Chapter 11 - The Blues & Greens

By Panos Charalampakis

CHAPTER 11
The Blues & Greens

Above:
Another Swedish banner from Franzoia Serge. Nice example of shading turquoise blue.

Blue is a ubiquitous color used from antiquity since present days. A favorite color of ancient Egyptians, Greeks and later abundantly used in medieval and renaissance times. There isn’t anything extraordinary in painting and shading blue hues. Usually a deeper blue can be used for shadows with some burnt umber for shadow variations. It is advisable to shade blues with a lighter shade such as turquoise but titanium white is also used by many painters. Result is somewhat grayish in appearance so its better stick to turquoise or cerulean hue for highlighting. Prussian blue and Winsor blue are 2 very useful colors but be careful when you re using them. They have tremendous tinting power and can overwhelm easily any other colors.

Above:

Far above, Konrad Schulte’s Prussian officer of 1st Dragoon Rgt.. A 54mm own figure.
Above, Peter Ferk’s Lancer trumpeter. A 90mm figure by Quadriconcept.

Use them in small quantities adding just a hint of them in a strepped fashion. Prussian blue is a very opaque color, while Windsor blue is semi transparent. When using it, it is preferable if you undercoat with a similar color in enamels or acrylics . You should know that military blues usually have a greenish shade and they are usually dark with some exceptions, like for example the lancer trumpeter of the photo above. Straight prussian blue or with the addition of some ivory black can be used as the starting color for dark uniforms. Any shade of purple of deep violet could be used for shading, keeping ivory black only for the extreme shadows. Remember, black kills the brightness of colors. Any lighter blue like cerulean blue or some turquoise can be used for highlighting. Don’t use white. Also keep your hand a bit when highlighting otherwise the finished uniform will look faded and worn, except from when you actually are after of this effect. Sometimes I like experiment with napples yellow, or some other similar color for highlighting blue. When done with minor quantities of yellow and slowly, the greenish cast of the highlighted areas look extremely convincing, with the very tips of the highlights with titanium white.
Blue is a classic example of color with cool temperature, so it can be used to tint other colors giving them a cooler appearance. For example, some controlled glazes with very thinned blue hues can give white tunics a cooler, somewhat bluish appearance. Remember also the picture of Detlef Belasch’s bust from the chapter discussing whites.

Above:
Napoleonic Grenadiers, 30mm figures from Berliner Zinnfiguren. Unknown artist. Observe that although nearly all figures wearing full blue clothing, with variation in the mixtures, there is a visual variation in the end result.

Above:
A Swedish banner in 30mm with a green flag with the royal emblem painted by Fanzoia Serge.

Green is not a primary color. It is produced when blue and yellow are mixed. In my mind there are 2 ctaegories of greens. One is the brilliant all purpse greens we use for all eras and the other is the green hues modern military uniforms tend to use as for camouflage. Usually my green mixtures are produced randomly without any specific formula. Have in mind though that if you use transparent blues and yellows then the green will also have the transparent quality, so for basic colring it is advisable to use some more opaque blues and yellows. Try also oranges instead of yellows. The red component in them will produce some quite unsual green hues which by the way have warm tones since red is warming the coolness of the blues.. When I am looking for some modern military green usually I start either from indigo or, and please don’t scream from black. Yellow and black gives olive green tones and adjusting the black or by adding some blues all kinds of green grays can be produced. Shadows can be done with some deep tone of blue, for example Prussian blue or indigo. Try also different shades of red for shadowing. It’s the complementary color of green and its a warm temperature color so it will give warmer shadows too. Highlight with any kind of yellow. Brilliant yellows like cadmium yellow will produce brilliant highlights, while napples yellow or similar will produce toned down highlights. Again, white should be avoided, except in cases we look for worn, faded results.

Above:
A rather unusual flat of some fantastic orce creature. Painter or the origin of flat is unfortunately unknown to me. It’s a good example of olive green with excellent shading not only of green but of all details.

Chapter 10 - The Reds & Purples

By Panos Charalampakis

CHAPTER 10
The Reds & Purples

Above:
An excellent example of reds in this Swedish banner from Franzoia Serge.

In my opinion, red is the most difficult color to shadow and highlight effectively. If not careful shaded parts will be muddy spots and highlights simply another hue i.e. rose or violet. In my mind I have made two categories for reds. Cadmium reds, light and dark and scarlet is the first, while burnt sienna, Indian and light red, that is the earth reds are the second one.
As we travel back through the ages, colors were not of the rich quality as they are now. Reason is because people were using what nature could provide. Reference will dictate a rough estimation of what pigments were available. For sure, red was a color known since antiquity. Greeks and later Romans used it abundantly for their everyday or military clothing.
When painting cadmium reds start with a darker tone than the one you intend to use. You will see why later. When shading, experiment with adding burnt sienna or burnt umber. Alternatively, try the complementary to red, green. You will be amazed by the results. Shade in steps and don’t try to achieve the final result by first layer. I would advice not to use black for shading because it kills the chroma of red. If you try to highlight with white then violet will be produced. If you try yellow, then orange will appear. This is the reason why you need to start your basic mixture darker than the red tone you are after. Light reds such as cadmium red light, scarlet or bright red can be used as highlights. Add tiny amount of light yellow or white for the outmost highlights but do it really sparingly. On the other hand if you are after a faded, worn look, you can use white a bit more freely. Another good highlighting solution is to use your premade flesh color, in steps, adding a touch of yellow to maintain red temperature.

Above and Below:
Above Peter Ferk’s General Lassale (Quadriconcept 90mm), below “Poetry” by unknown artist (Detlef Belasch 120mm). For the first figure highlights are done with yellow while on the second white have been used producing some pink violet highlights.

The actual color of Tyrian purple, the original color purple from which the name purple is derived, is the color of a dye made from a mollusk that, because of its incredible expense (many times more expensive than gold), in classical antiquity became a symbol of royalty because only the very wealthy could afford it. Therefore, Tyrian purple is also called imperial purple. Tyrian purple may have been discovered as early as the time of the Minoan civilization. Alexander the Great (when giving imperial audiences as the emperor of the Macedonian Empire), the emperors of the Seleucid Empire, and the kings of Ptolemaic Egypt wore Tyrian purple. The imperial robes of Roman emperors were Tyrian purple trimmed in metallic gold thread. The badge of office of a Roman Senator was a stripe of Tyrian purple on their white toga. Tyrian purple was continued in use by the emperors of the Eastern Roman Empire until its final collapse in 1453.
In medieval Europe, blue dyes were rare and expensive, so only the most wealthy or the aristocracy could afford to wear them. (The working class wore mainly green and brown.) Because of this (and also because Tyrian purple had gone out of use in western Europe after the collapse of the Western Roman Empire in AD 476), Europeans' idea of purple shifted towards this more bluish purple known as royal purple because of its similarity to the royal blue worn by the aristocracy. This was the shade of purple worn by kings in medieval Europe. Also it is considered a funereal color and for that, can be used alternatively for black.
Purple is an interesting color. It can be produced from mixing blue and red and with various proportions you get various purple tones. It can be shadowed by various blues and highlighted by its complementary yellow for some rich violets or white for some faded look. Alizarin crimson belongs to the purple family and not to the reds as many time mistakenly considered. Crimson mixed with blues produces some very interesting shades of purple. I would advice shading it with black as it kills chroma making purple appearing muddy. Some purples are more transparent than others so experiment and use the more opaques for covering work and the transparent for making purple washes when a tint of purplish is needed.

Above:
An excellent painting of purples for the dresses of this French queen and for the embroidery by unfortunately by an unknown painter.