what good figures should
be, well cast, with fine detail
generalities, because there is
rarely a single reason why we
Alan: Poste Militaire is still
something that has much to
store (though the Historex kit moulds
now are obviously showing
choose a subject or subjects
and what weighs into making
show usin the use of metals in their age). Pegaso added to all a choice to do any particular
casting, even today, not many this with the introduction of a subject often varies. For
metal kits use metals which great feel for anatomy and pose instance period doesnt play
are as flexible as those used by (the heroic style ). All of these, much of a part often, who
Post Militaire, some of their good casting, good detail and a its meant to be isnt always
kit engineering practices and feel for anatomy and pose, are important, neither is where
casting techniques were as the basis for all we have, and its set, its generally the overall

Even with single pieces there has to

be some point to doing it, otherwise
you simply have a mannequin
idea or story thats the driving essential story tight and as clear
force, whether it makes sense as possible, you dont want to
to anyone else, we normally distract from, or lose the story
are taken by some aspect of the in a mass of irrelevance (all
story being told . that irrelevance simply adds
Marion often finds paintings extra work, for no real benefit
or illustrations that spark an and may even harm the overall
interest in whats being shown; effectiveness of the project).
the execution of Lady Jane Grey Even with single pieces there
or the Cossacks letter to the has to be some point to doing
Sultan for instance, we look at it, otherwise you simply have
how we can incorporate the a mannequin, showcasing a
feeling of the story, sometimes uniform, pick something for
everything is changed bar the your rational to do a figure
story, sometimes we do it as that says something to you,
is, because it has the impact of and focus on that, rather
being based on something true. than simply just someone
Often times we have to standing there. All that makes
edit the story a bit to make the actual work of doing a
it feasible as a 3 dimensional figure or vignette a lot more
piece, you cant always get the worthwhile and fun when you
expanse of setting or mass of see it come together. What
participants you want to show makes it even more fun for me
so you need to crop it down to as the sculptor is to see how
the essentials of the story, pick Marion approaches the piece,
out whats important and why. often she will see something in
Maybe add something to the a different light and when she
important parts that make it has finished painting, it comes
clear that its only a section of as a slight surprise because she
a larger story, maybe discard has used different colours than
some of the extraneous people I was expecting... its almost
or details which dont add like looking at a different piece
anything but added backdrop, at times, even though the story
delete redundant details. The and overall effect is exactly what
important thing is to keep the we were trying for.

try those paints as well and find

out if that would work for me
or not. In the beginnings it was
really hard to figure out how to
use them properly. Sometimes
I was so frustrated that I almost
gave up because there was
nobody near me who could
have told me how to use them
correctly.
You had to try, fail and
learn and at one point where
I almost gave up the drop
fell and I finally understood
how to handle them. From
that moment on I didnt go
back anymore, or at least not
completely. I do still use oils
from time to time dependent on
my chosen effect I desire. But
the advantages of using acrylics,
not to sit in a stinky room,
waiting until finally everything
is dry, achieving matt finishes
are just some of the benefits.
However, everybody has to
work out for himself which
painting medium works for him
or her best.
I really struggle with the early

stages of painting, once Ive
figured out colour palette,
volumes etc (I often get
Which of your projects has a As you can see in the end it there in a haphazard and
special place in your heart and worked out and one year later uneducated manner) I much
why? we got married. It was like a prefer the later stages of
That was of course Cats movie story very romantic and adding details and tying it
cradle. A piece I did together exciting! This little vignette was altogether. How do you plan
with Alan. On my first trip to
an American show I went to
Everybody destiny for us and brought us
together so you can say this is
and achieve the early stages of
each project?
a museum killing some spare
time and saw an illustration
has to our most important work ever! When I start a new figure, the
first thing I focus on is getting
from Norman Rockwell. I fell
immediately in love with it and
work out Did you start painting with
Humbrol enamels and if so
all my colour information
together, choosing a proper base
thought that would make a nice
little vignette.
which what are the advantages of
Acrylic paint?
and doing the groundwork,
I do this first becauseit is
So back at home I got in
touch with Alan asking if he
painting I painted the first couple of
years with Humbrols and then
my least favourite part of the
project. Once I have done the
would sculpt those figures
for me and in exchange he
medium switched over to oils and stayed
there another couple of years
groundwork everything else
goes very easily. Assembling the
could choose one of my
figures. Surprisingly he agreed
works best before I ended up with Acrylics.
I have to admit that I was really
whole figure, getting it primed
and then starting the painting.
immediately and so we started
with this project. What I did
for them comfortable with the two latter
mediums and probably wouldnt
I always try to finish every
part of my painting session
not know at that time was that have changed to Acrylics if R. before I go to the next thing. If
he was already in love with me Latorre hadnt shown the figure you skip something thinking
and that project was his chance world what was possible with I can finish it later you could
to show me his affections. Acrylics. That was my reason to forget it. So I would say you

have to be disciplined and

getting used to your own
working rules. You cant swap
around and work a bit there and
then there. It is like in real life
you have to get organised and Many
controlled what you are doing.
people
I am increasingly concerned are always worried if something the history group are painting
the Historic genre is being from the new is coming up but in the fantasy stuff now as well
left behind by the influx of end they will adapt and accept because it is fun and you are not
Fantasy painters who had been history it. Yes it is true fantasy groups restricted to anything it is just
introduced to the hobby via are growing and getting bigger free relaxed painting.
Wargaming and in particular group are and bigger and we the history We just have to accept and
Games Workshop. It is the groups shrink further into the respect both hobby groups
driving principle behind this painting background. Yet I think it is a and share our passion. At the
new magazine, what do you normal process like everywhere moment the history group is
think needs to be done so the fantasy in the world we have to take smaller but I am convinced that
genre doesnt die out with the it and make it a part of us as in the future also fantasy people
Grand Masters? stuff too well. If we continue to show our will be interested in our part of
That is difficult to answer we work together in competitions, the hobby and try out our side. I
had this discussion already exhibitions, magazines or think as long as we have people
twenty years ago and I am sure internet along with fantasy and in the hobby who are interested
my previous generation had the history we can all go the way in both history and fantasy we
same discussion as well. People together. Many people from are not dying out so easily.

Fantasy modellers try many new ideas

and concepts that the historical genre
can learn from and experiment with
Alan: I dont see a need to what you are trying to do. I see
worry, the historic genre may be both the historical and fantasy
a niche in the hobby as a whole, modellers as part of the same
but its one that can develop. hobby, trying to do pretty much
Maybe the historical side of the same thing, to tell a story
the hobby has been stuck in a of whatever chosen situation in
slight rut for too long, I see a miniature. Either how people
lot of reasons to celebrate the (or whatever) react in (usually)
fantasy side and the fantasy extreme circumstances or as a
painters in the hobby. Fantasy simple depiction of whoever
modellers try so many new or whatever is the subject of
ideas and concepts that the the piece. Both fantasy and
historical genre can learn from Historical modellers can and in
and experiment with, whether my view should, try to see and
its painting techniques or embrace the good ideas that
ideas of how to display pieces come from either side of the
or simply how to focus on same coin.

Can you explain your principle

way of working with
acrylics?
I have a rule of thumb, which
I apply to all basics mixtures,
whether it is a face, an article
of clothing or anything
else I paint. I always begin
with the middle tone and
work up to the brighter or
highlight, like the structure of
a pyramid.
Usually four or five stages
are enough for me to get what
I want, and get to the brightest
highlights. I take a little of
the last colour to be used
and add that to blend away
any obvious lines between
the layers of colours. Later I
follow the same procedure
in the reverse sequence, and
start with the brightest shade,
whereby I make certain the
colour is kept aqueous and
very thin on the brush. I also
make four to five layers, until
I arrive at the deepest shade.
Afterwards I correct the whole
thing again, by lightening
again a little the appropriate
places since by shading
highlights were automatically
slightly darkened.
I see you like to paint figures

from 16-18th century, is
there a reason for this?
First I think this time period
was so exciting and the
costumes and uniforms were
so interesting and stunning in
their design.
I also love this time period
because of its maritime
relevance when people were
able to build those fantastic
ships and sail the whole world. I just love
Mankind in this time period
was so curious, adventurous colourful
and inventive.
They shaped our world to dresses or
what we become today and
then of course I have to admit uniforms
that I just love colourful
dresses or uniforms not that I
would walk around like that,
but to paint such figures is just
a great pleasure for me.

What influences outside Which Artists, either in figure What have been your major
of figure painting have painting or traditional, have achievements to date and
influenced you? influenced your style over what do you hope to do in the
When I was a kid I was hooked
by ancient history and I was
I gave the years?
When I attended my first
future?
Oh I think I achieved almost
reading everything I could
get my hands on. That led me
myself a World Expo in Paris I saw
the works of Mike Blank, Bill
everything in historical figure
painting that I possibly could
to archaeology and modern
history that I would have
promise Horan, Rodrigo Chacon, the
Cannone brothers and many
have achieved. I have received
Worldmaster and Grandmaster
liked to study but life decided
different for me and I chose
that more great Artists who made
a big impression on me.
awards, won medals in the
most important competitions,
another path. But my absolute
favourite icon is and always will
someday There I gave myself a
promise that someday I
being a judge in all the major
shows are just a few honours
be Michelangelo the greatest
sculptor and painter for me.
I would would paint as well as they
do. It took me a while but in
bestowed upon myself. My
most emotional experience was
Being given the talent to sculpt,
paint and build at the same time
paint as the end I think I reached my
goal.
having the honour to set down,
with Alan, a wreath at the
is just a divine gift and he was
given it. His work is so timeless
well as Sometime later also R.
Latorre was another big role
tomb of the unknown soldier in
Arlington. That was a surprise
and in life, sometimes I dream
to go back in a time capsule and
they do model for me. Just to look
at their work helped me to
from two American friends
who arranged that for us, I will
just to watch how it changed understand what makes a never ever forget that moment.
and influenced people who good figure to stand out and Thanks Joe and Norb.
shaped our world. becoming a fantastic figure. Thats the most important

