Bodge
Thats the one Indy. What a talented Guy. I think it is superb. The 1/16 scale figures i am waiting for are equally as impressive . They are German Grenadiers and Machinegunners in winter clothing in seated positions to ride on a tank.
~Andy~ Thanks so much--very generous praise (you just made the X-mas list 
)
~Gamera~ Yeah the G.I.s are having thier day---the Germans are still facinating--but cetainly way over-modeled when you consider how few examples you see from most countries really. I'd like to see what you come up with.
~Jet~ Hey buddy~ I hope you post up whatever you get started with for the next scene--take away anything here that helps, and ask any questions---there's some real experts following along----
~~A modeler-friend of mine contacted me asking for a little more detail how I choose to paint clothing in particular, mixing /picking color for highs&lows, I think is what he's asking is painting order
~~The order, for me, is usually a basecoat that's a middle tone for the color I want, and a slightly darkened wash of that color goes in and brings out the detail, and shows where to paint. Usually I use a slightly darker version of that color, made with black, very dark brown or dark green, depending on the kind of material it is, and that shadow goes into all the crevices, but hugs the underneath surface of the fold above. and 2nd darker version goes just on the bottom of that folds surface--and I will darken that on the spot for really reccessed areas, and mix it with the 1st shadow for more shallow folds, so more colors are made from the 3 I start with.
The highlights go in a similar order, onto the tops of the folds, and I nearly always do the lights last, as they are truelly on top and get destroyed by the darker colors anyways. After the basic highlights are on, I lighten the color on the palette with white usually (but often an ocre or other colour that is the lighter part of the main colour I'm using), and 'draw' that onto just the top thin edges of the top facing features.
Often an even lighter shade goes on top of that, very restricted so it does'nt show up as 'white'(unless its a white garmet-and then that's about the only area you have business painting white on a white garmet) --often I will omit some highlight, like on the wool trousers seen in this blog--as they just dont reflect much light.
~~One more important thing--that you won't hear everywhere--I often don't keep to the pure system as described, as some somewhat 'muddled' areas sometimes are more real looking than high-contrast everywhere....like the guy in the 1st photo above. I went back after painting in a high contrast, system based jacket, and used the middle-tone to confuse where the shadows are, because after being promted to look at my own reference again, I could see the real thing only had so much contrast.
~~I know my photos are not consistent in color here, but you should see how in the end I purposely destroyed much of the contrast I painted in above Again, just more real to me.
OK...one more thing yet--often you need to go back and use lighter shadows to soften the dark contrasts they can create. In the photo below (painting a Hornet Ruskie with Tamiya acrylics!! Unheard of
) I'm showing how the shadows on the top of his tunic are blended this way, and subtle,.... and those below the belt are harsh, and need to be integrated still.
See What I mean? Leaving those shadows right under the belt dark, only right under the folds will be good--if some middle-tones are jabbed(stippled) into the transition area(like above)
That of any help? Or did I make things worse?
