PAINTING WITH THE

Picture 4. Painting the flesh 2. The next shade for the flesh
is (SHADE 5A). Paint this over the shade colour, try to leave
the creases in the face in the shade colour. Don't worry too
much if you do go over them as you can paint them back in
again. In fact you will find it is best to cover most of the
darker shade.
Picture 5. Painting the
flesh 3. This is the last stage
of the flesh. Paint on the
flesh colour (FLESH 5B).
This goes over the first two
coats to form a highlight,
paying particular attention
to the nose and to delineate
the fingers and knuckles
BY KEVIN DALLIMORE and toes, in this colour.
Leave some of the first two
coats showing around the
PAINTING A GREEK edges. If you are feeling

The next example is a Spartan Hoplite

4. radical you could add a
further highlight in
from the World of the Greek range. Where (LIGHT 5C) to just the
I have previously described a technique I nose and knuckles. The
will; refer back to that rather than repeat bottom lip is then painted in
myself (it will say see Prussian Grenadier), (LIGHT 17C).
unless further clarification is required.

Picture 1. Preparation. Clean up the

model with a good sharp, then finish off
with fine file. (see Prussian Grenadier)
1.
Picture 2. Making weapons
and Undercoating. Unlike
the other models the Greek 5.
comes without a weapon… so
you will need to furnish him with one, the most
straightforward way is to buy a pack of Foundry steel spears
and use those. Always attach the spear to the model before
Picture 6. Painting the Hair 1. To give the model that
any painting, if you glue it on after you have painted the
distinguished old mercenary look I decided to streak his
hand and the spear separately you will not get a strong bond
beard with grey. The hair is black already from the undercoat
and the spear is likely to come adrift during gaming. Make
so paint on (CHARCOAL BLACK 34B), leaving plenty on
sure the hand is open only just wide
the black underneath showing. Then paint in the streaks in
enough to receive the spear shaft, then
(LIGHT 31C or SHADE 33A).
glue it in place with superglue. I like to
attach it to more than one place so on a
model like this I will glue it to the base as
well. A further refinement is to flatten the
pointed end to form a spear head as I have
done here. Our spears are malleable
enough to make this easy to do with a Picture 7. Painting the
domestic Hair 2. Then highlight the
hammer on a black hair with (LIGHT
2. vice. Once
t h e
34C) and the streaks with
(ARCTIC GREY 33B).
superglue is
thoroughly 6. You could finish of the
streaks with a highlight of
d r y , white (WHITE 33C) as
undercoat the model Black here.
(see Prussian Grenadier).

Picture 3. Painting the flesh 1. No eyes

this time. And also I wanted a darker flesh
so start with as a flesh shade (SHADE13A,
which is in fact the shade colour for
SPEARSHAFT 13B) paint this all over the
face, except the eyes, and then any other
flesh areas. There is a lot of skin on this
model. I did not do the eyes as they are
sitting far back under the helmet and I
3. 7.
wanted to give a dark look to the face.
 Picture 8. Painting the linen armour and red tunic: 1. To Picture 11. Painting the leatherwork. This includes his
get that classic Greek look there was really no other choice sandals, baldrick and scabbard as well as the back of the
of colours. Paint the armour (SHADE 8A) and the tunic shield. Paint all these in (SHADE 16A).
(SHADE 15A). Leaving the usual tiny bit of black around
where the clothing meets belts, hands or other bits of
clothing etc. you can delineate his hanging down bits by
leaving the black showing in between them. I chose to do the Picture 12. Finishing the
armour canvas rather than white as I like the colour leatherwork. Finish off
combination with the red. the leatherwork work, with
(WINE RED 17B) and then
highlight with (LIGHT
17C). Take care to
delineate the straps of the
sandals.

11.
8.

12.

8. Picture 13. Painting the woodwork 1: The spear shaft is

painted (SHADE 13A) all over as with other areas. Then
paint on (SPEARSHAFT 13B) in streaks to represent wood-
grain. The grain will generally run along the length of a spear
or musket.

Picture 14. Painting the

Picture 9. Painting the linen armour woodwork 2: Do a similar
and red tunic: 2. Then paint over the thing as above with the
shade on the armour with (CANVAS light colour (LIGHT 13C).
8B) and on the tunic with red (BRIGHT this gives a useful bit of
RED 15B). As you can see most of the texture to the smooth steel
shade colour on the armour is covered spears. If speed is of the
but you clearly see his hanging down essence, paint the
9. bits. woodwork as you would
another area with no fake
13. wood-grain.

Picture 10. Painting the linen armour and

red tunic: 3. The final stage is to paint (LIGHT
8C) over the other colours as a highlight on the
armour again covering most of the under
colours. And apply (LIGHT 15C) as a
highlight on the tunic.
14.

Picture 15. Painting the Bronze 1.

Much of the look of the Greeks is their
bronze. So here's how. Same three colour
process. Paint on (SHADE 36A) to all the
bronze areas.
10. 10. 15.
 Picture 16. Painting the Bronze 2. Then paint on (GOLD Picture 20. Continued: Basing 1. To give a finished look to
38B). Leave the shade showing in the depressions in the the model it is very important to give him a scenic base (we
armour and shield. call this basing). The model is mounted on a suitable size
Picture 17. Painting the washer for a base, you could use plasticard, I generally stick
Bronze 3. Then paint on them on with superglue. Using a 50/50 mix of PVA glue and
(LIGHT 38B) as a highlight. water, coat the model's base. Dip the base in some Builders
Be vary sparing with this Sand and take it out of the sand and leave it to dry thoroughly
highlight, just catch edges
where the metal would Picture 21. Basing 2. Once the base is dry paint it all over
gleam. As an alternative you (SHADE 10A).
could leave off the highlight
altogether or use silver
(LIGHT 35C).

16.
21.
17.

Picture 18. Varnishing. The model is then gloss varnished.

Be careful when applying the varnish, don't let I pool, you
don't need a very thick coat of varnish. Make sure all the
paint on the model is thoroughly dry before commencing
varnishing (best left overnight).
Picture 19. Shield designs.
The shield design is a one of 22.
our Foundry water slide
transfers. I always place
transfers on after gloss
varnishing and the gloss
gives a much better surface
for the transfer to adhere to.
Then highlight the transfer Picture 22. Basing 3 and Finishing.
with a streak of (LIGHT Dry-brush the base with (BASE SAND
10B) and then a final very light dry-
14C). Once the transfer has
cured, overnight, gloss
22. brushing with (LIGHT 10C). (see note
18. varnish over it to keep it on dry-brushing). For a neat edge to the
form coming adrift. base paint around the edge of the base
with (BASE SAND 10B). Apply clumps
of static grass (available from most
hobby shops) with PVA glue, as I have
done on this model. And that's it for the
Spartan.

Picture 23. Conversions. This picture

shows a very straightforward conversion
19. on the basic model. I wanted a more
Etruscan look so I have given him a
moustache and a crest on his helmet They
Picture 20. Matt varnishing and re- were all sculpted
glossing. The model is then matt in greenstuff
varnished. Be even more careful when modelling putty.
painting on the matt varnish, is much Also I have given
better to apply two thin coats. When bronze armour
applying the matt, brush it out well from and a fancy
any nooks and crannies where it is likely Etruscan shield
design more in
20. to collect and pool. You will in all
probability need two coats of matt. All
23. keeping with his
the metalwork is then re-gloss new Italian
varnished. heritage.