thing to me to know people

around the world know my
work, love it and like to share
their time with me. There is
no better feeling then knowing
that you and your work is
admired, appreciated and
loved. Somebody told me once
at an American show that he
printed some of my work out
and hung all his favourite ones
at his office. People came by
and asking and he told them
about me and how I influenced
his own painting. I never met
this man before and when he
told me I was so surprised and
proud at the same time. To give
people joy with my work is the
biggest gift for me. I hope this
continues into my future being
connected with people, making
new friends and being a role
model and of course being able
to paint as long as possible.
How does one create a personal me it is so boring and a waste always be more work for you
style? I regularly see copies of of time. Sadly I can see so many than it is for the person whose
copies, technically good but figures in competitions now truly natural style it is, that is
lacking their own style. which look all the same. It is why you should work on your
Oh that is very tricky to answer. a bit like with the footballers own style.
To be honest I dont know.
When I started painting figures
Look tattoos, everybody thinks he
needs one as well because
Get to know and fully
understand why you are doing
I learned from looking at the
figure pictures from B. Horan,
closely everybody has one. It became a
bit of a fashion in our hobby as
something with the paint,
dont work at getting better at
M. Blank, P. Twist and tried to
figure out how to achieve the
at other well, not to make tattoos but to
paint like this guy or that guy.
copying a style, work at getting
better at what feels the right
same results. It did work in
some ways and what I learned
peoples You always can look at others
painters work, admire, try out
way to you, whether it matches
someone elses style or not.
from this, was where to put
shadows and highlights. I think
work, but some ideas and compare to your
own but you should always stay
Look closely at other peoples
work, but always with an eye
that is the most important thing
you have to know. Once you
always with your own skills.
Alan: Copying a style you
to how you would approach
the same piece, work on
have understood this you just
have to paint and paint again.
with an like is a good way to learn a
basic understanding of how
actually developing those slight
differences and understand why
Your own style is not coming
overnight it needs time and
eye to how things work, as long as you
do know why things were
theywork for you. If you have
the technical ability to passably
development. I just painted and
painted without thinking to
you would done a certain way, and you
havent simply put shadows or
copy someone elses style, you
have the technical ability to
create my style, it just happens
by itself. For example in my
approach highlights there because the
other guy did. Yet however, well
develop your own style, dont
let the fear that your style is
case if I put ten figures in line
every figure looks different
the same you copy, it will not ring exactly
true, because you are rarely
slightly different from what
you may think is the way its
in tones across the various
elements. I am never using a
piece seeing things in the same way as
the person you are mimicking.
done stop you from doing
something your way. What you
standard formula that gives me No one can mimic a style see as the way its done was
variety and makes every figure perfectly, as its not naturally once someone elses experiment
unique and interesting. I hate if your style, it may be near, but at doing something slightly
everything looks the same for its not a perfect match, so it will different.

It seems to me there is a if you have unlimited money I love your style and sense of
never ending influx of new and dont have to care. Also the emotion in your pieces, for
companies, yet the audience companies have to get better, instance little moment of
has not grown. We now have more professional as well and peace. What is the magic
more producers wanting a produce figures that everybody ingredient from a well painted
slice from a ever decreasing knows and likes. Such as piece to a project that is
pie? What is your opinion on characters from movies or series almost alive?
this and the current state of or books, they are the ones who Well thats hard to say and even
the figure painting hobby? It is the currently sell very well but it harder to realise I guess. As you
Difficult very difficult as I also leads to copyright issues, ask, and I need to come up with
said before the figure painter story, this means companies need an answer, I would probably say
has now everything he or she to work closely with other Art that it is the story, something
always wished for but that something forms and agree licences. that rings true to the viewer.
is also dangerous. You said Sometimes I personally wish If you recognise an attitude in
it yourself, more and more that rings the old good times were back, the pose, a tilt of the head or
companies showing up and when we had no internet and a little something added as an
want to have their slice. Our true to the only in magazines or mainly extra that gives that touch
hobby community is not a fast at shows we got to see the of personality to a piece. You
growing business so this means viewer companies new releases. They only do that if you yourself are
we only have a certain amount were the best times ever, was connected in a way with the
of people who can buy, our always like Christmas. Now piece that goes beyond simply
captive audience, our market if sadly this feeling has been doing a good paint job, think
you will is still relatively small. diluted quite a bit. about what you can add. Even
So everybody has to consider For me it feels now a bit like the simplest figure or bust can
carefully what he or she wants being in a forest and not seeing have something added.
to spend their money on, only the trees anymore. Maybe try making him look

In the end what counts is your satisfaction with your own work
no matter if other people like it or not, you have to like it
cold with the paint, or hot and whenever you can. Go to

sweaty: two totally different shows and make new friends
looks available for a single piece and enjoy the work of others,
simply using paint, there are get inspired and if you want
probably other ways to make a to improve ask some of your
piece yours that you can think favourite Artists for advice but
of, it takes just a little thought. never go home thinking I am
not good enough.
Finally, beyond time and In the end what counts is
practice, what nuggets of your satisfaction with your
wisdom can you give our own work no matter if other
readers, regarding their own people like it or not, you have
development and journey to to like it. As with the how
becoming a better artist? to develop your own style,
The most important advice its a case of understanding
is very simple, have fun and what you are trying to do and
passion. Dont take it too working towards that end.
seriously and turn every Understanding a technique is
brushstroke into a science more than just knowing when
project. It is a hobby for most to shadow or highlight, its
of us and it should give you a developing an understanding
good relaxing time where you of why you want or need to
can switch off from your daily shadow or highlight and where,
life and just dive into another to make whatever it is work for
world. Get proper brushes you.
and paints and then just paint Happy painting to you all!


INSIGHT
In this volume we look at one of
the giants of our hobby painter
and sculptor extraordinaire
Ral Garca Latorre

Insight Raul Garcia Latorre by Paul Horner
Paul Homer pays tribute to one of the

superstars of our hobby painter and sculptor
extraordinaire Ral Garca Latorre
There are few superstars within of doubt, how much do I write?

this hobby, those people that What should I focus on? Do
are known by just one name, be I delve into the painting side,
it a pseudonym or first name, what drove him to keep pushing
those elite few that you only and learning, where did he find
have to mention and your fellow the motivation to paint 54mm
hobbyists will instantly know to historical miniatures when small
whom you are referring: Banshee, scale fantasy miniatures were
Kirill, Bohun, Raffa, Roman, the hobby mainstay? Why the
Ben, Sang-Eon there are others, focus on a branch of the hobby
but for this fella sitting at a that is so highly competitive
computer, these are the top of the and extremely detail orientated
tree. Yet one in particular sits at caught his interest above all
the crown. From Torremolinos, others? Should I just make a list
Mlaga, Spain. Painter and of all the award winning pieces
sculptor extraordinaire. Ral he has created and painted or
Garca Latorre. the Latorre sculpted miniatures
Now you will have to bear others have used globally to
with me throughout this, as win competitions? Or should
you are about to embark on I kick off at the start of the
my first published piece of millennium with the creation
writing. I have previously written of the historical brand Latorre
one unboxing (on a Latorre Models? Maybe I focus on the
miniature) for Planet Figure, but fantasy brand Mproyec, which is
that was a quick run through of where I found my passion for
the miniature as I quite literally his sculpts or his recent work for
unboxed it! This is the first time Hera, SAGO and FER or even the
I have actually put effort into rebirth of the legendary historical
writing something that wasnt for company that bears his name?
the purpose of changes at work.
How did I end up writing this? Quintessential human touch
Well So after a few attempts, and just
After messaging Jay back and a little bit of swearing, I thought,
forth (funnily enough around why not throw a cover over it
Latorre sculpted miniatures) all, and let you the reader decide
I was asked if I would like to which parts interest you and
write a little something about let you delve more into those.
Ral Latorre for Figurementors This isnt a biography, its just
(little did I know that Jay already an overview with a little insight
had other plans for this piece into one of the giants of our little
of writing!). After agreeing hobby community.
immediately (as you will find From my research, Rals first
out, this is one of if not my introduction to the hobby, like
The early piece were painted using acrylics with just the artists favourite subjects within the many of his peers, was through
skill and some minor conversion work to the bases hobby) I had my first moment the board game HeroQuest. The

If people like Fernando Ruiz,

Alfonso Giraldes and Jaume
Ortiz Forns say you have been an
influence on them, then you can
be fairly confident in your abilities
as both painter and sculptor
number of people this one game
has bought into the hobby must
be amazing. From this single
board game, and the world it
revolved around, Ral, like a lot of
early hobby fans, took his first step
into the murky world of slapping
paint onto tiny men. He is still a
self-confessed table-top painter
and still enjoys quick painting to
get a mini ready for playing with.
So lets start with painting.
If you arent aware, Raul was
first and foremost a painter, and
one of very high regard to boot.
If people like Fernando Ruiz,
Alfonso Giraldes and Jaume
Ortiz Forns say you have been an
influence on them, then you can
be fairly confident in your abilities
as both painter and sculptor. In
his painting career he has won
Dispatch Rider from Hornet figurines
and judged numerous miniature
competitions from around the enough space for creativity silver and one bronze.
world. His best of show winning concerning light, focus and overall I imagine we are all aware
minis still hold their own today, impression, without being overly of zenithal lighting? Whereby
even though some were painted complicated or too fussy. Flat Credited you use a dark colour to base/
over 20 years ago, and it is this, areas are there for us to embellish undercoat and then a lighter
I personally believe, that sets or leave, busy areas are busy with colour over the top in the
Ral apart from the majority of enough without being fussy. direction of the light source you
his contemporaries. He uses his bringing wish to portray? Ral has been
painters eye in his creations. credited with introducing the
He knows what he would like to
Creates the dramatic
Initially, solely as a painter, he zenithal zenithal source lighting into
paint, which is what all painters started in the world of miniatures miniature painting. Pre-zenithal,
want to paint. and gaming around 1990, and source everyone painted with a generic
In my humble opinion, Ral began working pretty much as a light source, light coming from
knows and understands the full time artist around 1994. He lighting everywhere, all edges highlighted
human anatomy particularly won several Best in Show awards etc. Since being introduced,
well, and he gives his figures that at competitions around the globe, into zenithal has almost become
quintessential human touch, with the ones he credits with de rigour for figure painters,
that many other sculptors lack, being the most meaningful from miniature everyone uses it, but not because
meaning that he understands Euro Militaire in 1994. One gold it is realistic, but because it creates
what we as painters want on (a British/Canadian Dispatch painting the dramatic. The shadows are
a miniature. His work leaves Rider from Hornet figurines), one darker, the lights lighter. It is more

