Our journeyed figure starts this installment adorned with a grisaille of dry-brushed grey and white over a base coat of black. The next stage is to apply layers of thinned paint that are translucent enough not to cover up the shadow and highlight details. (Some people refer to this technique as Stain Painting; it is essentially the same process as was used to colour Victorian and Edwardian picture postcards.)
Coloured paint will start to bring life to the monochrome figure. General wisdom suggests that it is best to start with the inner layer -- often skin -- and work outwards. So the face and hands were the first things to tackle. I like to start with a pale pink layer (White and Red Ochre), and then glaze that with a pale orange-brown layer (White and Burnt Sienna), possibly finishing off with a glaze of pale milk coffee brown (White and Burnt Umber) to suggest time spent outside.
Using artists' tube paints, I take a small blob of white on the mixing palette and thin it as I see fit with my glazing medium (Galeria matt medium diluted 1:8 by volume with water). To this I add a minute amount of colour to tint it, mixed well, along with a little more glazing medium. I apply the paint sparingly, with a Pro Arte Acrylix size 2 round brush, preferring to wipe it over the surface with the sides of the bristles rather than the tips. If necessary, I will touch the brush to a piece of facial tissue first to ensure that it is not overloaded with paint.
That is the theory anyway. As you can see, I was guilty of (a) using Mixing White (transparent) rather than Titanium White (opaque), and (b) having the brush loaded with too much paint so that it flooded shadow detail and flowed where it was not wanted -- such as on the rifle and between the fingers. The transparent white resulted in poor coverage of the face and hands: I redid the Burnt Sienna and Burnt Umber glazes using Titanium White once I had realised my mistake, but it is lacking the pale pink glaze. I am hoping that darker colours will sort out the unwanted white on the rifle later...A simple method to test the covering power of the paint, is to use a piece of unwanted printed paper (black type on a white background), and brush over a word of print with the mix first. If the outline of letters can barely be seen, then the mix is too thick and needs to be thinned. Conversely, if the letters are still distinct after a layer of paint, then the mix is too thin and needs more paint. It should be possible to get a paint mix to cover adequately with one application, but achieving the right consistency is easier said than done. It is better to err on the side of too thin and apply at least two layers for even coverage.
The figure's lips were carefully painted with a glaze of dark purplish-pink (Titanium White, Red Ochre and a touch of Ultramarine) using a size 0 Acrylix round brush. I ducked out of doing anything fiddly with the eyes as they are just below the line of the helmet, and are mostly in shadow anyway... A couple of glazes of Burnt Umber with a dash of Titanium White helped suggest brown hair below the back of the helmet.
The battledress trousers are supposed to be British Army WW2 khaki, which is actually a woven blend of green and brown threads, and explains why sometimes it looks green, and sometimes brown. I struggled to mix a satisfactory colour, and tried four different thin layers, applied with an Acrylix size 4 round brush. The last glaze was a slightly thicker mix of Galeria Olive Green and Liquitex Raw Umber, which seemed closest to what I had in mind. But of course the earlier layers will influence it too. I am not going to lose sleep if the colour is not spot-on: it is the impression that I am after.
Things will only get more complicated from here on, as a later installment will reveal...
