FIGURE CONVERSIONS:
Update
by Alvan Fisher, Jr.
A lot of lead has flowed over the lip of the ladle since I first began writing this series. I've learned a lot . . . including how much I've yet to learn! Thus, I'd like to take a couple of minutes to share some new thoughts on the subject while updating the earlier articles.
The most dramatic change is in the way I paint. Although I've stuck with acrylics for several reasons, I've finally managed to acquire the knack of getting the high gloss associated with toy soldiers.
The trick is to mix in acrylic gloss medium . . . I use the Liquitex brand that includes varnish. The basic colors are added without the gloss medium to ensure that the primer coat is covered. Then, before adding details, mix the basic color about 50/50 with the gloss medium. Naturally, all colors added from this point on should be mixed with the gloss medium.
Drying time decreases as the ratio of gloss medium to enamel increases. If the mixture dries too fast, just add a little water. The resulting gloss is much superior to that obtained using an overspray of Testor's ModelMaster gloss as a final coat.
Liquitex provides paint both in tubes and plastic bottles; the former is best for duplicating texture; the latter for most other purposes. Binney & Smith, the manufacturer of Liquitex, publishes a booklet entitled The Acrylic Book which describes various ways of using these paints. For example, a nearly translucent glaze may be obtained through successive applications of several coats of acrylic thinned with the gloss medium. The booklet may be obtained either from your local art supply store or by writing the manufacturer.
When painting the basic figure, start with a #1 or #2 brush for the base coats, followed by progressively smaller (to 5/0 or even 10/0) used for piping, et cetera.
Use a round toothpick for those really small areas such as eyeballs or the plaid on a glengarry. When using a mixture of metallic colors (silver, gold, bronze) and gloss medium, the paint should be nearly dry before using the toothpick to add buttons. If the paint spreads out, wait a few more minutes to allow the mixture to set a little. Don't worry if the paint spreads out to much . . . just touch up with a bit of the basic color and try again. Don't dip the toothpick directly into the paint container . . . you'll get too much this way. Instead, use a piece of glass or aluminum foil as a palette!
One of my toughest problems is that of duplicating uniform colors shown in prints and photos. After considerable trial and error, I finally came up with the following mixtures for some of the standard colors.
| | Liquitex cadmium red medium Any red with a touch of yellow (if using other brands) |
|---|---|
| Navy Blue | 3/4 Testor's Blue Angel blue 1/4 Testors' gloss black |
| Gunmetal | 1/2 Testors' Blue Angel blue 1/4 Testors' gloss black 1/4 Testors' silver |
| Gun Stocks | Add a touch of Pactra gloss dark red to any dark brown mixed with any light grey |
| Flesh | 4/5 flesh, 1/5 brown Touch red - add red for cheeks, more red yet for lips. Vary this mixture slightly to obtain the range in flesh tones regularly observed in humans. |
I've had no problems mixing Testors, Pactra, Liquitex, and Polly- S water-based acrylics. Although some people swear by isopropyl (rubbing) alcohol as a thinner, I usually use distilled water. Adding a drop of liquid detergent to a bottle of acrylic as a drying retardant is an old trick used by model railroaders. But, be sure to remember that petroleum-based enamels (including Testors' ModelMaster brand) are incompatible with water-based enamels.
Graham Dixey recently completed an excellent series on painting miniatures with oil paints in the British publication Military Modelling. These articles began in early 1992 and continued until late 1993, and covered everything from the basic color wheel to the complexities of human and horse skin tones. While more suitable for makers of military miniatures, the articles have a wealth of information of interest to the toy soldier painter. Military Modelling also includes a monthly review of new toy soldiers plus articles ranging from converting off-the-shelf kits to the history of military uniforms. The American agent, listed below, carries some back issues.
Building and Painting Scale Figures, written by Sheperd Paine and published by Kalmbach Books, is an excellent new guide for those of you who are serious about conversions. It should be available at most hobby stores for US$17.95. Chapters include information about painting flesh, detail, uniforms, and horses plus considerable information on conversions and scratch building figures. I cannot remember seeing another publication with as much "good stuff" and have already used it to solve several vexing problems.
More about choice of material for those who do your own casting. Conquest Industries has been very helpful in helping me get alloys that work well. Their NC32 is a white metal (32% tin, 65% lead, 3% antimony) used by a least one major manufacturer of military miniatures. NC9A is a low lead content metal (92% tin, 4% lead, 3.5% antimony, 0.5% cadmium) suitable for those figures where keep lead must be kept to a minimum. If you want to get away from lead entirely, Conquest sells britannia metal (NC92) and pewter (NCBR) at a slightly higher cost. I find that NC9A works well with small parts such as bayonets, but may result in pitting when used for larger castings. I'm particularly appreciative for Conquest's service to small-time users . . . they even cut the metal into one-pound pieces to my ladle! Please note that Conquest has moved since I last gave their address.
I continue to make master figures about the same as before. One change is that I now add buttons by drilling a suitably-sized hole in the body, adding a bit of wire of the proper diameter, and fixing with super glue. It's easier if you use a piece of wire two or three times longer than needed and removing the excess with nippers once the super glue has set.
Wire also can be used to represent piping . . . it is more durable and easier to get than lead foil. After affixing with a couple of coats of super glue, the wire can be filed flat. Details too close to each other can cause problems when making the mold, so I try to keep them simple and fake it with paint.
I regret that I can't provide much new insight on mold making, despite having tried several new approaches. Lessons learned include:
One of this year's tasks is to learn to make molds so as to reduce the amount of flash on the casting.
This concludes the present series of articles . . . at least for now. Hope you've enjoyed reading the articles as much as I've enjoyed writing them!
| Last Updates | |
|---|---|
| 27 January 1997 | page first published |
| Article by Alvan Fisher, Jr. Material originally distributed to the Internet by Larry Jeselon (ljeselon@ccinet.ab.ca) | |
| Comments or corrections? | |