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FineScale Modeler 2021-01!14!15

This document provides step-by-step instructions for painting a 1/10 scale resin bust of a U.S. Army sniper from World War II. The instructions detail the application of various paints from Scale 75 to the sniper's clothing, vest, and rifle to achieve realistic weathered textures and markings.

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zio_nano
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54 views

FineScale Modeler 2021-01!14!15

This document provides step-by-step instructions for painting a 1/10 scale resin bust of a U.S. Army sniper from World War II. The instructions detail the application of various paints from Scale 75 to the sniper's clothing, vest, and rifle to achieve realistic weathered textures and markings.

Uploaded by

zio_nano
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
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Download as PDF, TXT or read online on Scribd
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FORM & FIGURE

By Joe Hudson

Outfit a U.S.
Army sniper
Dry-brushing plus pencil work brings
out the details on this resin bust

L
ook at this amazing World War II
U.S. Army sniper bust from
Custom Dioramics Legends &
Lore series (No. LL-101). This 1/10 scale
resin kit was beautifully sculpted by Mujin
Park and comes in three separate parts.
I used three sets of paint from Scale 75’s
Warfront Unifroms line: Airborne
1943-44 (No. SSE040); Canvas
Equipment (No. SSE070); and Weapons
(No. SSE067). A few other Scale 75 hues,
plus one color from Andrea’s WW2 khaki
paint set, placed this sniper on the front
lines.

Joe dry-brushed the clothing to give the pieces a heavier,


canvas-like appearance. A mechanical pencil added the
U.S. markings.

14 FineScale Modeler January 2021


1 2 3
I base-coated parts of the jacket closest to the For the jacket’s real base coat, I mixed yellow In shadowy areas, I mixed pale earth (No. 34)
skin with a temporary color to frame the face. sand (No. 21) and graugrun gray (No. 07). The into the base mix. To build up shadows, I kept
I then painted the face and base-coated the left arm was temporarily attached so I could adding pale earth to the mix until it was pure
hands using Scale 75 flesh tones. see where shadows should fall. pale earth. The key is to keep the layers very thin.

4 5 6
I then permanently attached the arm. More … yellow sand with grau (No. 29). The vest’s Pure pale earth was painted on the darkest
yellow sand added to the base mix created base coat is dunkelgelb (No. 24) mixed with points. Using a soft-bristle brush, I then
highlights. I continued to add this until it was pale earth. More pale earth in the base mix dry-brushed dunkelgelb onto the vest. This
pure yellow sand. Brightest points are … went into shadowy areas. created a textured look similar to canvas.

7 8 9
A glaze of pale earth helped blend everything. References show a green trim along edges of The “U.S.” stenciling on the back was outlined
Highlights are the vest base color mixed with the vest, so I painted it with base (No. A-1) from with mechanical pencil and painted with
progressively more and more dunkelgelb until Andrea khaki set. I mixed more base into Scale graphene gray (No. 58). Now I could move on
it was pure dunkelgelb at the brightest points. 75 gelbraun brown (No. 06) to add highlights. to the sniper’s rifle.

10 11 12
I base-coated the rifle’s wood with gelbraun Back on the wooden stock, I painted rough Inktense brown (No. 85) added shadows
brown. Metal parts are graphene gray followed grain lines in rotbraun primer red (No. 03) and around bands and along the sides. I worked in
with black metal (No. 63) highlights. Flat black flat black. Inktense chestnut (No. 81) covered small sections to avoiding marring metal areas.
(No. 00) separated the different components. the grain and blended the finish. Now he’s ready for action. FSM

www.FineScale.com 15

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