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Un p'tit Pinard Msieu Dam' ?
(a little glass of red wine)

By Erik Saintes

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Here is an article on the painting of a figurine. I don't have the ambition to serve you a cursus like Jean-Pierre Duthilleul or James Welch (two masters in the hobby and authors of articles in the French Figurine magazine) would do, but only to explain you how, stage by stage, I painted this figurine. The technique applies to all civil or military figurine either his scale.

A Little History

The scene takes place in France, Normandy more precisely, in the late summer of 1944. The allied soldiers have rushed down on the German Army, and continue to ride towards France. This little farm woman, who saw American soldiers passing by, serves them a little glass of red wine (Un pítit Pinard, as they say there), making a peace break in this bloody war!

Preparation of the figurine

This piece having already been bought built, I only had to refine the trimming and to paint it with the white acrylic Primer from Vallejo (Blanco Imprimaion MC919).

The only necessary material is: a metallic or plastic palette (and if you don't have, take a white varnished cardboard plate, it also agrees), a brush half-synthetic half-natural no. 1 (I use for my part a scepter-gold brush from Daler & Rowney), of toilet paper and, especially, colors.

A basic assortment is sufficient here, but for the painting of uniforms, it is easier to use Vallejo hues than to make them by mixture - except for confirmed modellers, it goes from one. You can see on the photograph that I'm not working on a lone figurine. I was working on the little woman, on American GIs and was starting to work on a Bust of Capt. Miller, US Rangers, from the movie 'Saving Private Ryan', as the print at the bottom of my work table shows!

Painting of the face and hands.

After having thought a while about the physiognomy that I wanted to give to this Norman farmer woman, I put the first layer of flesh on the face and hands (Vallejo Carne Medio). I mixed this hue with the flat brown that I apply in hollows and wrinkles of the face and hands. I followed immediately with an application to the same place of a thin flat brown net.

I then let dry this layer completely. I then mixed carne medio and carne mate to 50/50 and applied this hue on zones in relief of the face. The hidden zones the nape, the underside of the chin, the joint with hairs and the scarf as well as the one of the neck with the dress must be shaded with a mixture of carne medio and flat brown to a report of 25/75. I then delimited the joints between the face and hairs, scarf and dress with a thin flat brown and black (vallejo negro) mix net. The same process is applied for joins between hands and the dress, as well as between fingers of the right hand and the bottle of wine. I then applied the second lightening (pure carne mate), the third (mix of carne mate and carne dorada) and the final one will be made with a mixture of carne dorada (20%) and carne base (80%). Don't forget to deal lips with a mixture of carne mate and carmine, as well as cheekbones.

I then applied the pure black on hairs and eyebrows, while trying not to achieve a too perfect look. On this base tone, I applied a brushing of basalt gray and then drybrushed with a 50/50 mix of basalt gray and white in order to make the details stand out again.

Painting of the scarf and the dress.

I started with the darkest hue, then underlined shades of hollows, then came back progressively with the most light hue. Using for the scarf, carmine red, flat red and orange.

For the lower apron, I started with a mixture of basalt gray and black, then underline the strongest hollows in black, then came back progressively toward a your median basalt gray and white mix and finally drybrushing with a mixture of 20 % of basalt gray and of 80% of white on the quick bones. For the dress (superior part), I first applied shades in hollows with the dark green added of black. I then applied a mixture of dark green and German uniform green, semi-diluted.

This dark green being little opaque, I added to it German uniform green to make this hue more opaque, then I diluted the mixture so that it acumulates in hollows. I then came back by progressively brushing toward the pure German uniform green, and the quick bones will be treated with German uniform green added of a bit of deep yellow, the dark coat applied in hollows showing himself by transparency. The lace surrounding the joint with the neck will be treated first by a lavis of basalt gray. I then applied a lavis of basalt gray and white 50/50 mix, then a drybrushing of white.

The bottle is painted flat brown, the joint with the hand being treated with the same tone added of a bit of crimson. The first lightening is achieved with saddle brown, the final is then achieved with this even brown added of a point of carmine.

Shoes are first of all undercoated with a mixture of black and flat brown. I underlined the hollows with slightly diluted black then let the whole thing dry. I came back with the pure flat brown, then with a mixture of flat brown and cavalry brown progressively enriched of cavalry brown. The edges are finally underlined with this even cavalry brown.

Last details.

Once the figurine is finished, it is necessary to put it in stage. Let's not forget especially that this stage starts before the painting of the figurine, because one must think about the lighting, to shades reached by one or the other piece of furniture. Here, I chose to represent our small maid on a simple floor of oak. I achieved girders of wood therefore in Balsa of square section of 2 mms, and put the floor in laths of balsa of thickness of 1 mm and width of 2 to 4 mms according to. I especially tried to avoid the regularity, because this one would kill the effect " countryman " of the saynette. The balsa is tinted strongly with diluted flat brown. Once the floor is made, make tests of positioning the figurine, then drill the hole through the floor and in part in the round basis in order to anchor the figurine at last. A hole has also been drilled in the right foot of the figurine (at the level of the heel) and go up 1.5cm in the leg. a 3 cm brass rod permits holding the figurine during painting and fixing to the support.

Voila. Our small French is finished. It only remains us to place it in the display case and to prepare the next piece that will be treated in this magazine: The German Panzer Ace, Michael Wittman, of the 12th Panzer SS HitlerJugend, Caen, 1944.

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