akin to theatre lighting and stage

make-up. Everything becomes
more extreme, more visible. More I was told
intense. Thank you Ral.
As you can see, these pieces I should
were from the early to mid-
nineties, painted using acrylics pick up a
with just the artists skill and
some minor conversion work hobby as
to the bases, the standard of his
painting was, and is still, very, it would
very impressive.
I guess by now I should be good
introduce myself a little more.
For those that dont know me, of for my
which I expect 99% of you will fall
into this camp, I have a bit of an mental
obsession, if you can ever be a bit
obsessed, with the Spanish artist health
and his creations. After splashing
enamel paint on metal GW minis
as a youngster, and then leaving
for other interests, I came back to
the hobby as an older and slightly
wiser fella. I was told I should pick
up a hobby as it would be good
for my mental health, as I had
enjoyed Art as a school child and
had both the time and motivation,
I poked a toe into miniature The Demon
painting. So I went into my local sculpted for
GW store (this was when GW Mproyec
had retail stores everywhere and
every toy store in every high street importantly, I wanted to paint of him, or this Spanish company,
stocked their products) however, things that grabbed me. I took to I had just found a picture on
being fairly inexperienced and Facebook, I followed painters (not my Facebook feed, clicked on
unknown within the hobby of in a stalking way I assure you) and a link to a website, paid some
painting small figures, I had no very rapidly I happened across money and within a few weeks,
idea where or how to start and this smirking red demon that held It was there he was, in my own hands.
what I wanted to get out of the smoke in his hand. It was mind This was the first miniature for
community. blowing for me, like nothing I had mind Rauls fantasy range at Mproyec.
I didnt want to game, that is a ever seen before. He was called A 54mm demon that if you got
part of the hobby which has never Shaetann the Immortal. This blowing in early enough, within the first
held any interest for me, I wanted arrogant looking devil grabbed 66 I believe, came with a cute
to paint and forget about life, me. He grabbed me like a demon for me, little demon cherub holding what
escape into the story of the little from hell and took me into the appears to be a stone tablet. This
miniature in my hand for a few fantasy world of Mproyec and like was how Ral introduced his new
hours at a time. And so I began Ral Garca Latorre. fantasy business to the world, and
my first tentative exploration Everything about this mini nothing what an introduction it was.
into the hobby. I didnt set out appealed. His expression, the However, as much as Shaetann
with a plan in mind, I had no details, the size, which as many of I had was the figure that began Mproyec
idea who made or painted what, you know, the jump from 32mm and hooked me in, this was not
I only knew of Games Workshop to 54mm requires a different style ever seen Rals first foray into creating
because they appeared to be the of painting, and the fact he was fantasy miniatures, that honour
only company around. My issue a limited edition made it perfect. before belongs to Enigma Miniatures,
however, was that I didnt want It ticked every box that I had and which was run by Ral until 2010,
to be told what colours I had still have for a hobby purchase. At after which CoolMiniOrNot
to use, I didnt want something the time I had no idea who Ral acquired the licence to the
everybody else had and most Garca Latorre was. Never heard range. Enigma produced a large

I dont
pay much
attention
to the past
or the
things I
have done
Grunkful the Dwarf

sculpted for Mproyec
catalogue of 32 and 54mm the sculptors that I like, it was works apart from some photos
miniatures cast in white metal, here that I knew I had an affinity and his memory. A quote from
some which are still available with the Latorre sculpted mini. the great man himself I dont pay
from the CMON store. Without realising it, my mini much attention to the past or the
If you are new to the hobby or collection had a distinct Spanish things I have done. Pretty much
have never had the opportunity style to it. I had 20 miniatures sums up all artists in my mind.
of painting an Enigma miniature, and 16 were from Raul in either Ral has created 3 of the top
I would suggest picking up a few fantasy or historical guise. From ten selling miniatures of all time
of these just to appreciate and this moment of realisation, I set (so far), now imagine if some of
enjoy the crisp detail and form myself the (trust me, nigh on the limited editions Mproyec have
that these minis have. Compare impossible) goal to collect one produced, how popular Grunkful
them to minis from the same version of every single one of the dwarf would have been if
time frame from other companies his sculpts. And as Im about to there were 500 units available?
and you will quickly see why reveal, there are a lot! So many of The mere fact Ral can produce
they became firm favourites with them, that after messaging Ral miniatures that sell extremely
some of the worlds top painters, around a packet of heads ( now well with no number restrictions
and why even today, they are still there is something that I doubt whilst also able to sell out the
worthy additions to your display Ill ever have the need to write limited edition minis, shows how
cabinet or table top. again) I mentioned I was hoping much the community not only
to compile a list of all his sculpts, appreciates his skills and artistry,
Obsessed collectors mainly for my own selfish reasons, but that if one consistently
And back to me. After I realised but also to be able to share with produces beautiful sculpts, in
that the majority of my purchased other obsessed collectors. Now both historical and fantasy, there
miniatures were all of the same being a true artist, Ral obviously is always a willing customer/
style, I began looking more into keeps no real records of any of his collector.

Asking about small resin

heads from almost two
decades ago, was not how
I imagined my first contact
with my hobby idol would be
Below is the roll call of the

companies (in no particular
order) that Ral has sculpted for
and what he created. There is
a much more detailed version,
which contains the names and
product codes for each individual
sculpt, which is currently
being finalised before getting
sent to Ral for confirmation/
amendment.
Warriors Miniatures 1/35 scale

New World Miniatures 1/35 scale
Andrea (the U-Boat!) Germans WW2
54mm 1/35 scale sculpted for New World Miniatures
Hera Models Busts
Galahad miniatures Bust to name but two). Both Carlos with Raul about a packet of heads?
Mproyec Fantasy 54mm, 75mm and busts (with his brother Fernando) and These are those heads! for New
Toison Studio 54mm figures Chris were pioneers of the art of The sign World Miniatures.
Latorre Models 54mm, 75mm and busts miniatures, Chris himself having A word of warning, Google can
Terrible Kids Stuff 54mm, 75mm worked alongside the legendry of great be an excellent resource to the
Enigma 32mm, 54mm and busts Howard Shepherd Shep Paine collector, but also it throws up
Scale75 75mm and credited with creating the Art is no an awful lot of red herrings and
Black Crow bust wedge diorama display, whilst misinformation, so sometimes its
H&V 70mm and busts Carlos and Fernando are the matter easier to just ask the people that
Big Child Creative 75mm Orcs founders of the as legendary know directly. Between you and
CoolMiniOrNot 32mm Andrea Miniatures. the age, I, asking about small resin heads
Kingdom Death 32mm and artwork Rals journey to becoming from almost two decades ago,
Knight Models 75mm the creator of some of the most it doesnt was not how I imagined my first
FER Miniatures busts beloved painted historical contact with my hobby idol would
SAGO 75mm miniatures ever produced and feel be.
HandMadeObject scale collectables legendary miniature sculptor But I digress, and so, working
for the biggest names in the dated. briefly with Andrea miniatures
To begin his transformation hobby industry began initially by to both paint and produce
from super talented miniature sculpting for Warriors Miniatures 54mm white metal soldiers and
painter to super talented in the US. Working for Chris a collaboration in 1996 with
miniature sculptor, Ral began Morosko and John Rosengrant, Baldomero Siz, to produce the
working as a sculptor and painter then onto New World Miniatures awesome white metal, resin and
for internationally renowned after Warriors split and Chris photoetched 180+ part, German
historical miniature producing formed New World. U-Boat VII C, known as the Wolf
companies and learning from Raul sculpted some individual of The Seas. Ral sculpted the
some of the best teachers around 1/35 scale heads (remember when crew whilst Baldomero produced
(Carlos Andrea & Chris Morosko I mentioned my initial contact the submarine itself

Historical 54mm, 70mm and A collaboration with

a couple of busts for the gone Baldomero Siz, to
but not forgotten Manuel Moya produce Wolf of The
owned company Elite Miniaturas, Seas. Ral sculpted
not Miniatures! As a side note, the crew whilst
you can still pick up some of these Baldomero the
from online stores and they are submarine
great additions to the Latorre
collection. My personal favourite Right: Saxon 54mm
is the 70mm Highland Clansman
Veteran, one of the stars of my
collection
A couple of limited edition
white metal 32mm females for
CoolMiniOrNot and one for their
Dark Age range followed. Again,
the details are very much spot
on, and despite their age still feel
fresh, which is always the sign of
great Art, no matter the age, it
doesnt feel dated.
It became almost mythical

A quote from Ral on why his
miniatures are always fresh and
not dated: It is like fashion and
some techniques are in fashion. I like the
I like the word flexibility, so I do
not like something being imposed. word
I like to know all the techniques
I can, but I think its smart to use flexibility,
them if you think this technique
will better fit the job youre doing, so I do
not simply because it is in fashion
I have never followed these not like
trends.
For as long as I have been a fan/ something
collector of Rals work, there has
been a rumour of a one off piece being
created for a collector back in
the late 1990s called No Fear. imposed
Basically a 3 miniature vignette.

