“Building and Painting Scale Figures” by
Sheperd Paine
Kalmbach Scale Modeling Handbook #13
ISBN: 0-89024-069-8
Copyright 1993
112 pages; illustrated with many full-color photos, plus B&W diagrams.
This is one of those really great books that went out of print years ago,
that, despite several additional printings, continues to command a healthy
price on the used book market. I lucked out recently, and bought a really
nice used copy for only $20 … but only after months of patiently
waiting and watching. (It’s not uncommon to see it being offered
at twice that price; if not more.) After finally obtaining a copy, I can
see why it sells for so much. It’s a gem of a book: well worth the
price it commands.
The author’s name is well known; thanks in part to the diorama
tip sheets that Monogram offered in the 1970s as a way to add value to
then-aging aircraft and armor kits. Many of we “no longer teenybopper”
types remember those tip sheets fondly! And a good part of the diorama’s
appeal were the figures Shep used, to tell stories in miniature.
So … I couldn’t wait to read this book. The biggest thing
that jumped out at me, about it – besides all the nifty “eye
candy” photos of expertly painted figures, by both Mr. Paine and
other masters – were two things the author did, which took me by
surprise.
First: I expected to be told that the only painting medium serious painters
used were artist’s oils. (I’ve always heard that’s all
he uses, now.) Half true: he tells readers to use any painting system
they are comfortable with; regardless of what he or others choose to use.
He emphasizes that point throughout the book, by showcasing the work of
various artists who do not use artist’s oils. Acrylics; enamels;
you name it! Back in his “starving student days,” he says,
he even used inks made for use with silk screen printing! The idea of
sticking with any paint system that you’re comfortable with, was
inspiring in itself.
The second thing I did not expect to see were harsh words – but
they’re most certainly there! (Wow, were they ever!) Now, that’s
not meant as a rebuke, mind you; and it’ll take some explaining
-- so bear with me, please. Maybe it wouldn’t mean as much to someone
who wasn’t openly and unashamedly a student of
David Merriman’s vehicular modeling work, but Shep’s reputation
in some folk’s eyes is that he’s never said a harsh word about
the hobby; or anyone in it. Which never made any sense to me: how can
we hold up one artist’s work, without implying that lesser work
exists? I’m a big fan of the idea that when one’s work speaks
for itself, that one shouldn’t interrupt -- but trying to completely
deny that quality differences exist, never made any sense to me.
Before I raise your hair with a few juicy quotes, let me say that this
book is full of excellent advice like the following: “Not everyone
is a born sculptor, and there is no reason to think yourself a failure
if you can’t do it, or don’t even want to try.” I do
not feel Shep’s trying to put anyone down. He just seems to be saying
differences do exist; and that if you educate yourself about what’s
available, you’ll know “good” from “bad”.
And once you do, you won’t unduly handicap yourself, without realizing
you’ve done so.
Try this eye-opening quote on for size: “Some figure painting
projects are doomed from the start. The old adage that you can’t
make a silk purse out of a sow’s ear holds equally true for figures.
No amount of painting skill will make a masterpiece out of a lousy figure.”
(He’s talking here about sculpting work; and quality of cast copies.)
He goes on to say that, (something I would term “textural...”)
“detail is the most overrated aspect of commercial figures. I’ve
seen painters go into ecstasy over the braiding on a figure with the proportions
of an ape and the face of a gargoyle.” (If David “Dark Lord”
Merriman had said those words … well, let’s not go there!)
Pretty harsh words! But having had some formal artistic training, I
feel I know what Mr. Paine is talking about. Proportions on a figure are
very important; and are too-often overlooked by some folks – sculptors;
those who cast copies; and buyers alike –the latter of whom may
blame themselves, later, when a painted figure does not look right.
Other major points of interest include: a useful teaching method I’ve
not seen elsewhere, to identify where highlights and shadows should fall
on nearly any form. He calls it the “Stop Sign Rule” -- and
it makes good sense. Tips on what specific artist’s oil colors and
brushes Shep himself uses. Color-mixing tips galore. Tips on workspace
lighting. Good info about painting uniforms, horses, simulating metal
surfaces: you name it. A chapter on how to do minor conversions, and/or
re-pose a commercial figure – to include horses. A full chapter
on major conversions. Even info about building your own figures, from
scratch – with a quick (but helpful) lesson in the idea of Contrapposto,
to make the figure’s poses look more natural and realistic.
Shep’s books are always well worth the money. While you’re
saving up to buy a copy of this one (or simply waiting for a used one
to become available), you may want to check out the upcoming “Seaview”
special issue of “Sci-Fi
and Fantasy Modeller”. (That is, SFFM #11 -- due October 19th.)
I’ve seen advance copies of that issue’s cover, and one of
the featured articles will be a piece on “Achieving realistic flesh
tones”. I’ll be sure to review that book-format special issue
-- hopefully in next month’s issue of IM.
Highly recommended! Thanks to my wallet for the review sample.
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