The Red Baron
Article first published in Military Modelling Magazine
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The Red Baron
Manfred Albrecht Freiherr von Richthofen was born on the 2nd of May 1892 in Breslau, Germany (now in Poland). He died on April 21st at the age of 25, whilst in combat over Vaux Sur Somme, France. His comrades called him der rotte Kampfflieger (the red battle flyer), the French le petit rouge. He is best known to us as the Red Baron, . Richthofen attained 80 victories and won the coveted Blue Max decoration during his very short life, remember this was at a time when a mans life expectancy was counted in days. An indicator of the esteem he commanded by comrades and foes being the full military honours given him at his funeral by the British. Despite his ruthlessness in battle he is said to have been a very sensitive man who despaired at the loss of his comrades greatly. The Richthofen family tradition of fearlessness in battle was carried on by Manfreds younger brother Lothar, who took over Manfreds command. He was also a Blue Max winner and was credited with 40 kills and survived the war. The Red Baron was finally succeeded by Herman Goring, who would go on later to become infamous for other deeds.
I saw this figure by Pegaso at Euro Militaire last year, it had been very well painted by the very capable hands of Gianfranco Speranza, inspired by this I ordered one from Historex agents and with their usual prompt service I began my own version a few days later.
I had been experimenting with painting leather textures and felt this figure would be an ideal canvas for the new technique I had developed. The figure is very well cast and requires very little cleaning up. After drilling and pinning I painted a several heavily thinned coats of Humbrol enamel white and after this had been given time to dry I began to undercoat the figure with Andrea acrylics. I find the acrylics really help with the matting down of my oil paints, this is essential to my painting style. All oil colours are Rowney oil paints unless otherwise stated. The thinners I use are Daler-Rowney turpentine, this stinks but I feel it really helps to matt the oils down.
The face and hands
The undercoat
Andrea acrylics yellow plus an equal amount of ochre.
Oil base flesh mix
Venetian red plus equal amounts of cadmium yellow and ochre.
First highlight
Base mix plus 20% Naples yellow, plus 20% titanium white.
First shadow
Venetian red
Second highlight
First highlight plus 50% titanium white
Second shadow
Ivory black (this is used mostly under the chin and in only the very deepest shadows).
Final highlight
Titanium white (Used on the tip of the nose and the cheekbones very sparingly)
When the face and hands had dried I gave them a very thin coat of licquin, this adds a slight sheen to the oil paint, which gives the flesh life. I also added veins to the back of the hand using the first flesh highlight shaded with Venetian red.
The eyes
The eyes sockets are first painted in with Venetian red and then the whites are painted using the second flesh highlight, with ivory black used to paint the iris. I used a dot of Andrea light blue on the iris to indicate the Barons eye colour and to add life to his eyes. When dry I coated the eyes with licquin to give a little twinkle and once again life.
Hair
Undercoat
Andrea acrylic ochre
Oil base coat
Sepia
Highlight
Naples yellow
Second highlight
Cadmium yellow plus titanium white
The Tunic, hat and trousers
Base coat
Sepia
Highlight
Titanium white is painted on to the highlight area, when mixed with the sepia you get an amalgam of the two colours which fortunately is grey.
Shadow
Sepia
Second shadow
Ivory Black
Final highlight
Titanium white
The buttons and Red edging on tunic
The buttons are painted with Andrea silver acrylic shadowed with sepia oil paint. The red edging on the Barons uniform is also Andrea red acrylic.
The hat peak
Undercoat
Andrea acrylic ochre
Oil base coat
Ivory black
Highlight
Naples yellow
The leather jacket and fur edging
Undercoat
Andrea acrylic ochre plus yellow, equal amounts
Base oil coat
Sepia
Shadow
Ivory black
When I completed the shading on the leather jacket I stippled the paint all over using a flat headed brush, this removes tiny spots of paint and reveals the undercoat, leaving a distressed leather look. Finally I added some tiny dots of acrylic yellow ochre to show heavy wear and tear in suitable places on the jacket like the elbow area and along the seams. When all this was dry I gave it a wash of very well thinned ivory black.
Fur undercoat
Andrea acrylic white
Oil base coat
Sepia
Highlight
Titanium white
When all the highlighting had been completed I added dots of pure titanium white randomly over the fur area and when dry I gave it a very heavily thinned wash of sepia to bring out the weave of the fur. This gives it that 3d look you can see.
White scarf
Undercoat
Andrea acrylic white
Oil base coat
Burnt umber
Highlight
Titanium white
Boots and gaiters and gloves
Undercoat
Andrea acrylic yellow plus ochre
Oil base coat
Ivory black plus an equal amount of Venetian red
Highlight
Naples yellow
Shadow
Ivory black
In conclusion
Part of the joy of painting miniature figures is the research, it has been really great getting to know the character of the Red Baron and his comrades.
The Pegaso version of the Red Baron is simply a first rate figure and is very nicely cast in one piece. It gives you the opportunity to paint some very interesting textures on a relatively modern day subject.
Availability
Pegaso figures and Andrea acrylics are available from Historex agents in the UK.
Historex Agents
Wellington House, 157 Snargate Street, Dover, Kent CT179BZ
WWW.historexagents.co.uk
Daler-Rowney Oil paints are available from all good art suppliers.