No Fear: A one-off piece sculpted by Raul
It became almost mythical. No busts were interspersed within 1885, Sudan War ( I dont own
one had a picture, those that did the range, which at the time of a resin version unfortunately).
couldnt guarantee it was the closing a few years later sat at A slight Although there was a slight
actual piece in question. 23 total miniatures, all but one I nod towards popular culture
Then recently Ral put up this believe sculpted by Ral himself. nod with the Winter King, any
picture of the 3 mini piece on his All of Latorre Models original kits Game of Thrones fans amongst
Facebook and Instagram account. were traditionally sculpted and towards you may recognise the
An amazing display I think you cast in white metal, to a standard influence here with, cough Jon
will agree. As a side note, if the comparable to todays resin, and popular Snow cough, It is not a Latorre
owner reads this and ever wants with minimal clean-up Latorre Sculpt, it is from the talented
to part with this marvel for the models are always very enjoyable culture hands of
soul of a close to middle aged minis to splash paint on. In 2001 Euro Modelismo, a
non-smoker with questionable There was a commercial with the Spanish publication that draws
morals, let me know. relationship with Toison Studios from the immense talent of
At the start of the millennium, which produced a few more Winter Western Europe, produced a
Ral founded Latorre Models. miniatures, these again focussed two part series in their
The minis were initially 54mm, on historical 54mm miniatures, King magazine that focussed on
white metal and based on various including a limited edition run directional lighting. The
periods throughout our history. of 50 resin versions of the British magazines were titled Painting
A couple of 75mm figures and Officer Camel Guards Regiments Overhead Lighting Parts

A completely unexpected Latorre sculpt. Like nothing he has done

before or since. To make this mini even more unique, it was painted
live by Alfonso Banshee Giraldes
Winter King sculpted by Jess Valera Navarro! for Latorre Models
I and II. Raul worked alongside were snapped up by the savvy vampire named Kaheron part of
Rodrigo Hernandez Chacon hobbyist. Although at the time of the Nether Kingdom range
on the 2 part series. The books closing it had been close to 5 years Monte San Savino Show 2013.
describe the theory and practice since a new release this was still a Lord Draeg-hon, an armoured
of painting figures to appear as if sad time for historical modellers. 54mm metal and resin miniature
they are lit naturally from, funnily Alongside his regular work sketched by Lucio Parrillo and
enough, overhead! for miniature companies, Raul produced with Terrible Kids Stuff
His continuing relationship has also produced some special again.
producing historical white metal event only miniatures, specifically Monte again in 2015, a small
sculpts for the hugely impressive for Monte San Savino and The bagpipe playing white metal
Spanish company Art Girona, in World Expo. In 2008 for the Mac Cow (on a personal note,
both 54mm and 70mm. World Expo Ral sculpted a a huge thank you Anja & Jason
Some special event only miniatures

soldier holding a flag featuring
that includes the presence lire of
Snapped for securing me one of these) a
completely unexpected Latorre
By December 31, 2013, with the
commercial relationship with
the four corners, referring to the
origins of the Irish regiment that
up by the sculpt. Like nothing he has done
before or since. To make this
Toison Studio over, Raul took the
decision to stop Latorre models.
fought.
For Monte San Savino, in
savvy mini even more unique, it was
painted live by Alfonso Banshee
There was the inevitable sale and
all of the beautiful miniatures
conjunction with Terrible Kids
Stuff, they produced a 54mm scale
hobbyist Giraldes during the event.
So to come back to the

Mac Cow a completely unexpected Latorre sculpt
somewhat beginning, after the

last produced Latorre model in
2008, the company rose again.
Like the proverbial phoenix from
the ashes, a tease of the companys
logo appeared on social media
sites, then Raul himself posted
on his Facebook page in May of
2016 that something exciting was
coming, and towards the later
part of 2016, Latorre Models was
back! This time with a new resin
bust and 70mm figure; of the
English folk hero Little John/John
Little. Alongside these brand
new releases, the company are
re-releasing some all-time classics
from the original founding, all in
the high quality white metal we Above inset: Kaheron. Above main picture: Lord Draeg-hon both produced in conjunction with Terrible Kids Stuff
expect. for Fernando Ruiz under the to Zbrush, there is a certain
Magna Historica line, are both style something that is always a
Complete surprise 3D sculpted, no clays and baking Latorre mini. The stance of
For the historical fans, this is for these guys, he is also working his figures is always just so.
fantastic as it will allow you to get with HMO to produce large scale, You just know that when you
your brushes on some long sought limited edition collectables. look at a Latorre sculpted
after miniatures. For the collector, The saying practice makes miniature the stand is natural
I hope you pre-ordered as you got perfect rings true in so many and the
a mini bust sculpt if you did, and areas, but sometimes you just face portrays so much character,
no collection is complete without need to posess some natural talent and with a bust they not only
every single sculpt! there too, and Ral is adept in offer personality, to me they
Recently Ral has begun to both fields for todays miniature show tiny nuances of the artist
utilise zbrush 3D sculpting as sculptor. No matter what medium himself.
another avenue to evolve his being used to sculpt from Fimo And so in bringing what was
artwork. His recent two busts or Monsterclay to MagicSculpt meant to be a pretty brief piece
about my favourite sculptor/
painter to an end of sorts, I will
No matter what brought you into this hobby or for just say, and that no matter what
bought you into this hobby or
whatever reason you are still here, the purpose of it is to for whatever reason you are
still here, the purpose of it all
make us as individuals happy. So enjoy what you do and is to make us as individuals
happy. So enjoy what you do
appreciate the beauty of our little corner of the Art world and appreciate the beauty of our
little corner of the Art world.

GALLERY
They say a picture paints a thousand

words and we agree. No need for
words. Take time out to enjoy the
beautiful art of Ral Garca Latorre



HEAD
Saladin is quoted as saying
I will strain my potential
until it cries out for mercy
something Ben Curry can
attest to when he tackled
Saladin by Nuts Planet

Step-by-step Saladin by Ben Curry
So here it is, my first article by the infamous Ben Komets and could probably do a decent job
concerning one of my own pieces. many since. on the piece and as there was
I was flattered to be asked to write The scupting truly is top notch nothing at the show I wanted
a few words about this particular (more on this later), full of more specifically, he came home
work as it has pushed me outside character and an absolute blast with me.
of my comfort zone and is the first to throw colour at! Obviously
major bust I have tackled since images of the actual Saladin from Try things you hadnt considered
receiving training and refining my the time period do not exist, so Obviously buoyed with winning
approach to subjects. this piece has clearly had a lot of a silver in the historical busts
I would at the outset like to
thank Alfonso Banshee Giraldes
influence from the Hollywood
film Kingdom Of Heaven in
Time category with an earlier piece of
mine I had all good intentions
for both his passion, for all
forms of miniature art, and his
which Saladin was played by the
talented actor Ghassan Ridwan
spent of starting immediately on him,
but it was not to be. In truth, like
unquestionable ability at pushing
student skills into new areas
Massoud.
I was primarily drawn to this
with your many in the hobby we have a
growing mountain of miniatures
unfamiliar and at the same time
rewarding!
bust because of the face which is
exquisite and full of expression,
peers is and what is once Hot is quickly
forgotten in the weekly deluge of
Like many people my path
crossed with this particular bust
as well as the sheer level of detail
across both the scale and flatter
NEVER new and shiny things to buy!
I didnt dust him off until early
firstly online, at its core a piece
representing Saladin (1137-
sections of the bust, such as the
helm, cloak and sword hilt.
wasted July/August 2016 in light of my
own personal development to
1193AD) great military and If memory serves me right see what I could do with him.
religious leader, the first Sultan of I finally purchased him at The intervening period of time
Egypt and Syria. It is produced by Euromilitaire 2015 in Folkestone, saw me spend time in Madrid
the prodigiously talented chaps UK which ironically was also with Alfonso working on my
of Nuts Planet, the first images my first awarded medal at any TMM (True Metallic Metal) and
having been released of the box competitive miniatures show. understanding parts of my process
art done by Myeong-Ha Hwang The purchase, like most of mine which I was not so strong at.
and again the fabulous work done was on impulse. I thought that I Let me say this. Time spent
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Were not inventing anything

new just adapting what has
been realised before into three
dimensions
with your peers is NEVER wasted.

From having attended multiple
shows and done a few courses I
felt in a stronger position to offer
something different from what I
had previously been capable of. I
strongly advocate any training you
have access to, if nothing more
than to validate what you already
know and perhaps give you more
creative freedom to try things you
hadnt considered before.
Prior to this my miniatures
background originated in
roleplaying during the 1980s and
then migrated into fantasy and
sci-fi miniatures in the 1990s, at
the time of my early development
and location there were no
historical modelling clubs so a
great deal of these informative
years were primarily led by
imagination and what I was able
to get hold of.
Offer something as yet unseen

If I had a style it would have
more in common with the
perceived fantasy way of
painting, largely down to both
my early years and the training
that I had received. In all fairness
this style of painting owes
more to 17th century artists of
the Baroque period and more painting is probably familiar to I spent some time looking over
specifically Tenebrism than most a lot of painters in that I start the Bust and looking at pictures of
hobbyists realise. As Alfonso from the face and work outwards. Take a several versions online which had
would say, were not inventing
anything new just adapting what
Before putting any paint to the
miniature I always take a moment
moment been finished. When I approach
pieces I rarely like to copy
has been realised before into three
dimensions, albeit with more
to do some research as there
might be some historical facets
to do something done before, for me to
get excited about a project I need
modern tools. which I would like to introduce research to be able to offer something as
For Saladin my approach to during the painting. yet unseen. I also looked at the

paints at my disposal. Obviously
Middle Eastern by descent the
piece would be warm in tone
to reflect the arid, dusty and hot
landscape which he would likely
have roamed and as one of my
friends pointed out, green
should be included as a
traditional Arabic colour.
I paint primarily using
Vallejo model colour
but also use Windsor &
Newton, Schmincke,
Golden acrylics and
Scale 75 metals &
inks.
Once I have
decided on a basic
outline or palette I
just jump straight
in with initial prep
work on the piece and
let the project grow
organically.
Thoroughly wash the miniature

