WIP RFC Guys

[NigelR]

Just started a (hopefully) quick project. I'm painting these RFC types as part of a vignette:

Two "erks" and two pilots to complement a recently completed 1/32 scale Sopwith 1 1/2 Strutter:

This is more of an exercise to allow me to practice my acrylic painting style, which is still evolving. So far I've completed the flesh work:



I'm starting to use more glazes and am trying to get consistent flesh tones. I think these aren't bad, although I did repaint a couple of the faces completely. I'll post more as I progress.

 

[DaddyO]

Looking good there Nigel (and I love the Strutter as you know)

Not sure if I've already suggested it before but I usually block in all the main colour areas to get rid of the white (nothing fancy just roughly the tone/colour of the finished area)
I think it's much easier to judge colours that way and you get a quick visual idea of how the range of colours you had in mind initially work together - I'm not averse to completely changing stuff around. Tis is the way I was taught to paint waaaaaay back when I were a wee arty student and is the reason you'll often see artists 'tone' a canvas with a wash of a neutral colour

Toodlepip
Paul

 

[Briggsy]

Nice start Nigel, the faces look really good, plenty of colour in them they look really lively. Love the aeroplane, not very well versed in this aspect of the hobby but it looks really good. I have to agree with Paul re blocking in colours, though to be fair I never realised why it was done it just seemed the natural thing to do.

Cheers Simon

 

[Nap]

Hi Nigel

Really good to see you sharing these cracking figures , they look nicely detailed and will look great

Nice painting on the fleshwork

Liking the plane ......always enjoy seeing the Great War SIG display at shows

Looking forward to seeing more updates

Hopefully Paul and others will also share figurework being used with planes/tanks etc ....adds that extra interest to a project

Happy benchtime

Nap

 

[NigelR]

Thanks Paul, Simon and Kev. Glad you think this is a good start, fingers crossed the rest goes well....

Looking good there Nigel (and I love the Strutter as you know)
I usually block in all the main colour areas to get rid of the white (nothing fancy just roughly the tone/colour of the finished area). I think it's much easier to judge colours that way and you get a quick visual idea of how the range of colours you had in mind initially work together - I'm not averse to completely changing stuff around. Tis is the way I was taught to paint waaaaaay back when I were a wee arty student and is the reason you'll often see artists 'tone' a canvas with a wash of a neutral colour

This makes a lot of sense. I find I have to block in the hair and moustache when painting faces because they change so much when the hair is painted. So it makes a lot of sense for the rest of the figure. Will definitely try this.

Hi Nigel
Liking the plane ......always enjoy seeing the Great War SIG display at shows

Thanks Kev, appreciate that. I've decided to concentrate most on doing vignettes and dioramas in future because these are much appreciated by the public when we do displays. Also, I'll never be a top figure painter but reckon I could reach a good standard for vignettes/dioramas

 

[Viking Bob]

Very nice Nigel, lovely work. Following this.

 

[MalcC]

I'm in, the figures look excellent, as for the Sopwith, that in itself is amazing.

Malc

 

[NigelR]

Some progress on the mechanic, he is all done bar the tool box. Paul's idea of blocking the colours in helped, I still struggle to get enough variation in dark and light falling on the figure, but this was tough because it's all one colour....(that's my excuse anyway). I think my blends need a bit more subtlety, thoughts welcomed....

 

[Robert Jan de Wit]

Great start Nigel!

Some progress on the mechanic, he is all done bar the tool box. Paul's idea of blocking the colours in helped, I still struggle to get enough variation in dark and light falling on the figure, but this was tough because it's all one colour....(that's my excuse anyway). I think my blends need a bit more subtlety, thoughts welcomed....

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I always block in the colors, it really helps. It was one of my first lessons studying illustration at art school.
I suggest you outline the figure along all the edges with a pretty strong highlight. Also try some more stronger highlights where the clothing is more stressed and creased. It will help to make the blue less uniform.

greets
RJ

 

[NigelR]

Great start Nigel!
I suggest you outline the figure along all the edges with a pretty strong highlight. Also try some more stronger highlights where the clothing is more stressed and creased. It will help to make the blue less uniform.

Thanks RJ, I did a little bit of that but didn't want to go all Warhammer edge highlights. But I will boost those highlights up more. Thanks for the advice on the highlighting, I will take that forward into the next figure (I don't want to fiddle too much with this one in case I mess it up).

It was one of my first lessons studying illustration at art school.

I am rather jealous of all you guys who have some background or qualification in art. A degree in economics and a career in accounting software isn't much help when it comes to painting figures.....

 

[Briggsy]

OK so all you guys with degrees, huh I joined the army at 16 and missed all that, still.not sure if it was a good move or not but by the time I grow up I should have it sussed!

Thanks to Malc and Rob (who I haven't seen here for a while, hope he's well) I learnt the art of glazing. There is something about not teaching an old dog new tricks, as I have to relearn with every figure, but doing it in small areas with minimal paint does give good results. That said the blending looks alright in the picture, just a little more high and low tones will make it stand out really well.

