Painting Miniatures

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Painting Miniatures in acryl and oil techniques

Text of Painting Miniatures

  • Acquistato da ivan pazmino su Bookrepublic Store il 2014-05-22 05:15 Num

    ero Ordine Libreria: b1486609-9788888711409 Copyright 2014, Auriga Publishing

    Auriga Publishing International

  • Acquistato da ivan pazmino su Bookrepublic Store il 2014-05-22 05:15 Num

    ero Ordine Libreria: b1486609-9788888711409 Copyright 2014, Auriga Publishing

    02 vallejo:Layout 1 20-03-2013 8:55 Pagina 1

  • Acquistato da ivan pazmino su Bookrepublic Store il 2014-05-22 05:15 Num

    ero Ordine Libreria: b1486609-9788888711409 Copyright 2014, Auriga Publishing

    Text and pictures:Danilo Cartacci

    Copy editing:Thomas Abbondi

    Book design:Cristina Bonanno, Alessandro Bruschi

    Graphics:Cristina Bonanno, Alessandro Bruschi

    Translation:Andrea J. Richardt

    from an idea byDanilo Cartacci and Alessandro Bruschi

    Printing:S.A.T.E. - Zingonia

    (BG) Publisher:

    AURIGA PUBLISHINGINTERNATIONAL SRL

    Via Bressanone 17/116154 Genova - Italy

    e-mail:info@aurigapublishing.it

    fax: (+39) 0106001907www.aurigapublishing.it

    Copyright AurigaPublishing International

    srl 2007

    All Rights reserved. NoPart of this book may be

    reproduced or transmittedin any form or by anymeans, electronic or

    mechanical, including pho-tocopying, recording or by

    any information storageretrieval system, without

    written of permission of thepublisher.

    INTRODUCTION

    It took two years for Danilo to answer the simple question on howto paint miniature figures. As soon as I saw the first draft of this

    volume, I was immediately enthusiastic about it. Observing all theparts - texts, photos and captions - blending in a coherent and

    organic whole during the editing and paging process, gave me theexciting sensation of something really well done. Transforming a

    manual process such as miniature painting into an exhaustive anduseful book is a delicate task, that implies both the skill to summa-rize and an even greater ability to shot high quality pictures in neat

    manner.Danilo proved to have these gifts at a high level and you can see it

    clearly in the figures that he paints.

    Thomas Abbondi

    03 colophon UK OK 7-08-2007 9:45 Pagina 2

  • Acquistato da ivan pazmino su Bookrepublic Store il 2014-05-22 05:15 Num

    ero Ordine Libreria: b1486609-9788888711409 Copyright 2014, Auriga Publishing

  • Acquistato da ivan pazmino su Bookrepublic Store il 2014-05-22 05:15 Num

    ero Ordine Libreria: b1486609-9788888711409 Copyright 2014, Auriga Publishing

    CHAPTER 1

    CHAPTER 2

    CHAPTER 3

    CHAPTER 4

    CHAPTER 5

    CHAPTER 6

    CHAPTER 7

    CHAPTER 8

    CHAPTER 9

    CHAPTER 10

    CHAPTER 11

    CHAPTER 12

    GALLERY

    Materials

    Preparation and assembling

    Flesh

    Draping

    Metals

    Chevrons

    The heraldry

    Natural materials

    The setting

    Painting a bay horse

    Weathering

    A complex figure

    Page 8

    Page 12

    Page 17

    Page 29

    Page 41

    Page 47

    Page 53

    Page 59

    Page 67

    Page 80

    Page 89

    Page 95

    Page 105

    05 indice uk ok 7-08-2007 9:48 Pagina 1

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    ero Ordine Libreria: b1486609-9788888711409 Copyright 2014, Auriga Publishing

  • Acquistato da ivan pazmino su Bookrepublic Store il 2014-05-22 05:15 Num

    ero Ordine Libreria: b1486609-9788888711409 Copyright 2014, Auriga Publishing

    INTRODUCTION

    The aim of this book is that of introducing this particular art to thewidest possible public. Im aware that theres much more to write

    on this subject, and even more to learn. The techniques I havebeen developing are the result of a great number of experiments

    and precious advices that Ive been putting in practice in a constantand mutual exchange of experiences with fellow modellists.

    Particularly, the help from my wife Angelina had been preciousduring the realisation of texts, since she took notes while I was atmy workbench, helping me to develop a readers point of view. A

    thank you goes also to all the authors, the sculptors and theCompanies that have been driving the production of soldiers to

    unbelievable levels, to the editors that promote them and, aboveall, to all the collectors who widely contribute to the growth of

    such a fascinating world.

