Decappare Soldatini

Dipingere Soldatini in Scala 1:72

Artiglieria della guerra dei trent'anni

Il cannone mostrato qui viene dal artiglieria imperiale della guerra dei trent'anni fatta da Revell. L'intero modello è stato in mano di fondo kaki, e il legno trattato con un lavaggio di terra d'ombra. La canna del cannone mostra ancora il fondo kaki. Il prossimo passo sarà quello di dare il colore di fondo nero alla canna e le guarnizioni dell'affusto, dipingere le guarnizioni argento scuro e evidenziare la canna in ottone a pennello secco.

Attrezzi e Accessori

  • Pennelli da punto 1 e 2
  • Colori acrilici
  • Acqua

Staining requires much water and very little paint pigment, in order to shade recessed areas e slightly tone down raised surfaces of the figure. The technique is very valuable in the shading of faces, hands, hair, fur, wood e materials of similar texture. Raised areas are only lightly darkened in the staining process, instead the pigment flows into folds e creases, shading them noticeably.

The effect of a stain can be checked while it is still wet, it may even be prudentamente controlled by adding water o pigment. Staining works only on surfaces which absorb water easily. A white acrylic undercoat repels the stain e changes the viscosity of the pigment, which then spreads everywhere e dries in unsightly speckles. However, white mixed con umber acrylic provides an excellent basecoat for an umber stain, which can be used on horses e most wood surfaces.

Undercoats e Stains

Lightly coloured areas are usually stained con a significantly darker shade of the same colour, indigo stains on light blue surfaces, dark green stains on green and umber stains on red. Black is rarely used as a stain, because it destroys the luminescence of any surface it is applied to, causing the figure to look dull e sooty. Used sparingly on buildings e veicoli, a thin black wash can achieve realistic weathering results.

Khaki, stained umber
  • Brown e dark blonde hair
  • Medium e dark brown horses, dogs e cattle
  • Leather gloves
  • Brown leather belts
  • Fawn uniforms e trousers
  • Muskets e pole-arms
  • Unpainted wood
Red, stained umber
  • Uniformi britanniche e Hannoverian
  • Trousers e blanket-rolls of many Zuavi units
  • Shabraques of many cavalleria units
Light grey, stained black
  • Grey jackets, trousers e cappotti
  • Grey saddleblankets, cloak- e blanket-rolls.
  • Grey haversacks e canteen covers
  • Grey horses usually ridden by trompeters

When the stain has dried, raised surfaces should be highlighted by careful drybrushing. This is particularly important after a black wash, so that the stained surface once again receives texture e depth.

Preparation

Burnt umber is the most useful colour for staining, because it maintains excellent viscosity even when it is strongly diluted con water. Burnt umber lightly stains the raised surfaces, but most of it flows into the recessed areas e strongly shades them.

Put a small amount of acrylic paint into a shallow plastic tray e dilute it with clean water, until it has the consistency of thick ink. Usually, a large droplet will form on the plastic pallet, it does not spread ed it can be used to stain many soldatini.

Loading the Brush

A size 1 o 2 paintbrush immediately soaks up enough stain when it is held into the droplet. If small areas are to be stained, some liquid should be brushed out against the edge of the tray.

Applying the Stain

The stain flows onto the figure when it is touched con the loaded brush. Interestingly, the stain usually stays on the area of colour that it was applied to, unless the brush was loaded con too much stain, in which case the liquid will run all over the figure. This effect is very useful in controlling the flow of the stain, particularly when shouldered muskets, pole-arms, knapsacks ed other small oggetti of equipaggiamento are to be stained e the surrounding areas of the uniform need to stay clean.

Controlling the Flow of the Stain

With a little practise, the proper mixture of water e pigment can be achieved without fail. In the event that the stain is off balance, the mistake can immediately be corrected by adding water o by drawing excessive liquid off the figure con a clean e moist brush. In an emergency, the whole figure can be held under running water e brushed clean con a soft paintbrush. After the figure has dried, staining can resume.

Controlling the Intensity of the Stain

During the staining process, the result of the stain may be modified by removing or adding pigment. This is particularly important on faces, hands e hair, where the recesses should turn very dark while the raised detail remains strongly highlighted.

Stained faces dry in a matter of minutes. During this time, the soldatini should be held upside-down so that the pigment collects in the eye-sockets ed under the headdress. You will need to check continuously that droplets do not form on the bridge of the nose, drawing the stain away from the eye-sockets. In the event that this happens, brush the nose e forehead con a clean e moist paintbrush. The droplet will split, releasing the stain into the eye-sockets again.

If the stain was diluted too much, facial features will not be shaded sufficiently, lighter basecolour may even shine through the pigment in the eye-sockets. This problem can be corrected while the stain is still fresh. Add acrylic paint to the stain e prudentamente apply a little more of it to the face. Another remedy may be to allow the diluted stain to dry completely e then stain the area again. However, this process will result in a significant darkening of the raised areas as well, giving them a bronzed look. This effect may be used to create darker skin, if a small amount of black acrylic paint is added to the umbre stain.

Staining e Drybrushing

Staining e drybrushing are due important painting techniques which complement eachother very well. Muskets e pole-arms are usually textured enough after the staining, particularly when one considers that the metal fittings will add a significant amount of further detail to these armi. However, the texture on stained calfskin knapsacks e wood surfaces really comes to life after these oggetti are drybrushed prudentamente. Test it on a few soldatini to convince yourself that drybrushing is worth the extra effort.

Domande più frequenti

Per ulteriori informazioni, per favore contatta la redazione di Rivista Military Miniatures nel Miniatures Forum.

Pitturazione dei Soldatini