Completed Mike’s Wars & Peaces Miniatures - Arthur

[NigelR]

My approach & techniques are a bit too clumsy & dirty.
Not precise or technically clean. More character than clinical.
It works for some things, not for others.
MikeTheKiwi

Interesting. Your figures definitely ooze character, and the way you paint creates that character. Do you think your painting style has evolved from your use of acrylics? Seeing the close up shots of your work there's a definite pointillist (like Seurat) element in your style. It's not typically how someone using oils would work. Did you ever use oils in the past or have you always been an acrylics (or maybe enamels) user?

You probably answer all those questions in your book, so maybe I should wait a few more weeks.... I love those close up shots btw.

 

[Viking Bob]

I have just read the link you shared regarding the stretcher bearer's, a sad story , tragic end.

 

[Mike - The Kiwi]

I have just read the link you shared regarding the stretcher bearer's, a sad story , tragic end.

Shocking & sadly tragic story for a special man Bob.

https://ww100.govt.nz/bearing-the-wounded

Thanks for following though on his legacy mate.
MikeTheKiwi

 

[Mike - The Kiwi]

Interesting. Your figures definitely ooze character, and the way you paint creates that character. Do you think your painting style has evolved from your use of acrylics? Seeing the close up shots of your work there's a definite pointillist (like Seurat) element in your style. It's not typically how someone using oils would work. Did you ever use oils in the past or have you always been an acrylics (or maybe enamels) user?
You probably answer all those questions in your book, so maybe I should wait a few more weeks.... I love those close up shots btw.

Thanks for question Nigel.
I began as an oil painter based on Shep Paine’s guidance in his “How to Build Dioramas”. I began experimenting with acrylics on some clothing items & gradually evolved to acrylics for most surface textures.
Though still return to oils from time to time.
Yep more on this in my book ;-)

Acrylics have steadily evolved, although I’ve always strived for a grubby, ‘natural’ look rather than cleaner approach.
I also experiment with every figure trying to get a more authentic look & feel to all textures, though not specifically lifelike, more representative. I generally believe my figures are too dull under normal room lighting, as I paint them to be seen under strong light & this remains an area I want to improve on.

Check out this post for an older example of a mixed media figure I have a special affinity for. Will look at taking some updated photos of some of my MedRom projects so you can compare from then to now.
https://www.planetfigure.com/threads/mikes-william-walter-tell-done.49945/page-3#post-685824

How’s this read mate?
MikeTheKiwi

 

[Steve Ski]

So in my absence while cutting firewood and stacking hay you go and slip in this gem, go figure. The detail is literally astounding, something to strive for in this fine Sport of "sniffin paint and gluin our fingers together". Classic work, Mike!

P.S. I appreciate your analytical approach, something I still struggle with. Sometimes I have no clue as to how it happens, but I may want to get a handle on that some day, lol.

 

[NigelR]

Thanks for the info Mike, I am belatedly evolving from oils but I'm not sure how far to go. Acrylics seem to work for me for WWI figures in vignettes/dioramas but for single figures I'm still tempted by the mixed media approach.

Thanks for question Nigel.
Acrylics have steadily evolved, although I’ve always strived for a grubby, ‘natural’ look rather than cleaner approach.
I also experiment with every figure trying to get a more authentic look & feel to all textures, though not specifically lifelike, more representative. I generally believe my figures are too dull under normal room lighting, as I paint them to be seen under strong light & this remains an area I want to improve on.

I think you really capture that natural look, which works so well for the heavy fabric of most WWI uniforms.

Lighting is a challenge. I display my stuff at model shows and it's amazing how different figures can look in different lighting conditions. Still haven't cracked that one....

 

[Mike - The Kiwi]

So in my absence while cutting firewood and stacking hay you go and slip in this gem, go figure. The detail is literally astounding, something to strive for in this fine Sport of "sniffin paint and gluin our fingers together". Classic work, Mike!

P.S. I appreciate your analytical approach, something I still struggle with. Sometimes I have no clue as to how it happens, but I may want to get a handle on that some day, lol.