    Danilo Cartacci

    This book is dedicated to my family:my wife Angelina, our daughters from the olderto the younger Maria Michela, Elisabetta andAnna Chiara .

    07 introduzione uk 7-08-2007 9:51 Pagina 2

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    MATERIALS

    Throughout the years, I hadthe chance of experiment-ing countless tools andmaterials, trying to get themost out of each, according

    Both the characteristicsand the quality of thebrushes have a key rolein the outcome of ourwork. Winsor & NewtonSeries 7 are good foroils, Da Vinci workgreat with acrylics. Eventhough they are prettyexpensive, their per-formances make themwell worth the price. Ah,and they last long, too.

    A hair-dryer speeds upthe drying process of

    acrylics. It goes withoutsaying that it cannot beused on oils. Resin andplastic parts can easily

    be warped by the heat.Be careful.

    Acrylics are very versatile. They are highly covering if notdiluted. According to thedegree of dilution, theycan become almosttransparent.

    8 PAINTING MINIATURES

    to the technique I was devel-oping, to achieve the bestresult in the shortest possi-ble time. Lets look at ashort list of common mate-

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    ero Ordine Libreria: b1486609-9788888711409 Copyright 2014, Auriga Publishing

    rials and their main charac-teristics.

    BrushesIt may seem obvious, but not everyone knows that agood result depends also on the quality of the brush,especially for all those passages which require veryaccurate traits. Winsor & Newton and Da Vinci brushesoffer the best performances, especially compared withthe synthetic ones, thanks to their softness and resist-

    ance.The Winsor & Newton series 7 brushes from 000 to 1(long tip) are ideal for oil colours. The Da Vinci classicseries (blue handle) from 0 to 3 are the best option asfar as wide creases and draperies with acrylics are con-cerned; the Maestro series (black handle, 000 to 0) areexcellent for precision jobs. It is always advisable to have a few cheaper and biggerbrushes which may be used to mix the colours on thepalette and to paint the grounds. Always wash thebrushes after each session, using water and soap, trimtheir tips from time to time, and protect them with theirdust caps.

    The main characteristicsof both acrylics and oils

    vary from brand tobrand. Andrea, Vallejo,

    Van Dyke by Ferraio,Winsor & Newton,

    Maimeri (classic series)and enamels by Model

    Master are above aver-age.

    A good drill with a goodset of drilling bits,

    brushes and milling cut-ters is a must for every

    modeller.

    MATERIALS

    9PAINTING MINIATURES

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    ero Ordine Libreria: b1486609-9788888711409 Copyright 2014, Auriga Publishing

    MATERIALS

    10 PAINTING MINIATURES

    Files, pliers, cutters,scalpels and sand-paperare the most classicaltools.

    A well lit workbench iscrucial. The best bulb isnarrow and long.

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    ero Ordine Libreria: b1486609-9788888711409 Copyright 2014, Auriga Publishing

    MATERIALS

    11PAINTING MINIATURES

    ColoursWith the passing of years, my approach to paintingevolved: after using oils only, I now use both oils andacrylics. Oils are perfect for flesh, skin, leather and, ingeneral, for natural materials, such as wood, stones, furswhich require a remarkable fading depth.

    Artist oilsOil colours usually have a poor covering power.Therefore they require a matt base, which should alsoprovide a good level of permeability to ease the evapo-ration of oil. Excellent results can be achieved withAndrea Color acrylics and Humbrol enamels. White spir-it can be used to dilute oils. Remember to use one cupfor metallic colours only.Oils can be easily faded one in the other: contrastingtones next to each other (usually a light and a darkone) can be faded in the borderline, resulting in a mid-dle tone. Another advantage is their slow drying time,which allows retouches for a good number of hours.The best brands as far as workability and opacity areconcerned are Van Dyke by Ferraio, Winsor & Newtonand Maimeri classic series.

    Acrylic coloursI normally use acrylics for fabrics, making the most outof their opacity, covering power and liveliness. Thetechnique requires to overlap different layers. Each layermust perfectly dry before being covered (a little hair-dryer can be used to speed-up the drying process).Acrylics are extremely versatile: according to the degreeof dilution, they can be highly covering or almost trans-parent (veiling). The best way to dilute them is distilled water, used with

    a dropper. Andrea, Vallejo, Maimeri Polycolor and APAby Ferraio provide the best results. Apart from oils andacrylics, Humbrol and Model Master enamels are excel-lent for settings and metal parts. A common disposableplate

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