Any tips on painting fur for parka hood ?

[andyevans]

Hi all,

Question is in the title really. Looking for any tips on how to paint fur, specifically the rabbit fur lining inside the hood of a german parka.

I have an old Military Modelling article by Gino Poppe which shows this very thing, unfortunately the method is not described, just a couple of photos. I think it was January 2009, but can't be sure at the moment. Figure is an Alpine panzergrenadier in 120mm.

I work with oils, enamels or acrylics but think the traditional wash/drybrush method will look too rough so any suggestions will be greatly appreciated. I even have a rabbit skin on my workbench as we speak for reference !

Thanks for looking,

Andy

 

[housecarl]

Andy. I know that dry-brushing has become a swear word. I've got the same figure, I painted the fur in a dark brown, then dry brushed progressively lighter browns on to that.
Carl.

 

[Einion]

I work with oils, enamels or acrylics but think the traditional wash/drybrush method will look too rough so any suggestions will be greatly appreciated.

The way to paint something like this is really to meticulously paint the fur 'tufts' one at a time. But drybrushing (and similar techniques) can be used to help lay out the basics of the lighting. If you don't use a stiff brush and don't drybrush against the grain of the detail so much it can achieve a much softer effect, particularly if glazes are used on top.

You could try drybrushing with oils and take advantage of their slow drying time by then softening the effect with a very gentle overbrushing using a clean, dry brush.

Scumbling can be useful; it's something like drybrushing but the brush is not dry, with almost all the paint brushed out of the bristles. It takes practice but the effect it produces is often much less harsh; generally I would recommend using a light touch and stroking the brush along the sculpted fur texture, not at right angles.

I know that dry-brushing has become a swear word.

Well, it tends to produce the results it produces. Especially if a fairly heavy hand is used and when done across the grain (the traditional way it's recommended to do it) it's crude and can tend to emphasise any roughness in the casting, the primer or the basecoat. This can be perfect for a slab of masonry, but generally it's far from desirable when highlighting a sleeve or a face.

Einion

 

[Mark Yungblut]

OOPs double post...

 

[Mark Yungblut]

Typically what I do for fur is a series of oil washes over a bright white base.

Then before the oil wash sets completely, I use an artist's kneadable eraser, in a dabbing motion, to remove some of the tint and make the highlights brighter in tone. You can change the color of the fur by choosing a nice warm grey or neutral grey if the fur is that color or by ading yellow ochre if the color leans toward the yellow.

I use the same method with Indian Red to do red hair:

Cheers,

Mark

 

[Ferris]

Mark,

I am quite happy with painting fur or pelt with oils over a tan base (humbrol or acrylics). Partly wet in wet, and afterwards some wet on dry for added contrast in the highlights. With simple mixtures made from burnt umber, white, raw and burnt sienna, yellow ocre and some black or van dyke brown for the deep shadows and outlining, you can achieve all sorts of pelt.

I know Gino's article you are referring to. Unfortunately the pictures with the article are a bit grainy, and indeed, not everything is explained step by step. Brilliant painting of the figure nevertheless!

Hope this helps.

Cheers,
Adrian

 

[John Bowery]

Mark,
Thank for the explaination. The red hair is excellent.
Cheers
John

 

[andyevans]

Thanks for the replies, there are some very useful tips there. I'll let you know how I get on.

Cheers,

Andy