Thankfully the cast of
Saladin meant very little by
way of preparation, a couple of
small mould lines on the cloak
areas were to be sanded down and
that was it. I think it was during
this initial preparation period
where the unease about the chain three sections
mail first lodged in my head. separately (Bust, points will be on a miniature.
The astonishing level of detail in Helm & Sword Hilt). I Personally I dislike this approach
the rest of the Bust clashed with decided not to fully assemble the as it limits the decision process
the simple wave form of the chain bust purely down to the level of whilst you are painting, limiting
mail. Typically this style works access I would be restricted to you to the choices made at an
well on smaller scale 35mm but otherwise. undercoat stage, not to mention
doesnt scale up so favourably, Many people have a preferred that coverage of certain colours at
especially not on a piece so laden brand of undercoat and Im no the weaker end of the spectrum,
with intricate details and patterns. different favouring Halfords grey such as yellow, can be extremely
As with any pieces it is primer. This primer produces patchy over black.
important to thoroughly wash the a super smooth surface on Take A good alternative is using a
miniature prior to the application which to paint and is much camera phone and a very dark
of any basecoat. Simple washing- cheaper than some of the more pictures room. If you take a torch or very
up liquid in tepid water (dont specialised brands which Ive bright directional light you can
use hot water as resin will historically tried. In the past I and refer simulate the effect of where and
deform!) and a scrub with an used Games Workshop, Army with what intensity light hits a
old toothbrush should remove Painter and Vallejo but found to them miniature, without having to
any legacy release agent which that the Halfords version is more actually spray any paint. You can
might still be on the parts. It goes consistent between cans and during then take pictures and refer to
without saying that I allowed doesnt appear to suffer from the them during the creative process.
Saladin to thoroughly dry out chalky or grainy texture that some the The upside to this is you can
before continuing, particularly as other brands sometimes give you. totally change direction at any
some of the smaller nooks held a It has become popular in creative point without worrying about
lot of water due to surface tension. recent years to use a zenithal going back to the undercoat
To simplify painting this Bust highlighting approach to help process stage. This works just as well for
I prepped and undercoated the guide where the high contrast any scale of miniature where a

of Vallejo Royal Purple, Vallejo

When defining the shadows (usually my first step) Chocolate and some Vallejo
Gunship Green to the basic mid-
I prefer where possible not to use pure black tone. I also took the opportunity
to blacken the eyes so as not to be
distracting. Facial features such
heavy handed zenithal approach steer clear of recipes on the web. as the eyes are the last element on
might obscure detail or lose Initially I started on the face the face I tackle before moving
effectiveness. using my favourite base of Vallejo onto the remainder of a bust, you
I always allow a full 24 hours Burnt Red and Vallejo Flat Yellow, will see in your own works that
for an undercoat to harden off this creates a lovely rich dark eyes bring a face to life and help to
before I start painting, although orange mid-tone mix. It is a good define the character of a piece.
you can speed up the process basis for flesh types from the Highlighting Saladins face
with a hairdryer (or going outside region Saladin was from, it also started from the mid tone and
depending on your geographic gives a great amount of freedom worked up through various mixes
location). for direction in terms of the cold/ of Vallejo Ochre, Flat Yellow
You can buy ready mixed flesh warm and light/dark contrasts. and Vallejo Flat Red pushing the
tones from various manufacturers light using Vallejo Ivory. Again
which probably wouldve saved Pushing contrast in much the same way as I treat
some time but instead I like As I have been taught, most of my black I prefer not to use pure
to mix my own flesh tones, it pieces start with a sketchy outline white until I have to. Going to the
keeps my tones unique and of where the primary shadows fullest extent of black or white
between painting sessions the and highlights will sit. When doesnt allow you any more room
slight differences in mixes goes defining the shadows (usually my to go when pushing contrast so it
some way to helping mimic the first step) I prefer where possible is important to understand that
transparency differences you not to use pure black. Simply put, Eyes these are finishing touches and
observe in actual skin. If you both black and white desaturate should be treated with respect.
spend any great amount of time colours (they lose intensity) this bring a Once the skin was finished I
looking at skin you will see a is undesirable when painting a set about blocking in the eyes.
myriad of different tones affected face which should be one of the face to Again nothing special about this,
by a huge number of factors, age, strongest elements of a bust. for me it is important not to use
sex, environment, lighting, etc. it The shadows on Saladins face life pure white, as eyes are not white
is another reason why I try and were achieved applying mixes if you look at them, depending

on the age of the subject they are

typically blue/grey in tone or often
yellowish. I mixed up a colour
best described as a very, very pale
grey/yellow which formed the
basis of the eye.
The iris (coloured bit) of the
cornea started with using a
technical pen with a very fine
point to create the pupil. These
pens are super black and the nibs
on them deform under pressure
into a better rounded shape than
if you attempt the same with a
brush. At this point it is about
making sure the pupils were
equidistant from each other and
pointing in a relevant direction.
It is unknown what colour
eyes Saladin may have had so I
decided on mine to go somewhat
outlandish and give him green
eyes. For these I painted the iris direction I despite spending
around the cornea and used was taking several days
a mixture of the original flesh so I decided to do searching there were
mid-tone and some Vallejo Lime something drastic to ensure none that could supply
Green and Vallejo Orange Brown the piece was worthy of the great chain mail in the correct scale.
to create the highlights. Finally a feedback. Instead I found my Holy Grail
tiny dot of pure white was applied I took a Dremel to it. digging around on antique
in the upper left of the iris in each Really, I shouldve done this websites, it came in the form
eye to simulate a flash of light. before I even primed the piece of ladies chain mail purses,
but didnt think at the time it was Ladies originally made during 1920s/30s.
Worthy of the great feedback going to get the attention it had. The chain for high end purses
As I was painting the face and I am still finding my feet with chain around this time were hand
really getting to grips with the sculpting, so I knew that replacing manufactured in very near to
character of the piece the seed of the chain mail was outside of my mail the correct 1/10th scale to look
dissatisfaction about the chain current sculpting ability. authentic as chain mail. Obviously
mail was growing. People first Instead I turned online to see purses my conscience would not allow
saw my interpretation of this if there were any vendors in the me to butcher a genuine fully
bust when I posted the work miniature sphere which can do functioning antique so I managed
in progress of the face. People 1/10th scale chain mail ready to to buy a few broken versions from
seemed enthusiastic about the use. Unfortunately for me and eBay.

I was careful to only shave off

the old chain mail, this made it
very easy to create a masking tape
template in the space which was paint
left. This template was used to cut and
out the same shape from the chain still
mail purse parts. I tidied the chain keep the
mail up using some paint thinners I did not overall detail
and washed thoroughly using and depth of
washing-up liquid. I attached the want any the chain mail without
chain mail to the Bust using a thin having to laboriously superglue
layer of green stuff (Kneadatite) highlights individual links!
leveraging its tacky/sticky Once undercoated I set about
properties and the longer cure or paint painting the chain mail. This was
time to give me the opportunity done in a non-metallic approach
to push and pull the links into a underneath using a mix of both metallic and
shape I was happy with. non-metallic pigment. The first
Obviously the chain mail still the chain step in this process was to go in
had a lot of movement in it with with a heavy wash of the purest
each link being effectively free. I mail to black that I had. The reason for
decided that the best way to solve this is simple, I did not want any
this was to mix up some Pebeo show highlights or paint underneath
crystal water effects and manually the chain mail to show through
brush this into the chain mail the spaces between and inside
when slightly set. This would give the links. Once I was satisfied I
me a good surface on which to used progressive lighter shades

of Vallejo Sky Grey dry

brushing this over the chain
mail texture being careful to
bring to life the way that the
chain mail links interacted
with each other.
For highlighting the links
I decided to use a mix of Scale
75 Silver metallic and Vallejo
Ivory into my grey mix. For final
highlights I used spots of Golden
Acrylic Titanium White on
selected links. Saladins left shoulder and allowed
this zenithal approach to define
Keep the viewers eye interested both placement and intensity of
The next section I turned my At first the highlight, both the base and
attention to was the scale mail. the highlight were using only
At first I was daunted about the I was watered down Vallejo paints.
amount of detail on each scale This work left me with a
and I struggled with how I might daunted somewhat pastel orange/grey
approach the painting. I settled base over which I worked some
on attempting a dark scale with about the washes of GW Nuln Oil and GW
orange accents. I first painted the Reikland Flesh. This helped to
scale in a very dark grey/brown amount pick out the surface details of
as I wanted to keep black in my each scale, I then used progressive
pocket to deepen the shadows of detail washes of increasing opacity black
later. into the shadowed areas.
To make sense of the light, on each This is opposite to the approach
create tension in the piece and people normally take where
keep the viewers eye interested scale common best practice is to go
I knew that I wanted a highlight from dark to light.
on the chest. To achieve this I The highlighting of individual
airbrushed an orange/brown over scales was treated as if each one

Non-Metallic Metal effects. This

was done over a dark grey almost
black base and involved sketching
out areas (sparks) of light and
blending these in to create the
desired effect. To add a bit more
interest in these areas I glazed
some Vallejo greens and blues
to give the impression of metal,
again somewhat experimental,
but I was happy with the results.
The final highlights of these areas
were picked out using a mix of
Titanium White and Scale 75
White aAlchemy.
On the edging to the cloak and
other ornate areas I wanted to
use a gold. Having learned from
Alfonso and his True Metallic
Metal I have become a fan of
mixing metallic and non-metallic
pigments to give a sheen when
a miniature is held in the hands.
I hadnt painted gold before so I
created what I considered a good
golden mid-tone. I then applied
was a piece of reflective and (green) so I decided that the a liberal wash of GW Seraphim
polished metal. central raised pattern on each Sepia and Winsor & Newton
This is where using pure white scale needed to tie into this. I brown ink. This nicely picked out
can help to really punch up the Using started with the brightest green all the details on both the cloak,
contrast, particularly in relation to that I wanted (Vallejo Lime Green, clasps, chain and helmet bands.
metallic surfaces, using the white pure Vallejo Deep Green and Winsor & I then worked in shadows using
to pick out the edges, always being Newton Emerald ink) and added additions of brown ink and black
mindful of where the light should white successive parts of black to the ink into my golden mid-tone.
be reflecting and increasing in mix as I worked outwards from For the highlights I started
intensity towards the highest can help the brightest section on the figure to mix both Scale 75 Citrine
highlight over the left shoulder, to the deepest shadows. Black Alchemy (a lovely desaturated
this was done from the original punch itself helped to desaturate the golden metal flake) and Vallejo
base tone mix. intensity of the green as I went. Ivory into my mid tone plus a
The detail on each scale then up the smidge of orange ink, finally I
needed to be picked out. I had Mixing metallic and non-metallic created the last highlights using
plans to paint the cloak of the contrast For the edging of the armour a very sparing application of
Bust in a traditional Arabic colour sections I decided to work some Scale 75 White Alchemy and a