Thanks Ski!
Maybe I’m overthinking things here.
Key is I’m Going to keep learning by doing.
You’re doing plenty of practice to nail down your ‘system’ mate - next challenge is your ‘style’ - how’s this coming along for you?
Back in a couple of months with new WW2 projects mate!

Thanks for the info Mike, I am belatedly evolving from oils but I'm not sure how far to go. Acrylics seem to work for me for WWI figures in vignettes/dioramas but for single figures I'm still tempted by the mixed media approach.
I think you really capture that natural look, which works so well for the heavy fabric of most WWI uniforms.
Lighting is a challenge. I display my stuff at model shows and it's amazing how different figures can look in different lighting conditions. Still haven't cracked that one....

Good to share learning here Nigel.
Sounds like we’re both on a similar journey.
Yes I do like heavier clothing painting & will be challenging to do some thinner fabric khaki drill on upcoming projects.
Intrigued by lighting comment & can totally understand how this can make figures look different.
What’s on your bench mate?

 

[Steve Ski]

You’re doing plenty of practice to nail down your ‘system’ mate - next challenge is your ‘style’ - how’s this coming along for you?

As you so perfectly stated, it's a continuos learning process. The style is slow to form, but I'm working it, as best I can

 

[Larsen E. Whipsnade]

Brilliantly done!
Rick

 

[Mike - The Kiwi]

As you so perfectly stated, it's a continuos learning process. The style is slow to form, but I'm working it, as best I can

What would you want traits to have in your ‘style’ Ski?

Eg. For me it is about surface texture & face character

Brilliantly done!
Rick

Cheers Rick beautiful figure to paint

 

[Steve Ski]

What would you want traits to have in your ‘style’ Ski? Eg. For me it is about surface texture & face character

Like a true School Master you are forcing me to think, Mike., ......... As I mentioned to you long ago that style would be to use oils like you use acrylics on flesh tones, faces. My focus has been facial features for the past few years which is why very few rigs have been on my bench. I've had this conversation with a few other former oilers who have gone to acrylics. I personally think I can eventually make a figure come to life with oils as the main medium, with a true to life appearance. That is the style I have set my sights on and I am working towards.

The closest I have come so far is Corp Reynold's face, the Arnhem dio, and I think using the methods I have begun to incorporate, learned from Daria's oil painting videos, have really made that come together for me just recently. I was actually hesitant to return to 1/35 because I had never gotten the facial work done properly, or to an acceptable level I would consider acceptable, until now. I'm enjoying the process, but we can be are our own worst critic, and rightly so.


I do appreciate the inquiry, Mike. You keep me stretching the envelope, getting me out of my comfort zone, to continue to improving. That's why this "Sport" is so much fun, IMHO!

 

[Mike - The Kiwi]

Like a true School Master you are forcing me to think, Mike., ......... As I mentioned to you long ago that style would be to use oils like you use acrylics on flesh tones, faces. My focus has been facial features for the past few years which is why very few rigs have been on my bench. I've had this conversation with a few other former oilers who have gone to acrylics. I personally think I can eventually make a figure come to life with oils as the main medium, with a true to life appearance. That is the style I have set my sights on and I am working towards.

The closest I have come so far is Corp Reynold's face, the Arnhem dio, and I think using the methods I have begun to incorporate, learned from Daria's oil painting videos, have really made that come together for me just recently. I was actually hesitant to return to 1/35 because I had never gotten the facial work done properly, or to an acceptable level I would consider acceptable, until now. I'm enjoying the process, but we can be are our own worst critic, and rightly so.


I do appreciate the inquiry, Mike. You keep me stretching the envelope, getting me out of my comfort zone, to continue to improving. That's why this "Sport" is so much fun, IMHO!

