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120mm Continental Fifer 1776

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Dave S 415/12/2017 15:25:47
561 forum posts
82 photos

A masterclass in blending colours.

Looking grand so far.


Peter Day 115/12/2017 17:00:18
6434 forum posts
1889 photos

Cheers Dirk. The bright yelllow resin really helped with the white - gave it a kind of luminosity. I've been studying Ian Succomore's technique and seen that the only pure white he uses is on the highlights, and that in the shaded areas he can go to quite a dark grey. I'm a long way from his level, but I'm less scared of painting white now.

Dave - many thanks for looking in.


John Ballard15/12/2017 18:27:41
3562 forum posts
1165 photos


Great start again and good young flesh tones.

You mentioned a while back that you didn't think your work was progressing. This is patently not the case but, if you don't mind I will point out one small element that you might like to experiment with.

When painting folds in drapery or clothing the lighting can be more subtle. The very highest highlight occurs where the angle of the fabric falls at about 45 degrees to the vertical and is very small. This means that on a fold that I can best describe as a horizontal corrugation you will find two highlights. One where the 45 degree of the concave fold occurs and one where the 45 degree of the transition to convex occurs. I'm not sure if that makes any sense but here is an academic study I did on which I have tried to indicate the locations of where the small brightest highlights follow what I am trying to explain.

demo drapery.jpg

If you look at some of the great figure painters this is one of the techniques that they seem to apply that brings their drapery painting up to the next level.

Anyway just a suggestion and one that is definitely gilding the lily in the case of your figures.


Peter Day 115/12/2017 18:34:46
6434 forum posts
1889 photos

Thanks very much for that John - very helpful.

I have noticed that some of the very best figure painters do go that extra mile with their drapery, in precisely the way you describe. Perhaps better done with oils as well, so I'm getting near to going down that route.

I'm also getting less tolerant of poor sculpts and rough finishes on figures - there's no doubt that the better the quality, the better the achievable result. There was something about my last two figures that I just couldn't right - Ibrahim Pasha and the 200mm Chasseur - no matter what I tried, and I realised that the sculpts were working against me to a certain extent. Another factor is that there's no doubt my technique is better suited to 1/16 -120mm: it doesn't work so well on larger or smaller figures.


Edited By Peter Day 1 on 15/12/2017 18:38:33

Tim Marlow15/12/2017 18:42:47
1412 forum posts
1058 photos

Hi Peter

Another good one this. I especially like the white shirt, nice unbleached cloth colour. The green waistcoat is nice as well.....



Richard Pearce 115/12/2017 20:54:13
1038 forum posts
17 photos
Definately another masterclass from you Peter.The casting is really coming together with your magic brushwork.What a modelling machine you are mate.
jimbo16/12/2017 08:12:42
14256 forum posts
2711 photos

Hi Peter

I am also impressed with the shirt.


John Race16/12/2017 10:34:59
7183 forum posts
1518 photos

I just like it smiley


Peter Day 116/12/2017 10:58:52
6434 forum posts
1889 photos

Many thanks chaps.

Working on his lower half today, in between trips to the loft to look for Christmas decorations etc (wife's off for two weeks now, so I've been given my work schedule).


John Race16/12/2017 11:01:46
7183 forum posts
1518 photos

crying 2


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