Titanium White.
The armour plates are
segregated by sections of The
undergarment. I decided that
for these I wanted a bright cloak
contrasting fabric which would
give clear separation. I painted has an
these in a warm ivory tone
using a mix of Vallejo Ivory and odd but
Vallejo Cork Brown. For the
shadows of the fabric I mixed interesting
in a little Vallejo Purple and
some Vallejo Chocolate. Once texture
finished I pushed the highlights
on to almost white to give the to it
appearance of a sheen like satin.
These sections still looked a little
plain so I went on to try some
freehand on them.
Thanks goes out to the guys
at the Chromonaut Studio in
Copenhagen who have converted
me to using watercolour
paints for freehand as it gives
you a huge degree of safety.
Watercolour can be refined or
even erased using a wet brush
if you are not immediately
happy with the results. I used
this technique (which is an
old one) to design a clover
leaf pattern with additional
repeated markings. Once I had
finalised the design and ensured
consistency I sealed in the design
using some airbrush matte
varnish (a custom 1:1 mix of
Winsor & Newton matte varnish
and water).
As I did not want the freehand
to dominate I knocked back
some of the design with some of
the mix I used for the highlights
and shadows. I really like also tie into the similar
this watercolour approach as piping used on the
although watercolours seldom sword hilt to unify the
have the intensity of acrylic or piece when fully assembled. This
oils, what they leave you is an was highlighted using Vallejo give depth to the folds of the cloak
effective paint by numbers Ivory, Vallejo Flat Yellow and and define the patterns of the
where you can overpaint the Vallejo Vermillion. surface.
design in more intense pigment The cloak has an odd but To tie in the desert feel I knew
if you choose. interesting texture to it, this I I wanted to use red with the green
painted in a mix of Vallejo Black which would both give interesting
Complex free hands were unnecessary and Deep Green to tie it into contrast and create the brown
The undergarment and in the green of the scale and help look I was after. This was done fast
particular the collar underneath the viewers eyes flow across the in a sketch style using mixes of
his chin has a piped edge which miniature. I applied a wash of the base tone with Vallejo Burnt
I decided to paint using pure Vallejo Black Green and GW Red and some Vallejo Flat Red.
Vallejo Burnt Red. This would Agrax Earthshade, this helped to Like most elements on this Bust

the cloak
carried
so much detail
that complex free hands were
unnecessary and at this point
it was already looking quite Feathers
effective.
Highlighting the cloak followed seemed
in a similar manner to the scale
with regards to light placement appropriate,
and intensity, all done using a
brush and being careful to pick for no other
out individual details on the cloak
progressing from my green mid reason than
tone and going up through Vallejo
Beige and Vallejo Ivory. I liked the
Finished state idea of
The cloak is folded over in two
places to reveal the opposite side. sculpting
Being an important person I
decided that a nice touch would them
be to line the inside of the cloak
with a red/copper satin. This was
done again using Burnt Red as
the basis and adding successive
portions of Vallejo Light Orange
and finally Vallejo Flat Yellow into Feathers seemed appropriate,
the mix. I used lines drawn across for no other reason than I liked
the surface to mimic the stitching A nice the idea of sculpting them. These
that would be present if it were were created using a mix of 50/50
actual fabric. touch milliput and green stuff over a
At this point the bust itself thin sheet of copper, bent into the
was largely in a finished state would appropriate shape. To hide the
albeit missing helm and sword join where they would integrate
hilt. I turned my attention to be to with the rest of the helm I added
the helm. I decided that whilst an upturned crescent moon shape
historically accurate, the nose line the which would also give me an
guard dominated the face too opportunity to add a contrasting
much. Instead I decided to greatly inside of colour for interest during painting
shorten it and replace the top as well as implying Arabic
section with something more the cloak descent.
ornate. In effect I decided to I tackled the painting of both
create a ceremonial helm for him. the helm and the sword hilt at the

same time helping to unify the
bust with the same palette
in multiple locations. The
basic outline for this
was similar to that
used on the chain
mail. A dark grey
mid tone which was
taken down to black
in the shadows and
taken all the way up
to purest white for
intense highlights, using
Titanium White and scale
75 White Alchemy.
The helm itself has a staggering
amount of detail pressed into it;
I didnt want this to detract from
the face of the Bust so to counter
this I wanted to obscure some
of the detail using an intense
highlight. I simply painted
over the detail as if had been a
perfectly flat surface. Gut feel will
decide how you would approach
this yourself but you reach a point
where the amount of detail still
visible feels right.
The last thing to paint

The feathers were painted in a
neutral beige/brown tone with
black accents; this style seemed
to suit the figure more than some
of the exotic feather references
I could find on the net. The
crescent moon was painted along
with the sword hilt jewels in
Vallejo Deep Green plus Winsor
& Newton Emerald ink to imply
an opulent Jade. Highlights used
the same process as on the cloak
but continued up to purest white
on the edges to imply a cut finish.
The last thing to paint on this
bust was the parts of the sword angles before being finally and miniature to display on it!
and sheath visible to the user. eternally set in stone. Ive seen I took Saladin to the Duke of
Hailing from his particular too many great paint jobs ruined Bavaria show in Ingolstadt 2017
geographic location I decided because people were too eager where he formed part of my
that a type of ivory wouldnt look to reach for the instant drying bronze winning display in Master
out of place. Again this followed superglue, take your time! Painting and I was fortunate
a mixing a mid-tone then A shout out to Richard at enough to be awarded a silver
shadow and highlighting as done Oakwood Studios for sorting for him at the recent Salute 2017
elsewhere. me out an appropriate plinth to painting competition.
When gluing a piece together, display Saladin. When you paint a I learned a lot about project
particularly exhibition standard, nice piece you should spend some approach on this piece which I
I much prefer using a slow cure time to choose an appropriate can take into further projects.
epoxy resin glue. This gives presentation for it. Indeed I know It was great fun and I hope
you crucial time to ensure that some painters who have picked people have enjoyed reading and
elements align correctly from all up a plinth and ONLY then buy a understanding my process.

It was
great fun
and I hope
people
have
enjoyed
reading
about it

Lawrence
Arabia
of
There are no short cuts to

anywhere worth going
according to the arabic
proverb and it could not
be a more apt saying for
Maria Alberta Iaias
multi-layered
interpretation of
FeRs desert icon
Lawrence of Arabia

Step by step Lawrence of Arabia Painted by Maria Alberta Iaia
I always start with the

eyes as they will give
me a wider vision of
the model itself and
its expression for the
future steps
I only use acrylics and
1. black primer with the
ultra-matte varnish of AK. The
following is only a short account
of the steps involved and was
not aimed to be an exhaustive
account but a little light reading
accompanied with some images of
my most recent historical bust, I
hope you find it of some interest!
As you can see I always start
with the eyes as they will give me
a wider vision of the model itself
and its expression for the future
steps. I begin with a mixture of
Vallejo Prussian Blue and Black
to set the iriss dimension. Also,
this will be the dark part of the
iris and you will be able to see it
once the eye is done. Then I make
a mixture of Prussian Blue, the
same I used before, with a tip of
American Blue from AK to make
the light part of the iris. Once
done I can make the pupil with
Black and the white spot on the
opposite side of the blue light I
made before.

2. Then I start to paint the skin using the

layering technique, not the blending one. The
black primer helps me with the shadows as they are
already there, all I have to do is to keep layering from
bottom to top many times (usually for a 1/12 bust I
make around 20/25 layers), slowly shortening and
shrinking the lights. For the skin-tone I start with a
mixture of Brown Sand and English Uniform with a
tip of Vermillion and lighten it with Basic Skintone.
I keep layering
from bottom to top
many times (usually
for a 1/12 scale
bust I make around
20/25 layers)
To simulate the beard

3. growth (stubble), I made
less skin layers on that part of the
face to keep it darker. Once it had
fully dried I used a very dilute
layer of Grey + Brown Sand. After
an initial application of these
colors, I also applied some Brown
Sand in random spots in the flesh/
beard transition area. That was
the colour I used in the first place
to make the skin tones a bit more
bronzed and it helped to further
integrate the beard with the flesh
and help to blend it better.

I used the same layering technique, in

the first step I could set the first lights
then increasing them with brighter colours
until pure white
Once the face is done and I

4. feel satisfied I can continue
my project with the turban
(which I decided to make red)
and the garment with white and
yellow stripes. Even here I used
the same layering technique, in
the first step I could set the first
lights then increasing them with
brighter colours until pure white.
My mixture for the white is Black
+ English Uniform + Ivory, while
for the yellow I usually start with
a mixture of English Uniform +
Japanese Uniform and then make
lights with Ice Yellow (up to
white only if necessary).
I mainly use Vallejo colours

as you may have seen. Only for
the red I chose three tones from
Andrea Colours which are Blood
Red and Prussian Blue as a base
and lighten with Vermillion
(Vallejo) + Napoleon Orange
from Andrea Colours.

Once the
5. garment and
turban are done the only
thing to do is to make
some details, as you can
see, I decided to follow
the box art and create
the illusion of the
clothes seam along
the shoulders and
darker lines upon
the white stripes
to emphasise the
depth of shadow to
the creases of the
vest.
For
6. painting
the belt that
Lawrence has at
the bottom of
his chest I used
a basecoat of
Burnt Umber
and Black.
This way I got
a very dark
I decided to brown with a
touch of red
follow the box that will look
perfect once
art and create highlighted
with orange
the illusion tones. Before
the highlights,
of the clothes I added an
extra shadow
seam along the with a wash of
Black to outline
shoulders the extremities
of the belt and
to add a touch
of gloss in the
shadows and
refine some
details.