Good on ya Steve for contributing to our conversation
- we all learn together while building Community.
Your aspiration is well founded as oils are classic medium for flesh tones.
No better artist at present with these than David Lane.
He’s perfected his approach over years of oil painting and had me asking myself questions should I have a go at doing flesh oils again.
One primary reason is increased productivity.
Acrylics whilst fun, do take lots of effort for me with many, many brushstrokes.
I’m sure same or better could be done with oils.
Another thought is why restrict ourselves to a single Medium, all have benefits & if you can leverage the properties of each you have potential to create something unique. Guess that’s part of my approach too - Right Medium for Right Effect or texture…
Now you’ve got me thinking too.

What aspect is most challenging for you & other oilers here?
MikeTheKiwi

PS Saw John Dunn’s thread.
That post you shared of Daria’s is priceless full of good tips whatever medium you use.
https://www.planetfigure.com/threads/john-f-kennedy.473166/#post-1263545

 

[Steve Ski]

You brought out some great points, Mike, please allow me to expand on a few thoughts, if I may, and I’ll try not to be too long winded, lol.

Mike, you are a tricky, intelligent School Master, lol. I'm getting a good chuckle at your response, in good form, of course. We're both young pups, really, just ask our wives, right? So, my approach will stretch like yours, "Right Medium for Right Effect or texture…", as long as I'm not asked to stretch to a “constant layering regime”, HA! I will research David Lane's work, a must!

Ya know, Brother, I am a seriously slow painter, by all accounts. Production has never been my concern, personally, but that’s just me. I refuse to comply with a deadline when it comes to a relaxing “Sport” such as this, it’s just too much fun, IMHO. My mother was an oil painter from her college days way back when and I do have her original paint palette and oils, pretty cool. She was my intial inspiration.

I know many don't prefer oils because of the drying time, but I prefer them for exactly that very reason alone. I'm probably one of the few that leave my oils "as is out of the tube" on a palette of “wax paper”, no sucking up the oil on cardboard. I still use "good 'ol paint thinner”, and I work, and rework, an area for an incredibly longer period time than I probably should, but I can be anal retentive in that way. Sometimes I just can't let it go, if ya know what I mean.

You know your limitations, your high points, and your weaknesses, although some of us would scratch our heads to figure out what that might be, but you know your outer limits. I personally think whatever system, technique, or style you have running right now has propelled you far beyond what most of us will ever achieve. But at least we can watch, learn by looking, and strive for that same perfection.

That's really how I've seen this "Sport" ever since, in my own experience, the days of Shep Paine back in the early 80’s. All one has to do is look at a few works from yourself, Kaz, and several others here on PF, and we can actually envision the process. At least that’s how it works for me, in most cases. I am not traditionally trained. It’s been OJT, crash and burn, bump and grind, that’s pretty much it.

If you feel compelled to rework some oils into your process, I say go for it. I know you’ll get the results you’re looking for, regardless. Knowing your style, you will arrive at the desired results within your acceptable range or it won’t pass muster.

I still say you’ve raised the bar just that much further on this last figure, simply a work of art!

Keep Ruckin, Mike, it keeps us young! Cheers, Ski.



P.S. Daria's work is very useful in this 3D world, at least for me. A great study in oils, actually.

 

[Mike - The Kiwi]

…I'm not asked to stretch to a “constant layering regime”, HA! I will research David Lane's work, a must!

Ya know, Brother, I am a seriously slow painter, by all accounts. Production has never been my concern, personally, but that’s just me. I refuse to comply with a deadline when it comes to a relaxing “Sport” such as this, it’s just too much fun, …
I know many don't prefer oils because of the drying time, but I prefer them for exactly that very reason alone. I'm probably one of the few that leave my oils "as is out of the tube" on a palette of “wax paper”, no sucking up the oil on cardboard. I still use "good 'ol paint thinner”, and I work, and rework, an area for an incredibly longer period time than I probably should, but I can be anal retentive in that way. Sometimes I just can't let it go, if ya know what I mean.

You know your limitations, your high points, and your weaknesses, although some of us would scratch our heads to figure out what that might be, but you know your outer limits. I personally think whatever system, technique, or style you have running right now has propelled you far beyond what most of us will ever achieve. But at least we can watch, learn by looking, and strive for that same perfection.

