Guys,
Thanks for the kind words. This was really fun painting.
The biggest thanks goes to Mr Le-Van Quang for making such a great figure. When the sculptor creates such a life-like pose, then it is easy for us painters to bring it to life.
For large scale figures I undercoat (or block) the large areas in as close to the color I want to show. For the chaps this was Humbrol matt #160 enanmel (I don't know the color name but it is a dark brown color) and for the gun belt, since I wanted it lighter I used acrylics, Vallego Saddle Brown #138. Once the base coats were dry I went over them in oils. Before I started painting in oils I gave the figure a shot of Testors dull coat to remove all shine and seal the base colors. For the chaps I used Old Holland Brown Ochre Deep and for the gun belt Old Holland Venetian Red. The Venetian Red gave the belt a redish brown hue that I wanted to achive. Next came shadows and highlights. For shadows on the chaps I used more Brown Ochre Deep darkened with some Winsor & Netwton Paynes Grey. After that had set I the used some Old Holland Violet-Blueness (purple) in the deepest shadows. The purple color gives leather and fur a rich deep look. For the lights I used Old Holland Ochre, W & N burnt Sienna, and Grumbacher Yellow Ochre. For the lightest highlights I used Old Holland Brillant Yellow Jaune Brillant). I had to be careful to avoid making a chalky look with this. This is only for the hard edges, lightly dry brushed on.
After all had dryed I went back and dry brushed some Paynes Grey into the shadows I had missed before. I also added some different shades of brown to the gun belt, using the same pallet descibed above. I added these shade to the transition points between ligts and shadows and the mid range color.
Between each coat I made sure the oil paint had set or somewhat dryed. I use a 300 watt Halogen light about three hand lengths away to do this. I use this in lieu of a crock pot or light box for speeding the drying of the paints. By drying between coats I cn achive a semi glazing technique that allows for richer colors and I am better able to control the outcome.
The pants were in Humbrol enamel #62. The shirt was done in acrylics, a mixture of Vallego's, Off White #004 and Brown Sand #132, a 10:1 ratio. I used W&N Zinc White oils to highlight and Grumbacher Unbleached Titanium for shadows.
After painting and setting the figure in the base (Magic Sculpt on a S&T base) I gave the ground and the lower half of the figure a coating of railroad weathering . This is a kit I got at the local Hobby Store that is akin to pastels, except it is already ground and has an adhesive added to the mix. I has four colors, dust bowl brown, weathered brown, grimy gray, and ash. I used coats of the first two and blew off the excess between coats. This is what gives the figure a realistic look by creating a flat, dusty look that you would expect to see. This stuff is great for all types of figurs where you need dust or dirt.
I try to achive realism through the use of highlights and shadows, and textures as much as possible. As you can see from above I use all mediums (enamels, acrylics and oils) to create a look or feel, not being bound to only one medium. In larger scale figures I think this is the key.
I hope this has been helpful for you. Again, thanks for the kind words.