Figure:
Lawrence of
Arabia, Aqaba,
1917
36
40
Sculpture: Ral
Garca Latorre
Material: Resin
Number of parts
of the kit: 2
Scale: 1/12
Paints used
AK Interactive
Vallejo
Andrea Colours

Eyes
RIGHT!
...And nose, mouth, ears
and the rest of the head
David Powells tips and
tricks to perfecting your
face-painting skills
Step by step Step-by step: Eyes Painted by David Powell
The beauty of skin

is that the tone
varies from person
to person, so theres
no single correct
shade
F
or some people painting difference is on the smaller figures Fair Skin set. I also used some
faces is one of the most fun I simplify the level of detail while reddish browns. Now, all of this
parts of the figure yet while on the larger ones I can bring out can be done with the skin tones
for others it is one of the most the fine features more easily. from any range, so dont worry if
intimidating. However, unless you The painting here is done you dont have the specific paints.
plan on only painting medieval mostly with Reaper Master Series Just pick the closest thing. The
figures wearing full helmets, acrylics. I especially like this paint beauty of skin is that the tone
painting faces is hard to avoid. range because of their skin tones. varies from person to person, so
In this article I hope to help you While most brands have only a theres no single correct shade. Its
to improve your painted faces by handful of skin tones (light skin, more about the types of colours
walking you through my process. dark skin, etc), (whether you use warm shadows
I will be using the Aide-de-Camp Reaper has on the order of 20 vs cool shadows) and the proper
to Marshal Suchet from Pegaso different skin mixes. These are use of colour variation (which
Models. grouped into sets of 3, like Tanned I will get into at the end of this
This figure is 75mm scale, so Skin, Tanned Shadow, and Tanned article). Whether you use Reapers
we have more room to work on Highlight. However, I find mixing Fair Skin or Vallejos Light Flesh
details than a figure of 54mm. and matching between the sets or Citadels Kislev Flesh isnt really
Despite this my process is the can produce better results. In important.
same whether Im doing a 75mm, this case I used some of their Okay, without further ado, here
54mm, 90mm or a bust. The only Rosy Skin set and some of the is my process for painting faces!
Step One: The Base Coat

After priming the figure (in this
case, with white so the colours
show up a bit brighter), I base
coat the face with Reapers Rosy
Shadow and also base coat all of
the parts touching the face (the
hair, shako, and collar of the coat/
shirt). The Rosy Shadow is a warm
skin tone, so I like using it as a
base to work over. Those warm
tones imply life, so are ideal to use
on skin.
I dont want my base coat to
be too thick, so I dilute it with
water. The paint should take 2 or
so layers for complete coverage on
the figure.

An important thing to keep in mind as we work with the

shadows is what features do we want to emphasise?
Step Two: the cheeks and the lines running the face we will have variations
Sketching in the Shadows from the nose down to the side of in the shadows. We can use this
At this point I like to rough in the mouth. These will go around to bring out some features while
the shadows. Some people prefer the eyes, in the ears, and under underplaying others. This is
to work gradually down from the nose and jaw. Ill also be sure especially helpful for bringing out
the midtone to the shadows. I to pick out the underside of the the expression.
like to rough them in and then bottom lip. A good way to help visualize
blend back up to the midtone. Its Next I take a darker brown this is to stand in front of a mirror
a matter of personal preference, (Mahogany Brown) and again and make faces. If youre snarling
neither approach is incorrect. The mix in a little bit of Rosy Shadow. or shouting, the lines from your
most important things are the I will use this to pick out the nose to the sides of your mouth
colours used and the placement of deepest shadow. This goes under are much more prominent than
the shadows. the brow and on the inside of the if you have a neutral expression.
For the colours, I like to work eyes, in the nostrils and deepest The same goes for where the brow
with reddish browns I start with recesses of the ears, under the meets the top of the nose. If youre
Reapers Chestnut Brown and chin, and then is used to pick out angry, lines here will be more
mix in a little of the rosy shadow any remaining major features. apparent than if you have some
(about 75% Chestnut Brown and An important thing to keep other expression. As we paint
25% Rosy Shadow). in mind as we work with the the figure, we can use how dark
On a normal face, Ill place shadows is what features do we or subtle the shadows are to help
these shadows on the sides of want to emphasise? As we paint convey the expression of the piece.

For the whites of the eye (the sclera) it is important to

avoid pure white as that will look too cartoony
Step Two-and-a-half: pupil along with some shading/

Details highlighting in the iris. For me, a
Taking a break from the skin, I 75mm figure is the smallest size I
like to paint some of the details at can comfortably add a distinct iris
this point. Typically this will be and pupil. Doesnt mean I wont
the eyes. However, for this figure try to do that on a 54mm, its just
since the mouth is partially open, not a guarantee it will work! For
Ill go in and do the teeth too. this figure, I began with a dark
For the eyes on a 75mm figure blue circle to define the borders of
or larger, I like to start with a layer the iris and then filled it in with a
of pink. Ill take some Violet Red light blue.
and mix it with Rosy Shadow
(maybe 50/50). Ill then coat the Unnatural and cartoony
eye, making sure to get this in the I then carefully placed a dot of
corners. Then, when I paint the pure black in the centre and then
whites of the eyes, Ill leave some a dot of pure white off centre for
of the pink showing on the inside the catchlight. While we wanted
corner to represent the lacrimal to avoid pure white for the sclera,
caruncle. I might also leave a fine it is appropriate to use pure white
line of pink along the bottom edge for the catchlight.
of the eye to define the boundary Here is an example of an eye I
between the eye and the lower painted on a 90mm scale figure.
eyelid. Notice the sclera is an off white,
slightly duller than the pure white
Keep in mind of the catchlight. The pink shade
For the whites of the eye (the can be seen in the corners of the
sclera) it is important to avoid eye and as a fine line below the
pure white as that will look too eye. I also left a bit of the initial
cartoony. Keep in mind youre dark blue circle I used for the iris,
viewing the side of a sphere, not which forms a nice border once I
the top. So the eye should be a paint on the lighter blue.
darker colour. I often use Reapers After painting the eye, I will
Weathered Stone, a nice light grey. go in with a dark shade (a dark
From here I go about adding brown or a black) and paint the
in the iris, pupil, and catchlight. bottom of the upper eyelid. This
The amount of detail in the eye creates a nice border above the
really depends on the scale of eye.
the figure and your confidence However, do not paint a similar
in your brush skills. On a small line along the bottom of the eye.
figure, a single circle of dark That would look unnatural and
brown or dark blue can suffice cartoony. Instead use either the
to represent both the iris and pink or a light skintone, as the top
the pupil. On a bust you really of the lower eyelid should be a
want to have a distinct iris and highlight.
The amount of detail in the eye really

depends on the scale of the figure

Step Three: regions. This also helps to create

Blending in the Shadow the blend. As I get lighter and
With the eyes done, I now return lighter, I start each new layer
to my skin tones. I use one or closer and closer to the midtone
two intermediate shades between region and leave the darkest parts
the Mahogany Brown and the of the shadows untouched.
Chestnut Brown (both with a bit As you can see from the results
of Rosy Shadow) to blend those at this stage, the shadows have
deepest shadows into the lighter defined the main volumes and
ones. Then, I slowly add more helped to convey the elements on
and more Rosy Shadow to the the expression (any major creases
Chestnut Brown + Rosy Shadow or features). However, the face
mix with each layer I apply until still seems a little flat. Next we will
Im working with pure Rosy The use the highlights to help further
Shadow. In this way I work those define the shapes.
shadows back up to the midtone. shadows At this point its also worth
For blending, I dilute the paint noting that there are variations
more than I did with the base have in the shadows. Take the lines
coat. While the base coat needed from the nostrils down to the
around 2 layers for complete defined sides of the mouth. These creases
coverage, these blending coats are deepest at the nose and then
need 3 or 4 for complete coverage. the main become shallower as they go
Their semi-transparent nature towards the corners of the mouth.
helps to create the blend by volumes Therefore, on the figure these
showing some of the underlying shadows are darkest at the nose
colour. As I apply them, I tend to and become fainter as they go
start in the shadows and brush towards the mouth.
the paint towards the midtone Step Four:
The use
of pure
white
should
be very
limited
Adding the Highlights as well, though not too much. On Once I get to pure Fair Skin,
For the highlights I like to switch
from the Rosy Skin set to the Fair
Applying this figure, the forehead is covered
by the shako. However, if that was
I start to add in Fair Highlight.
At this point, I am applying the
Skin set. I start again with the
midtone, Reapers Rosy Shadow,
highlights bare, I would certainly be applying
the highlights there too.
highlights in very limited areas.
Im focusing on just the very tops
but now I start to gradually mix
in more and more Fair Skin. With
in very As with the previous step, the
paint is thinned. As I apply it, I
of the cheeks (right under the
eyes) and on the nose. If even
each layer, I apply lighter and
lighter shades. I focus on the top
limited brush the paint towards where
I want the highlights to be
brighter highlights are desired,
a bit of pure white can be added
of the cheeks, nose, chin, and the
ears. I highlight the lower eyelid
areas brightest. This helps with the
blending.
as well. Though the use of that
should be very limited.

Once we add the glazes, it will be very inconvenient to have to touch

up any of the face. So parts where we might accidentally get some
other paint on the face should be done at this point
Step Five: Hair, Lips, of a crease in the center (as Ive this figure, that is mainly the hair.
and Other Details done on this figure). Its a small I could have done the collar
With the shading and highlighting detail, but adds to the realism. and shako strap as well, but I was
on the basic skin complete, its confident I wouldnt deface the
now time to turn out attention to How much to do is up to you face while I painted those. The
the other details on the face. For As Ive said, these fine points decision on how much to do is up
the lips, I like to start with a mix are easier to do on the larger to you.
of Violet Red and Rosy Shadow. scales. The upper lip tends to be For the hair I went with a
I dont have a specific ratio, but in shadow, so I may just use the brown tone. I started off with
somewhere around 1 part Violet Mahogany Brown for that. Brown Liner (a very dark brown)
Red to every 1 or 2 parts Rosy Before we go on to our final and then used Reapers Muddy
Shadow. To this, I then gradually step, it is beneficial to take care of Brown. To highlight brown hair, I
add Fair Skin. This will highlight the pieces that border the face. like to add in skin tones.
as well as tone down the red. Once we add the glazes, it will To the Muddy Brown, I
After all, we dont want our be very inconvenient to have to gradually worked in Tanned Skin.
Aide-de-Camp looking like hes touch up any of the face. So parts At around 50/50 Muddy Brown
wearing lipstick! where we might accidentally and Tanned Skin, I started to add
As you highlight, you can create get some other paint on the face Fair Skin instead to create the top
a solid lip or give the impression should be done at this point. On highlight.

