Sorry I haven't posted anything for a while folks. I've hit a bit of a snag and I have put the figure aside for a week or so. Hopefully I will post some more soon.

Dodgy

Bako, the 'boots' are actually grenade bags,

Dang! I need better eyes!  Thanks for the clarification and the addtional info.

Thank you for the kind words everyone. I'm hoping to get some more bench time tomorrow.

Bako, the 'boots' are actually grenade bags, but as they are still in the black undercoat they do look like boots! As this fella is a stormtrooper he is slung about with all sorts of stuff, rifle, grenade bags, pick or shovel, etc. The task of these guys was to force a break in the eneny line and then be able to dig in and hold. They were highly trained 'shock troops'.

I so enjoy following figure painting threads.  He’s looking really good.  

Dodgy, nice work on the uniform. Looks to me like you have a steady hand to block in the straps as well as you did. Those can be difficult. 

I had to take a double take. From the back it looked like boots on his side, like he is carrying someone. Closer look seems he has boots slung on him. Spare boots? I dont think I have ever seen a figure like that. What can you tell me about that?

Yeah the face looks great and the uniform/body is coming along nicely! 

Coming along nicely Dodgy!  Face turned out very nice.  

It's always useful to have good references!! As a militaria collector, I have lots of such references, but to be honest, I'm not sure if it helps, or hinders......

Starting to block in the main uniform colours. To do this I use Humbrol enamels because they dry hard and you can work your oils over the top without fear of disturbing the base colour. I have not attached the arms at this stage because I want to get at all of those areas that will be difficult to reach once they are in place. A figure may not have many parts, but the build and painting sequence must still be planned.

Too cool.  You’ve nailed the face. 

Hey Dodgy, the face is looking really good.

I have not done much in terms of figure painting, but I want to. I am learning a bunch from you and from others contributing, particularly in your use of oils. For blending, oils seem the way to go. I like the pencil suggestion for the pupil too. 

I don't know why it is but I seem to understand processes better from threads like this verses what FSM presents in their mag. There have been several articles about figure painting and they just don't grab me. With their articles, it's like I have to read between the lines, and that is something I am terrible at. Or maybe, I just have a mental block. Anyhoot...keep up the good work. I like what you are doing, and now that I know about this thread, I will be watching.

Nothing to apologise for my friend.

So am I, Dodgy. So am I. Ever learning and ever sharing what I've learned.

I apologize if I sound as though I am a know-it-all. This is just one of my favorite parts of building a kit.

I mean well.

Dodgy

Basically happy. Now working on his mou. The mou and hairline will need a pinwash eventually to reinforce the shadow where they meet the flesh, but I won't do this for a couple of weeks. This is to allow the oil paints to dry.

 

Now that's very well done, Dodgy!

Basically happy. Now working on his mou. The mou and hairline will need a pinwash eventually to reinforce the shadow where they meet the flesh, but I won't do this for a couple of weeks. This is to allow the oil paints to dry.

Continuing to work on the highlights. The secret to oils is the blending process, so that there is no hard line between the lowlight and the highlights. When you put another colour on, get it into the area that you want to emphasise and then clean your brush. With a dry, or just damp brush, start gently blurring the edges where the colours meet.

Remember though, this is the same as any other area of modeling, practice, practice, practice. I'm still learning and I've been at this for many years.

Starting to work on the highlights. For the shaded areas I used burnt sienna, for the highlights I use titanium white and flesh, slowly increasing the white. The highlights are applied to those part where the light naturally falls- cheek bones, tip and bridge of the nose, forehead just above the eyes, (this will depend on hair length and wether or not the figure is wearing headgear), tops of ears, and chin, etc.

M. Brindos

I was using a dried up Micron .005 pen, but if I didn't get one pupil centered I had to get the paint out quickly before it dried. I mitigated this by adding a gloss first so I wouldn't ruin the "whites" of the eyes if I had to wash out my mistake. The pencil works best on a matte surface and mostly wipes out with just a damp cotton bud if I screw up.

Depending on the definition around the eyes the watered down graphite can actually line the edges of the eye and give it a bit of a border.

Dodgy, you don't think much of your figure painting skills, but you are no ameture. You're really advanced in your skills. 

I'm watching with great interest. 

 

Thanks for looking in Mike and Gamera, I really appreciate it. Thanks for your kind comments Mike, but like a lot of us, regardless of genre, I'm still learning.

No harm in trying lol. Just make sure your pencil tip is sharp. And use the side of the tip for a couple of quick eyebrows.

It's easy enough to remove with a little moisture. Works on 1/35 and 1/48 well. 1/72? Just use a wash lol.

Anyways, back to the OP. I've monopolized enough time here lol.

Hmmm, makes sense Mike. I'll have to give that a go! 

I was using a dried up Micron .005 pen, but if I didn't get one pupil centered I had to get the paint out quickly before it dried. I mitigated this by adding a gloss first so I wouldn't ruin the "whites" of the eyes if I had to wash out my mistake. The pencil works best on a matte surface and mostly wipes out with just a damp cotton bud if I screw up.

Depending on the definition around the eyes the watered down graphite can actually line the edges of the eye and give it a bit of a border.

Dodgy, you don't think much of your figure painting skills, but you are no ameture. You're really advanced in your skills. 

I'm watching with great interest. 

That looks good! Looking forward to seeing the entire figure together. 

Here the second face has it's basic flesh covering and the eyes have been done. I am now in the process of building up the shadows in those places where the light will be less. Under the cheeks, sides of the nose, throat and inside of ears, etc.

How did I miss your last update!?!

Like how he's going- nice work!

I like using a tiny tip Micron pen for pupils and eyebrows.

A pencil makes for a nice dark iris, but is fairly easy to remove if you miss the mark lol. Dark, but not too dark. Also makes eyebrows easier, and people always seem to forget the eyebrows lol.

Thanks Mike. I like your idea of using a pencil, I must try that. More photos after the weekend.

I need to get back into using oils. I wandered into the realm of acrylics and haven't found my way back out yet lol.

I agree that the eyes are the key to a realistic face. I stopped using white for the eyes a couple of years ago and instead just use a mix of white and flesh, because you're right, you don't see any white from a distance, but rather a light and dark contrast.

I usually add an iris with a sharpened pencil. Easy to use on smaller scales, and I prefer 1/35 because of my armor addiction lol.

So far, so excellent, Dodgy. Keep going!

Same faces, just a different angle.

Ok. The face on the left only has the base coat. The one on the right is complete with its highlights and shadows. I used only oils squeezed onto some cardboard and built up the effects gradually. The colours I used were titanium white; burnt sienna; naphthol red; Abteilung ABT140, basic flesh tone. I started with burnt sienna around the eyes and the shadow areas. Next was basic flesh and then white on the highlights, blending as I went. I gradually built up the effects adding more shadow and highlights. The reason for placing the oil paint onto cardboard, is that it soaks up the oil, leaving mostly pigment behind and creating a more matt result.