Roma Victrix!
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rossbach
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Hello all,
My interpretation of Alexandros Model's 54 mm Legatus Legionis by Adriano Laruccia. Our man is depicted in a dramatic pose (Laruccia's hallmark I 'd say) claiming victory in the name of Rome after battle with some fuzzy wuzzy Celts
In my in last post, Alexandros Models 54 mm Seleucid Hipparchos, I took the pics myself using my Huawei cell phone. The pics below are more professional and were taken by my friend and colleague Marcel. I think he did an excellent job. Normally he builds working 1:8 scale steam locomotives from scratch (www.stoompagina.nl for pics). But he also knows how to handle a camera!
I started seriously painting the figure in oktober last year and finished it last week. Normally I paint during the weekends. Although it's a 54 mm finishing it was plain hard work.
The figure was divided into 5 painting units: helmet, head, left hand and sword, cloak and the main torso. After the cloak was finisished I attached the left hand which has the sword attached. Before that the cloak received a very thin coat of Gunze Sangyo H20 matt varnish. I did this because the red (actually it is more a reddish brown that looks red) dried to a sheen. This was the result of the mix: cadmium red, red madder, lots of gold ochre and a blob of burnt umber. The rest of the figure did not receive a matt coat of varnish.
After finishing the cloack I attached the head. I don't know if it is visible in the pictures but the inevitable gap between neck and cloak was dealt with (after painting) by extending the border of the tunic upwards with Fixit Sculpt. I did something similar along the border between sword and cloak. it did have a nice fit but I wanted the pleats of the cloak to fall over the scabbard. So I extended the pleats and repainted the area.
I had to get used to working like that but if you paint while building its the only way to do it believe me. I also resculpted those parts off the sword belt that run to the inside of the cloak. The whole unit was later attached to the torso. The helmet was attached after the figure was placed on his base.
I find the helmet quite an eyecatcher by the way. It seems to be a ceremonial helmet based on archeological find in Trun, France.
Then my attention turned to the lower part of the figure. Al metallic parts are either silver or gold printers ink to which quantities of black oil paint are added. The armour and the hemet dried to a matt finish. Shadows were applied wet in wet as is common when painting in oils. The highlights of pure silver or gold mixed with silver (mixed with Liquin Fine Detail Medium) were applied after the rest had dried. Normally I apply them in fine lines or dots placed 'strategically'.
I also rely heavily on controlled pinpoint washes and very thin lines to emphasise the 3 dimensional effect and to create depth. For this I use pure black or Sepia. I do this througout the entire figure flesh parts included. When painting the decorations on the armour I started with a very dark mix bordered in black for sharpness and then I worked my way up towards the light with dots/spots in a gold/silver mix.
The tunica was painted in a mix of white, gold ochre and a bit of burnt umber. For the clavus I used violet mixed with white. The pteruges were done in a very dark brown basic mix, highlighted by adding yellow ochre. Once dried I bordered the strips with a pinkish mix of Venetian red and white. After this had dried I applied the highlights on the red borders and finaly some very thin black lines for the deepest shadow all across the pteruges. This gives the whole ensemble a sharpness I am always after.
For flesh colours I mixed white with gold ochre and English Red to which minute quantities of burnt umber were added according to need (very deep shadow) the intermediate highlights were applied wet in wet. The more extreme highlights as well as the sepia lines around the eyes and in the skinfolds were done after the face had dried.
For the arms and legs the same procedure was followed. After everything had dried I painted the extrem highlights and used a Sepia wash in the deepest parts which was then manipulated into a very thin sharp line. One of the blessings of oilpaint!
The boots received a basic paint of reddish brown verging towards pink. Can't remember the exact components but I did rely heavily on madder red. I use yellow ochre in all my red mixes because it makes shading easier. Highlights (white and Naples Yellow) and shadows were applied after that had dried.
I bumbed into a very slight omission probably a result of the casting process. On top of the breast plate in the middle between the fastening cord there should have been some sort of decoration. On my figure this was more or less missing. So I sculpted the floral thing that can be seen just under the edge of the cloak in the centre.
I enjoyed this figure very much. I already started work on another Alexandros Model, this time a Macedonian subject. A little vignette, starring Peridaces and titled 'Makedonija Večna!'.
Enjoy the pictures!
Cheers Paul
Ps: if you click on the tumbnails and then choose the 'original location 'option and then click again you will get a nice big pic!
My interpretation of Alexandros Model's 54 mm Legatus Legionis by Adriano Laruccia. Our man is depicted in a dramatic pose (Laruccia's hallmark I 'd say) claiming victory in the name of Rome after battle with some fuzzy wuzzy Celts
In my in last post, Alexandros Models 54 mm Seleucid Hipparchos, I took the pics myself using my Huawei cell phone. The pics below are more professional and were taken by my friend and colleague Marcel. I think he did an excellent job. Normally he builds working 1:8 scale steam locomotives from scratch (www.stoompagina.nl for pics). But he also knows how to handle a camera!
I started seriously painting the figure in oktober last year and finished it last week. Normally I paint during the weekends. Although it's a 54 mm finishing it was plain hard work.
The figure was divided into 5 painting units: helmet, head, left hand and sword, cloak and the main torso. After the cloak was finisished I attached the left hand which has the sword attached. Before that the cloak received a very thin coat of Gunze Sangyo H20 matt varnish. I did this because the red (actually it is more a reddish brown that looks red) dried to a sheen. This was the result of the mix: cadmium red, red madder, lots of gold ochre and a blob of burnt umber. The rest of the figure did not receive a matt coat of varnish.
