THE PAINTING HORSE
One main point when considering the painting of a figure is to analyze the environment around the piece. This set is a clear example of dramatic action in which it is really difficult to spend much time looking at a particular model without turning your attention to some of the surrounding figures. When dealing with a vignette like this, composed of so many figures, it is very important to plan the painting as a whole, paying care to the relationship among the figures and the terrain. An example is the French artillery NCO whose face colour is much lighter than the Highlander running in front. Another example would be the thin coat of gloss varnish on the figures lips adding a touch of life, or how the face of the wounded highlander is painted with light falling onto the side. In this way painting enhances the sense of drama. The whole set was painted primarily in acrylics. Throughout the article, I will only comment on some particular points of interest. Full details on mixtures and procedures on various pieces in the kit are noted in the colour chart.
I started painting the Scot Grey's horse that was fittingly dapple-grey in colour. I first airbrushed the entire horse in light grey. I use this tool to apply subtle shadows as a first shading measure.
A darker grey was used later to remark those spots on the back and rear legs of the horse. I used a traditional brush to get those areas I could not reach by airbrush, such as the eyes and the hairy effect of the coat.
THE WOUNDED HIGHLANDER
The next figure I painted was the falling highlander. I first painted the face with a base colour of pinkish brown, ochre, and raw sienna. The light hues come from Decoart and Andrea Color straight from the jar without mixing. No doubt, the colourful uniform is one of the main appeals of this figure. The uniform is finely and precisely sculpted including the tartan pattern on the kilt that makes the painting much easier. Once the coat was totally painted I decided to use oils a bit to outline the tiny details such as braiding, buttons, and straps. For this, I prepared a heavily diluted mixture of very dark blue and burnt umber and then began to draw the outline. The good thing about oils is that any excess in the lines can be corrected with turpentine as oils and acrylics do not interact.
The most dreadful nightmare for I many painters. In fact, it is nol. So difficult when the work is planned step by step and a bit of care is used. I painted the entire kilt in medium blue then added some lights before starting the checkered pattern. The first step here was to draw the main crisscross in medium green. I used a darker green to outline and remark the squares on the outer sides. At this point most of the layout is done. Essentially, we have now a center square in blue surrounded by other green fours on the corners that were lightened with a lighter green. A new-checkered pattern of thin black lines was next superimposed as shown in the photos. The last crisscross to paint is the yellow one just in the middle of the green stripes end closely following the figure's engraved guides mentioned before. Hoses and bonnet square patterns are not really difficult compared with the kilt.