Cheers Simon

 

[Robert Jan de Wit]

Thanks RJ, I did a little bit of that but didn't want to go all Warhammer edge highlights. But I will boost those highlights up more. Thanks for the advice on the highlighting, I will take that forward into the next figure (I don't want to fiddle too much with this one in case I mess it up).


I am rather jealous of all you guys who have some background or qualification in art. A degree in economics and a career in accounting software isn't much help when it comes to painting figures.....

Well, I didn’t end up as an illustrator or animator but became a special education teacher and principal….

I highly recommend these books for you. Very clear and inspirational and very useful for us modellers:

https://jamesgurney.com/products/co...or-the-realist-painter-signed-by-james-gurney

https://jamesgurney.com/products/imaginative-realism-how-to-paint-what-doesnt-exist

greets,
RJ

 

[NigelR]

Thanks Simon, glad you think it doesn't look too bad. I too have been making use of glazes and also filters. But I still struggle in getting those highs and lows, thanks for the advice.

OK so all you guys with degrees, huh I joined the army at 16 and missed all that, still.not sure if it was a good move or not but by the time I grow up I should have it sussed!

Well, as my old dad (whose chance of further education was cut short by having to serve in WWII.....) always used to say to me, I don't know what they teach you at that University, but it certainly isn't common sense..... It certainly wasn't figure painting or colour theory either!!

Well, I didn’t end up as an illustrator or animator but became a special education teacher and principal….
I highly recommend these books for you. Very clear and inspirational and very useful for us modellers

Thanks RJ, I have ordered the colour and light one. I realise I need to know more about colour theory, I'm gradually getting away from the "add white for highlights, black for shadows" approach of my youth..... I've found Mike Blank's book helpful.

 

[DaddyO]

Hi Nigel
Figure looks fine mate.
There'll always be improvements that can be made, but with a small group like this rather than an individual figure I think it's important that they all work together tonally, so press on my friend and get the others painted up as well.
Once they are all done you can group them together and decide where the main centre of interest is and, if necessary (and if you're still willing at that stage), lean into THAT figure/pair and add some work to bring it to the eye. Could be increased contrast a splash of bright colour, their position etc or you could knock back the others with glazes to subdue them a tad. Thinking about the way the viewer looks at the scene you've created is one of the subtleties of group scenes which sometimes slips by in the quest to paint a 'perfect' figure; Mike is a master of the art (and our own Marcus ain't half bad either)

Final suggestion - pop this figure next to one you painted a year ago.

Catch up soon
Paul

 

[MalcC]

He's looking good, very nicely painted, the addition of the weathering is a nice touch, although I think a little more is needed, but that's me.
I'm looking forward to seeing him completed.

Malc

 

[Briggsy]

Well, as my old dad (whose chance of further education was cut short by having to serve in WWII.....) always used to say to me, I don't know what they teach you at that University, but it certainly isn't common sense..... It certainly wasn't figure painting or colour theory either!!

l.

I wouldn't have lasted at university, couldn't wait to get out of school to be honest. I'm with your Dad on the common sense thing, after the army I worked in defence research, we took on a new bunch of graduates every year, generally not an ounce of common sense between them. Then again plenty of the thing I was doing at their age totally lacked any sense of whatever kind!

Cheers Simon

 

[Nap]

Hi Nigel

Looks good to me but wise words from those with more painting talent than I will ever have ! ...but I am common ...lol..

Agree ref weathering being a bit more

Look forward to the tool box

Happy benchtime

Nap

 

[NigelR]

Thanks Paul and Malc, good advice all round. Kev, don't do yourself down - I tried painting a bust recently and it beat me completely! I may go back to it at a later date but it will all have to be repainted.

Paul, good suggestions on the tonality of the group. There's some things I can do with the pilots that might help make them coherent and also the centre of attention.

Malc (and Kev), I agree on the weathering, I'll definitely do some more. I will probably wait until I do the groundwork so that I can tie the figures in to the groundwork effectively.

 

[David Spencer]

I like all of this: plane, figures, concept.
A really nice project and one to ponder for the future.
If people have any suggestions regarding aircraft kits and figures, please let me know.
WW1 aircraft are gorgeous (and SOBs to build): works of art.
Lovely.

 

[NigelR]

I like all of this: plane, figures, concept.
A really nice project and one to ponder for the future.
If people have any suggestions regarding aircraft kits and figures, please let me know.
WW1 aircraft are gorgeous (and SOBs to build): works of art.
Lovely.

Thanks very much David. If you want to have a go at WWI aircraft in 1/32 (54mm) scale, I suggest you start with the Copper State Models Nieuport 17/21/23. This comes in French, Belgian, British and Russian versions , is nicely detailed and is a high quality kit that isn't too challenging to build. The rigging is also pretty straightforward. Copper State Models also do a great range of figures as well, see https://www.copperstatemodels.com/page/store/WzIsIlsxLDZdIl0= Elan 13 also have a nice range of pilot figures and mechanics.

FYI the two pilots and the mechanic I am doing are from Elan 13 and the guy bending over is from Copper State. And if you ever get round to building WWI aircraft, feel free to PM me for hints and tips....