After finishing the cloack I attached the head. I don't know if it is visible in the pictures but the inevitable gap between neck and cloak was dealt with (after painting) by extending the border of the tunic upwards with Fixit Sculpt. I did something similar along the border between sword and cloak. it did have a nice fit but I wanted the pleats of the cloak to fall over the scabbard. So I extended the pleats and repainted the area.
I had to get used to working like that but if you paint while building its the only way to do it believe me. I also resculpted those parts off the sword belt that run to the inside of the cloak. The whole unit was later attached to the torso. The helmet was attached after the figure was placed on his base.
I find the helmet quite an eyecatcher by the way. It seems to be a ceremonial helmet based on archeological find in Trun, France.
Then my attention turned to the lower part of the figure. Al metallic parts are either silver or gold printers ink to which quantities of black oil paint are added. The armour and the hemet dried to a matt finish. Shadows were applied wet in wet as is common when painting in oils. The highlights of pure silver or gold mixed with silver (mixed with Liquin Fine Detail Medium) were applied after the rest had dried. Normally I apply them in fine lines or dots placed 'strategically'.
I also rely heavily on controlled pinpoint washes and very thin lines to emphasise the 3 dimensional effect and to create depth. For this I use pure black or Sepia. I do this througout the entire figure flesh parts included. When painting the decorations on the armour I started with a very dark mix bordered in black for sharpness and then I worked my way up towards the light with dots/spots in a gold/silver mix.
The tunica was painted in a mix of white, gold ochre and a bit of burnt umber. For the clavus I used violet mixed with white. The pteruges were done in a very dark brown basic mix, highlighted by adding yellow ochre. Once dried I bordered the strips with a pinkish mix of Venetian red and white. After this had dried I applied the highlights on the red borders and finaly some very thin black lines for the deepest shadow all across the pteruges. This gives the whole ensemble a sharpness I am always after.
For flesh colours I mixed white with gold ochre and English Red to which minute quantities of burnt umber were added according to need (very deep shadow) the intermediate highlights were applied wet in wet. The more extreme highlights as well as the sepia lines around the eyes and in the skinfolds were done after the face had dried.
For the arms and legs the same procedure was followed. After everything had dried I painted the extrem highlights and used a Sepia wash in the deepest parts which was then manipulated into a very thin sharp line. One of the blessings of oilpaint!
The boots received a basic paint of reddish brown verging towards pink. Can't remember the exact components but I did rely heavily on madder red. I use yellow ochre in all my red mixes because it makes shading easier. Highlights (white and Naples Yellow) and shadows were applied after that had dried.
I bumbed into a very slight omission probably a result of the casting process. On top of the breast plate in the middle between the fastening cord there should have been some sort of decoration. On my figure this was more or less missing. So I sculpted the floral thing that can be seen just under the edge of the cloak in the centre.
I enjoyed this figure very much. I already started work on another Alexandros Model, this time a Macedonian subject. A little vignette, starring Peridaces and titled 'Makedonija Večna!'.
Enjoy the pictures!
Cheers Paul
Ps: if you click on the tumbnails and then choose the 'original location 'option and then click again you will get a nice big pic!
tonydawe
A Fixture
Hi Paul,
Thanks for your detailed notes on painting this wonderful figure. They were very helpful. The final result is absolutely stunning and something to be proud of. The figure itself is another masterful Laruccia sculpt, but I think your painting has elevated this piece to another level. Congratulations and thanks for sharing.
Thanks for your detailed notes on painting this wonderful figure. They were very helpful. The final result is absolutely stunning and something to be proud of. The figure itself is another masterful Laruccia sculpt, but I think your painting has elevated this piece to another level. Congratulations and thanks for sharing.
Oda
A Fixture
- Joined
- Feb 2, 2016
- Messages
- 5,668
Not much can be added since those pics (Marcel really does know how to handle a camera) speak for themselves.Another fantastic creation by your able hands Paul.As I have already told you,I like your treatment of volumes,the smooth and gradual transition between tones and your very meticulous work.The metals are also very convincing as are the reds too.This is a stunning creation and I agree with Tony above that you should be mighty proud.
Oda.
Oda.
billyturnip
A Fixture
Lovely work Paul and thanks for taking the time for the detailed explanation.
Jeff T
A Fixture
Stunning work Paul!
That is absolutetly brilliant.
Cheer's,
Jeff.
That is absolutetly brilliant.
Cheer's,
Jeff.
Chris Ribchester
A Fixture
Great detail painting, great work.
Chris
Chris
Franco
Well-Known Member
Excellent painting on this one Paul well done
Cheers
Franco
Cheers
Franco
Tecumsea
PlanetFigure Supporter
Hi Paul, an absolutely superb piece of work-I have been trying to get a close up picture without any success, if you can post any it would be very helpful.
Keith
Keith
Tecumsea
PlanetFigure Supporter
Thanks for that Paul-it gives me an indication of your black lining technique-I have some of Graham Bickertons work and he was a great exponent of this method in 90mm. I think it works even better in 54mm.
Look forward to the pics of the Roman.
Keith
Look forward to the pics of the Roman.
Keith
Jeff T
A Fixture
Paul, I could see the last pics pretty good by expanding them on my Ipad, but these new pics really show what a masterpiece this is!
Just beautiful work.
Cheer's,
Jeff.
Just beautiful work.
Cheer's,
Jeff.
megroot
A Fixture
Impressive, flawless and very sharp paintwork,
Marc
Marc
Redcap
A Fixture
A masterclass in painting. Simply superb!
Gary
Gary
oldtrousers
PlanetFigure Supporter
- Joined
- Nov 24, 2005
- Messages
- 890
Absolutely beautiful! You did a masterful job painting this wonderful figure.
Scott
Scott
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