That's really how I've seen this "Sport" ever since, in my own experience, the days of Shep Paine back in the early 80’s. …
Keep Ruckin, Mike, it keeps us young! Cheers, Ski.



P.S. Daria's work is very useful in this 3D world, at least for me. A great study in oils, actually.

Back at ya Ski!

Neat hearing about your Mother inspiring oils for you.
Sounds like you a true classics painter.
And good to hear you’ve set your own benchmark with the brave Para Corporal at Arnhem. What will be your next one?

One challenge I’d put out buddy is to up production, as you’re doing with your multi figure projects. My feeling is the more practice you can get, even if you have to push the pace, the more opportunities you have to learn from this practice the better. Look at Kaz, DavidL, Calvin, Danillo, BillH, & Mike Blank - all are highly productive & keep pushing their own boundaries with bigger & more demanding projects. Thoughts?
MikeTheKiwi

 

[Nap]

Absolutely stunning

Love the nuanced tones especially in the blue shirt

Paul

Absolutely agree there ...a real pleasure to see Mikes work as always

Nap.....picking jaw off floor as I type

PS Great posts and discussions here

 

[Scotty]

Gleaming work Mike. Love this wee guy.
Scotty.

 

[Mike - The Kiwi]

Absolutely agree there ...a real pleasure to see Mikes work as always
Nap.....picking jaw off floor as I type
PS Great posts and discussions here

Gleaming work Mike. Love this wee guy.
Scotty.

Thank you both once again for your supportive comments guys.
An particularly poignant subject helped motivate me for this little fellow.
MikeTheKiwi

 

[Steve Ski]

One challenge I’d put out buddy is to up production, as you’re doing with your multi figure projects. My feeling is the more practice you can get, even if you have to push the pace, the more opportunities you have to learn from this practice the better. MikeTheKiwi

I would have to agree with everything you said there, Mike. Bunker time can be at a premium sometimes, but I've been at the bench more this summer than ever before, so I'm taking advantage of it. Looking over Dave's latest post I see some really great subtle flesh tones more into the realm of canvas work, like Daria. This is, IMHO, where canvas meets 3D. That is pretty much my goal, that kind of realism. I've got a long way to go, but the journey is half the fun. I'm glad Dave posted that, just like your Gurkha, perfect examples of a "serious mind trip" for the observer; "Is it real, or is it Memorex?" It's that double take that I'm after, make me look twice.

And I'd be remiss if I didn't mention the fact that any talent I get is God given, cause Lord knows I couldn't do this on my own!


Cheers, Ski.

 

[Mike - The Kiwi]

I would have to agree with everything you said there, Mike. Bunker time can be at a premium sometimes, but I've been at the bench more this summer than ever before, so I'm taking advantage of it. Looking over Dave's latest post I see some really great subtle flesh tones more into the realm of canvas work, like Daria. This is, IMHO, where canvas meets 3D. That is pretty much my goal, that kind of realism. I've got a long way to go, but the journey is half the fun. I'm glad Dave posted that, just like your Gurkha, perfect examples of a "serious mind trip" for the observer; "Is it real, or is it Memorex?" It's that double take that I'm after, make me look twice.
And I'd be remiss if I didn't mention the fact that any talent I get is God given, cause Lord knows I couldn't do this on my own!
Cheers, Ski.

Ski,
I suppose we are all trying to interpret the look of a real person in our figures. However artistry comes in with how we choose our palette, brushes & effects etc.
It maybe realistic àla David or artistic impression of light on human form àla Kirill’s style. Whatever the choice of approach all we can do is strive to achieve what we consider satisfies our desire to be creative. Have enjoyed the meandering in this thread, as we’ve tried to understand & learn with each other.
It’s been mind provoking f’sure, wonder if others have found value in it?
Thanks buddy for offering your views.
MikeTheKiwi

 

[Steve Ski]

Thanks for asking us all, Mike!