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Painting eyes, lips, and hair
We paint the eyes last, rather than working around them. If the figure is 1/35 scale, we don't bother with the whites of the eves at all. Realistically, at normal viewing dis¬tances you couldn't possibly see the whites of the eyes anyway. Instead, using a no. 000 brush, apply a very thin line of dark gray (2 parts Black, 1 part White, and 1 part water or thinner) where the eyelids would normally meet. This will give a 1/35 scale figure a squinting appearance.
Eyes applied
If the figure is 90 millimeters or larger, the eyeballs would be dis¬tinct and must be filled in. Never try to make the figure look straight ahead. It will almost always come out cross-eyed. Instead, make the eyes look slightly to one side. Prepare a thinned mixture of 2 parts White, 1 part water or thin¬ner, and a touch of Red, since eye whites are not stark white, and fill in the eye with a no, 000 brush.
When the white is filled in, mix a thinned solution of 1 part Black, 1 part Blue, and 1 part water or thin¬ner and drop in the iris with a no. 000 brush. Then dot in the "glint" in the center of the eye with a touch of pure white. You do this by drawing the wet tip of your brush across your palette to flatten the bristles into a wide tip, then turn the brush 90 degrees and just touch the corner point to the center of the eye. It takes a bit of practice, but the results are effective.
If you wish, you may apply a 5 o'clock shadow. Mix a wash of Blue and apply this wash liberally to the upper lip, cheek, and chin areas. Once this wash has dried, highlight the area one more time with a thinned solution of 1 part White, 1 part Flesh, and 1 part water or thinner and apply very sparingly.
All figures have lips, of course, and this detail is often overdone by making the lips too red or too large. The effect should be subtle. Mix a small amount of thinned solution of 2 parts Flesh, 1 part Red, and 1 part water or thinner and stroke the bottom lip only, leaving the upper lip in shadow. It necessary, go back and reapply a thin line of dark gray to the upper lip to emphasize the contrast.
When the white is filled in, mix a thinned solution of 1 part Black, 1 part Blue, and 1 part water or thin¬ner and drop in the iris with a no. 000 brush. Then dot in the "glint" in the center of the eye with a touch of pure white. You do this by drawing the wet tip of your brush across your palette to flatten the bristles into a wide tip, then turn the brush 90 degrees and just touch the corner point to the center of the eye. It takes a bit of practice, but the results are effective.
If you wish, you may apply a 5 o'clock shadow. Mix a wash of Blue and apply this wash liberally to the upper lip, cheek, and chin areas. Once this wash has dried, highlight the area one more time with a thinned solution of 1 part White, 1 part Flesh, and 1 part water or thinner and apply very sparingly.
All figures have lips, of course, and this detail is often overdone by making the lips too red or too large. The effect should be subtle. Mix a small amount of thinned solution of 2 parts Flesh, 1 part Red, and 1 part water or thinner and stroke the bottom lip only, leaving the upper lip in shadow. It necessary, go back and reapply a thin line of dark gray to the upper lip to emphasize the contrast.
Hair applied
Hair is sometimes difficult Frequently, individual strands are molded into a figure, while with others there is only a faint semblance of a hairline. When the individual strands are distinct, start with the darkest color as a base and stroke progressively lighter shades on the high points of this base coat. If it's not indistinct, layer and feather the successive lighter shades, starting with the darkest color as a base coat, and layering and feathering the progressively lighter shades.
Experiment with different colors to see which please you. Always apply the darkest color first, and then work up to the highlights. Don't worry too much about getting it exactly right, since most figures will be wearing some type of headdress.
Experiment with different colors to see which please you. Always apply the darkest color first, and then work up to the highlights. Don't worry too much about getting it exactly right, since most figures will be wearing some type of headdress.
Finishing touches
Approach hands as you did the face—they’re a whole lot easier!
Article & photos from:
Book : How to paint realistic military figures by Lynn Kesser and Don Winar, 2nd Ed
All Right Reserved @Copyright by Kamblach Books 2000
Article & photos from:
Book : How to paint realistic military figures by Lynn Kesser and Don Winar, 2nd Ed
All Right Reserved @Copyright by Kamblach Books 2000
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