Gaming in Plastic #7: complex shield and clothing patterns
by Bob Barnetson
Most clothing and shields can be painted with basic block painting or washing techniques. Some clothing patterns (plaids and checks) as well as more complex shield designs require some special attention. The extra effort is often worth it, especially to denote an elite or otherwise special unit.
Painting Complex Shield Patterns
Shields are an opportunity to demonstrate your artistic talents. Some shields will have a raised pattern already cast on them. These can be nicely brought out with a careful drybrushing once you have laid down the base colour of the shield. Or you could just block paint and magic dip. The shield in the picture below was primed white, given a coating of the magic dip (see Article 9), block painted (red, yellow and sliver) and dipped again to seal it.
Other shields will be devoid of detailing. Some of the techniques I use to create patterns are as follows:
- Lines: It is easier to paint straight lines than almost any other shape. This is because your muscles are designed to contract (i.e., pull your hand and arm back towards your body). Recognizing this, most of my designs are composed of straight lines. Occasionally I will throw in a series of dots (created by touching a round brush to the shield), but painting circles and squares is difficult and the shapes are hard to replicate.
- Outlining: A very nice effect can be produced by using a light colour as a border between two darker colours. For example, you might have a green shield, and want a red line with a yellow outline. You could attempt to paint the yellow outline, but an easy alternative is to paint a wide yellow line, followed by a narrow red one on top.
- Transfers: Some companies create water-slide transfers (i.e., decals) that can be used to decorate a shield. Although expensive, these are lovely.
- Pens: Various coloured pens with narrows tips are available in stationary stores. These can be used to draw designs on a shield. I often use these with 1/300-scale miniatures as I can better control the thickness of a line with a pen than a brush. I find curved lines easier to draw with a pen than a brush.
The picture below shows some shields that have been decaled alongside ones that have been painted.
The nice thing about painting shields is that you can always start again by re-applying your base colour. The lack of detail on the shield means you don’t have to worry about obscuring detail with repeated coats of paint.
When deciding upon a shield pattern, it is important to consider whether your army would have standardized shield designs (e.g., the Romans) or eclectic (e.g., the Celts) designs. You can be more creative with eclectic shields as you need not repeat the pattern multiple times. An army with standardized shields suggests a simple pattern you can duplicate with reasonable accuracy.
Checks and Plaids
Most clothing can be painted using block painting or washes and a single colour (perhaps with some highlight). Some figures (e.g., Gauls, Celts) are normally shown wearing brightly coloured clothing, including various checkered and plaid patterns. These pose some challenged for painting and I normally attempt to convey the impression of checks and plaids, rather than paint them properly.
Checkered patterns are probably the easiest. After applying a darker base coat to the area, I simply paint a row of dots (squarish dots of the tip of the brush will cooperate!), starting at one end of an item of clothing and working towards the other end (e.g., waist to pant cuff), following the natural hang of the fabric. I then go back and paint another parallel row (and another…) until the pattern is complete. Held at arms length, this usually suffices, especially if the colours are contrasting and suitably garish.
Plaid is trickier. I normally choose three colours (one light, medium and dark respectively), using the medium one as the base colour. I then use the dark colour to paint a grid of thin lines over the top of the base colour. Finally, I use the light colour to paint lines between the dark ones.
Fur
Fur is often present on figures, either as a trim material or in the form of fur coats. I have to say, I have some difficulty painting fur. The subtle patterns of fur and its natural luster is difficult to duplicate.
Much like the hair discussed in Article 6, a base coat followed by a dark wash and a drybrushing of the original colour can be effective. I often return to fur at the end of painting and basing the figure and put a slightly glossy topcoat on just the fur (a coat of floor wax works fine) as this mimics the natural luster of fur.
Up Next
Mail, swords blades and spearheads all feature prominently in most ancient armies. Next week’s article will address different approaches to painting metallics.