New Build - New to Flat Figures

[Ed Humphreys]

Not when you have over fifty boxed dioramas!
Ed

[John Alberts]

Looks good in the frame with nameplate.  Very nice painting.  Yes, flats take up much less space!

[Mark Cunnington]

I'm calling this done. The summer has delayed my final bits but I like the use of picture frames for flats. Round figures are not so easy and take up more room.
I'm not happy with the face so watch the next instalment (I've yet to decide what).


In the meantime, thank you for all your help guys.


Stay safe

[Hannibal]

My Gosh Mark, You've painted a velvet red and blue  I"ve never been able to paint with oil, nor acrylic paint, so rich and magnificient !!
Good recovery also of the boots, although your should not be so shy in using black and dark.


The face = you have the base colours in use, which needs to be improved is the sculpering of the face, and give more details to the eyes, but skin, reddness in lips and face are present.


I must congratulate you for this first flat, undertaken with a lot of tenacity, time, never given up.
Time to stop and keep in your museum anyway, and learn from this one for the next ones.
It is important to set objectives and not willing to reach the prfection on the first time, because you would never finish it and still remain unstatisfied.  I find this first work VERY good and nice and congratulates you !!!


The progression will be motivating, and welcome to the club of the flat painters now, thanks ti this first work!


Michel

[Mark Cunnington]

I think I’m coming to the end of this. The Brass was done using Games Workshop paints. I’ve also done some other metallics (one button is a bit of a mess and needs redoing). I struggled with the face as I’m not great with faces. Flesh ochre, white and burnt sienna work well as a flesh mix with some crimson on the lips. His eyebrows need toning down though! As usual I’ll return and tweak it. All that’s left is some straps and cords and a few small details. Then I think I’ll mount it.
Time isn’t on my side as I start 16 weeks of study for promotion next week.
I reckon I’ll continue on a new figure just to help unwind....

[Mark Cunnington]

Today I worked on the boots and scabbard. Thank you for your advice Nicholas and Hannibal. I used a dark grey as a base (with burnt sienna added, a nice touch) and it looks better. It’s different to the hat although the photo doesn’t really show that.
My use of light and shadow is an area I need to work on still as it is not consistent. That’s probably the most complex area of flats. I m pleased with my improving oil techniques. I’ve also bought some decent Kolinsky sable brushes and they make a big difference. I won’t be using them to paint acrylics!
As is usual I will go back to this tomorrow to touch up. I walk away before I get too picky as it often spoils things.
Metallics, straps and flesh to go.

[Mark Cunnington]

Although I worked part of the weekend and had the dreaded lawn to cut I managed to have some time on this. The waistcoat and belt are coming along but a second attempt is always needed. That’s a major lesson I’ve learned. I do not like yellow. It is he’s even with acrylics and their covering power. The white lace is quite bright. I’ll tone it down but I like the brightness. I’ve learned and re-learned a lot about oils and this has reignited my love for them. Two new Kolinsky sables brushes are on their way as I’ve been using brushes that have had a lot of acrylic usage.
Now I need to fully understand the use of light and shade.
I must say I am loving flats and I’m already looking to my next one!
The next step is the metallic brass. Any hints?

[Nicholas Ball]

Hi Mark, looking good so far. You can add brown or red to grey to give variations of the colour. I have even added yellow ochre- ( this also applies to black as below )
To make a full 3 D effect, when you add the next shadows make the rear of the figure ‘s areas slightly darker to the front.
Coming back to a figure always helps, the other thing is to reverse the photo- this tricks the eye into thinking you are looking at someone else’s work. 
To make a transparent colour like ultra marine more opaque you need to mix an opaque colour to it. For highlight it’s white, for shadows it’s either a raw umber to give a brown tint or Ivory black to keep it blue.
To make black more interesting, especially if you are painting a black figure, add green, brown, purple etc to it- when white is added it will take on the added colour and that way various blacks can be made, which on jackets and trousers just gives a different tone to each for interest.
Looking forward to seeing the next stage.     

[Mark Cunnington]

I’ve made a few adjustments to the hat but I feel I should have used Payne’s Grey. I used warm grey and I really don’t like the shade it gives. Hindsight is such a good thing.
The trousers are French ultramarine and I remembered why I dislike that colour so much. It’s not opaque enough despite a blue undercoat. Finally the highlights are more obvious than I’m used to but I’m quite pleased.
I really think the use of light and shade is the real skill in flat figures and one which I need to develop and learn more.
I will return to this and do one last set of light and shade. It always seems better when I walk away and come back to something I’m painting.

[Hannibal]

Very good start, Mark, with the hat, in giving light and shadows, and therefore volume, tri-dimensional effect.  Also the white lining at the top edge of the hat, where light usually makes a spot and gives shape to a dark surface.


1. Don't be shy to increase your light more (exagerate a bit), you can always revert after, to make it visible enough = a black suit can be painted dark grey, not black, to be able to paint shadows black and highlights amost white = see shiny boots for example on paintings of great masters.
2. Don't nécéssairily put your light source in the plan of the flat, sideways on the left of the character, but more upfront, to avoid having to paint a character half lightened on the right and half black on the right, and edges only on the right side.  By bringing your light source in your right back (niot totally in your back = flash effect), the lightening on the hat will not be at the edge, but 1/3 to the right, then against darker at the edge. On this way you will also give light lightening to the left side of the hat, flat surface, therefor volume !


3. Use black for shadows, and grey, dark grey as basecolour, On this manner you can bring highlinghts and also shadows and shape your painting in volume.  It gives you more freedom in painting volume....


Cheers ...

[Mark Cunnington]

After quite a break (work got very busy) I made a start on the hat. Instead of painting a base colour and laying on the shade/highlights I tried three mixes to lay next to each other and blend. It was harder work and it got a bit mixed up but I see that is a good technique. I'm beginning to get more confident in being less subtle in highlights.
I also soaked away the oil on cardboard and used liquin for the first time. I thought I was experienced in using oils but this made a massive difference. I'm looking forward to the next stage (hat lace and the face) although I think my next sets of days off are about to be cancelled. Damn.

[PJDeluhery]

Yes, the red is looking good! Keep it up.   

[shogun]

The "Red" looks great!

[Mark Cunnington]

Thank you for that guys. I had a long week of duty so the figure had dried before I added a further set of shadows and highlights and I like the effect. The picture may not do it justice and I may tinker with a further set...

[PJDeluhery]

Your shadows and highlights may require a second or even third coat to get them to the right values. Especially for Alizarin Crimson which is semi transparent.