Glazes should be the final step. The way colour is built up is a process
and is difficult to recreate in one single spot, so if you accidentally get a
dot of another colour on the face it will be very hard to correct.
Step Six: over multiple layers. For even purple. On this figure, I used the
Glazing in Color Variation a subtle colour, you will want 4 pre-made GW glazes (Bloodletter
The final and perhaps most or 5 layers. This helps with the Red, Guilliman Blue, and a mix
important step is using glazes to blending as it can create very of the two for the purple), but
create colour variation. As I said smooth transitions. on more recent figures I have
earlier on, the specific colours Make sure each layer is dry switched to Scale75s ink set.
you use for the skin are not as before you apply the next. Glazes
important as including colour tend to dry a little bit slower than Make the colour shift more apparent
variation. This produces the life- normal acrylic layers, so dont I began with the warm tones (the
like look you want in the face. rush it. you apply a second layer red) and applied those to the
There are two important things before the first is completely dry, middle of the cheeks. I started
to discuss here. The first is just it will re-wet the first layer and maybe a third of the way down
what are glazes and how do you just push the excess paint around. the cheek from the eye and
use them. The second is what Dab the You can only build up the colour brushed the colour back and in
colours should you be glazing on if the preceding layer is dry. towards the deepest part of the
and where. brush on Glazes should be the final step. cheek. This was repeated (after
First, lets take a look at what The way the colour is built up is each layer had dried) around 5
glazes are and how they work. a paper a process. That process is difficult times to get an appropriate shade
Glazes are very thinned down to recreate in one single spot, so of red. By varying the number of
paint. You might have one part towel. if you accidentally get a dot of layers, you can make the effect
paint to ten parts water. They are another colour on the face it will either stronger or subtler. I also
similar in consistency to a wash. This will be very hard to correct. used the red glaze to tint the
The main difference between a There are several ways you can bottom of the tip of the nose and
wash and a glaze is in how they give create your glazes. The first is the bottom of the ears. Compare
are applied. A wash is supposed to simply buy a pre-made glaze the final image here to the
to flow all over and get in all the you the like Games Workshops glazes. previous step to make the colour
cracks and crevices. A glaze is In my opinion these are still a shift more apparent.
meant to be applied in a much required bit too thick, so I further thin The blue glaze was used on
more controlled manner and them down 50/50 with water. the lower third of the face to
only go where you place it. When control The second way is to use either represent stubble. Blue seems
applying glazes there are several acrylic paint or ink and add a like a strange choice, but since
things that should be done: over lot of water (roughly 10 parts it sits on the opposite end of the
You should begin by removing water for every 1 part paint). This colour wheel from the skin tone
the excess paint. Dab the brush where works fine with inks, but paint layering on blue creates almost
on a paper towel. There will still tends to break down when you a grey effect. Be wary that you
be enough paint in the bristles the add that much water. Therefore, do not apply too many layers
to use. This will give you the you will also want to add one as you do not want the jaw to
required control over where the colour part glaze medium (sold by actually look blue. You just want
colour flows. companies like Vallejo) to help to shift the colour away from the
flows the behavior of the paint when regular skin tone. As this figure
Make sure each layer is dry thinned down to a glaze. Since has a mustache, I just focused
Start your brush stroke in the the glaze is so thin, you will also on the chin. I started my brush
transition region and push the want to work with a cup or well stroke at the top of the stubble
colour towards where it should palette. and brushed the colour down
be the strongest. The most paint Okay, now that you have an and under the chin. Here it is
will be left at the end of the idea what glazes are, lets look at important to do the entire chin at
stroke, so use the direction to how to use them on the face. The once so you dont create vertical
help with the blending. Typically goal here is to add tints of color. I lines with overlapping glazes.
you will be working with the side normally focus on adding warm Obviously the brush cannot
of the brush and not the tip as tones to the cheeks and cool cover the whole chin at once,
you apply the glaze. tones to the chin. I like to work but you can take advantage of
Gradually build up the colour with three colours: red, blue, and the drying time for the glaze.

Just work quickly using parallel
strokes and work your way from
one side of the jaw to the other. As
it remains wet, you will not create
overlapping glazes. Then, when
it has dried, you can repeat the
process to continue building up
the colour.
As for the purple, I like to use
this to help reinforce some of the
shadows. I typically add a bit of
purple into the deepest shadows
on the cheeks and to some of the
shadows around the eyes. You
Make use can also use either the purple or
the blue under the eyes to bring
of colour out the dark circles or bags under
them. In this case, I applied
variation several layers of purple glaze. The
effect is subtle, but can be seen by
(reds comparing the final images to the
previous ones.
in the The illustrations on this page
shows another example of the
cheeks effect of glazing (this time using
a 75mm Hussar as an example).
and tip of The two images show how glazes
on top of the already shading/
the nose, highlighted face can take a decent
looking figure and turn it into
blues on something much more life-like.
the lower Conclusion:

I hope this article has provided
part you with an insight into how
I tackle this intimidating, yet
of the rewarding element of miniature
painting. While you may not
face for follow my exact approach on
your own figures, I hope you will
stubble) take away some of the key points
and adapt them into your own
to get a approach. Be mindful of where
you apply highlights and shadows.
life-like Use variation in the shadows to
bring out the key elements of
look the expression and the major
features of the face. Use warmer
tones in the shadows to give the
figure a sense of life and vigour.
Make use of colour variation
(reds in the cheeks and tip of the
nose, blues on the lower part of
the face for stubble) to achieve
a life-like look. No matter what
method of blending you use or
whether you like oils, acrylics, or
enamels, these ideas can help you
create better looking faces on your
figures.

Journeys end
Works of art completed by you
Roman Centurion by Ivan Cavero de la Pea (Ivan C. Pintor de Miniaturas)
Stormtrooper 1917 by Emmanuel Roux French Grenadier of 1st Swiss regiment 1810 by Kiril Kanaev
Send pictures of your completed works of art to figurementors.com/art

Journeys end Works of art completed by you Send pictures of your completed projects to figurementors.com/art
British Soldier, the Somme by Rob Norris King Tiger Tank Commander by Jason Zhou
9 June 1944 by Franck Delineau Cristina Cri Cri Lulu titled whisper

Warrior Moche by Davide Faiola
Gladiator by
Fabio Fiorenza
Viking by Nicolas Wang Major British Cavalry Yeomanry Regiment 1914 by Patrick Kamsma

Gandamak by JM Gomez Garcia

Lewis and Clark Expedition by Pete Garrison

let your imagination fly by stathis mamais and christos panagiotopoulos

ATHENS2017
A Greek feast from
The 18th Star Club
Athens Show 2017
Anna Shestakova reports
from the exhibition
of historical and
fantasy miniatures

The 18th Star Club Athens Show2017
The 18th Star Club Athens Show This show is not only about Greece. On the Saturday night
2017 an exhibition of historical miniatures, but about friendship, there was a dinner with a variety
and fantasy miniatures was, as communication and recreation of Greek cuisine, and the dances
usual, a warm an cosy event, in a large international family of left nobody feeling indifferent.
where having a good time with artists. The guests of the show were
friends is equally as important In addition to the event surrounded by the love and care
as the competition. the participants of the show of the organisers.
The venue was the Plakas managed a visit to the ancient Athens Miniatures Show
Arts Centre where as well as Acropolis in the company of is more than just a show and
the competition a series of an inimitable guide, the tour everything that happened in
masterclasses were held by figure lasted five hours and during this Greece remains in Greece! ...And
painters Francesco Franciuus time we learned many new and Facebook!
Farabi and Fabrizio Russo. interesting facts about ancient See you next year!






...and some of the non-historical figure displays





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ARTIST

2 The Illustrated Historical Figure Artist 07.2017

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BRIEF HISTORICAL DIGRESSION

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Pic 6 Pic 7 Pic 8

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Pic 29 Pic 30 Pic 31

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Now that I had the can completed,

07.2017 The Illustrated Historical Figure Artist 15

Progressing to the helmet, I

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I believe youre initial interest I saw on a top shelf two Poste

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Even with single pieces there has to

07.2017 The Illustrated Historical Figure Artist 21

try those paints as well and find

I really struggle with the early

22 The Illustrated Historical Figure Artist 07.2017

have to be disciplined and

07.2017 The Illustrated Historical Figure Artist 23

Fantasy modellers try many new ideas

24 The Illustrated Historical Figure Artist 07.2017

Can you explain your principle

I see you like to paint figures

07.2017 The Illustrated Historical Figure Artist 25

26 The Illustrated Historical Figure Artist 07.2017

thing to me to know people

07.2017 The Illustrated Historical Figure Artist 27

28 The Illustrated Historical Figure Artist 07.2017

cold with the paint, or hot and whenever you can. Go to

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30 The Illustrated Historical Figure Artist 07.2017

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Paul Homer pays tribute to one of the

There are few superstars within of doubt, how much do I write?

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If people like Fernando Ruiz,

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akin to theatre lighting and stage

34 The Illustrated Historical Figure Artist 07.2017

Grunkful the Dwarf

07.2017 The Illustrated Historical Figure Artist 35

Asking about small resin

Below is the roll call of the

Warriors Miniatures 1/35 scale

36 The Illustrated Historical Figure Artist 07.2017

Historical 54mm, 70mm and A collaboration with

It became almost mythical

07.2017 The Illustrated Historical Figure Artist 37

No Fear: A one-off piece sculpted by Raul