The first thing that needs to be said about this guide is that it is not intended to be a set of stone tablets. What is laid out here is merely the methods I've found to produce a really good effect at a reasonable cost in time and effort.
One of the reasons for producing this guide is the number of people I see using the so called 'Black Primer' method. Quite why this particular technique has become so popular is quite beyond me. It may well be of course that I'm just an old fuddy duddy (quite right I hear you say) but I've tried this system and found the finished effect rather harsh as well as being very time consuming.
This method means you have to concentrate very hard all the time so as to leave just the right amount of black when painting each and every colour. The technique outlined here is in my opinion much more pleasing in its effect and much easier and faster.

Basic Materials

Being, as I said an old fuddy duddy, I still use good old enamel paints; Humbrol mostly. I do use acrylics for highlighting and artist oils for washes and horse colours. The methods outlined work just as well (though with more vivid results) using acrylics and ink washes.
For the basic colours then we need Humbrols. When you're using enamels the basic thing is to never paint from the can. Always use a palette. Any old thing will do; an old bit of lino, plasticard or glass. Art shops sell quite nice plastic palettes at a very reasonable price (i.e. 75p). You'll need two of course, one for enamels/oils and one for acrylics.
Its also a good idea to have some small sealable jars for mixing and storing your oil washes. I use some small ex-jam jars (the sort of thing you get in hotels having one portion per jar) but if you don't stay in that class of hotel, model and art shops sell small airbrush jars which have screw lids and are ideal.
Brushes, ah now there is a subject! First factor is Sable or Nylon. Personally I think sables are unnecessary for any scale under 90mm. I use the Daler "Dalon 77 " series brushes but I'm sure there are lots of other ones just as good. Art shops in general sell a much wider range of brushes than the average model shop.
The second factor is size. Don't be misled, just because your painting small figures doesn't mean you should use a handle with two hairs on it! For general painting No 2 and 1 are required with 00 and 000 used for the more fiddly bits. The more hairs a brush has the better it keeps its point and the more paint it can hold before needing to reload.
Never use a `working ' brush to scoop paint onto the palette or mix colours. For this use either a cheap or old brush, after a while all brushes lose their points, so you will have plenty of old ones to choose from!
Brushes can be cleaned using normal domestic white spirit but should always receive a final wash out in proper Enamel thinners. If you're not going to use the brush for a while it's a good idea to coat the hairs lightly with a soap (say Fairy Liquid) this protective coat stops them from drying out.
You are also going to need something to hold the figure while you paint. For this you'll need some 1/2" or 15mm dowel, of this more below.

Basic priciples

The two most common problems people encounter when painting are getting the sequence of the various `levels' wrong and incorrect paint consistency. By `levels' I mean the different layers of detail. If you look at a figure carefully (this process is aided by an black oil wash) you'll see it's made up of layers of detail. Some detail is higher than others. Taking FN 3C for instance it's obvious that the trousers are further `back' than the tunic. The shako cords are further `out' than the shako.
The differences in elevation form natural brush guides. The trick is to get these natural guides to work for you rather than against. If you get the sequence right the brush will follow these natural lines and save you loads of time going back to touch up.
So for instance with the example opposite the waistcoat should be painted first as when you're painting the trousers the brush will find the natural guide under the waistcoat and avoid getting paint on the waistcoat. Try it the other way round and there is nothing to stop the paint going over the edge of the waistcoat and messing up the trousers. I probably haven't explained this terribly well but hopefully if you try it yourself you'll figure it out.
The consistency of the paint is crucial. If the paint is too thin it will not cover and spread all over the shop. Paint that's too thick leads to inaccurate and `scrubby' painting.
Enamels should always be thinned using proper thinners, NOT by white spirit. I know it seems obvious but all paints dry out as you're using them. As they do so you must add more paint or thinners to regain the right consistency. If the paint consistency is right it will flow into into `tight' areas saving you the trouble of getting in there with a brush.
This is the reason why you shouldn't use very small brushes, they don't hold enough paint to allow it to flow. In the above example if the paint's consistency is right, when you're painting the trousers, the colour will flow into the V cut at the bottom of the waistcoat without you having to go near it with a brush.
The subject of paint consistency leads us to the subject of washes. The consistency of the wash will depend on the job it's intended to do. It's better to err on the side of too thin, you can always give the figures a second go. Use large brushes (No 2 or 3 at least) and don't scrub. Use proper thinners for thinning down (and in case anybody is wondering I don't have shares in Humbrol!). If you have the jars mentioned above you can keep the same washes from session to session.
Inks are the only really effective water based washes and you must use the proper water colour inks (either the art ones or the specially designed ones sold by the model or figure shops).
Another point worth mentioning here is the scale factor. The smaller the figure the less light is being reflected back from it. Therefore you must use brighter colours the smaller the scale. A Prussian `blue' that looks fine in 15mm will be way too dark on a 1/300th scale Prussian. Apart from anything else you want to spot the little buggers in the woods!
Having got all that out of the way it's time to actually to set brush to figure!

Preperation

After cleaning up the figures it's time to think of how we are going to hold the figures while we paint them. Many people base the figures before painting thereby using the base to hold the figures. This isn't very practical with Napoleonics as the formations used were very dense (21" frontage per real man!) making it impossible to get around the figures properly.
The second option is just to hold the figures by their base. Personally this gives me acute cramp after a shortwhile and does threaten to rub off paint as fast as you put it on! The other problem is that if you're using washes you need to keep the figures upright so as to allow the washes to flow properly.
The method I use requires a little investment in time and money but I find the result immensely worthwhile. What you need is the aformentioned dowel. This needs to cut into 3" lengths. If you've got a 90 degree cut mitre all the better.
Having got your `handle' it's now time to fix the strips onto them. I tried using blue tack but it's a little messy, it spreads about a bit and attracts all sorts of bits of fluff etc. The other problem is that its dissolved by thinners. The stuff to use is Sticky fixers, available from stationers, W.H.Smiths etc. These little self adhesive pads stick like certain substances to a blanket!
Just cut each pad into three and stick them to the top of each length of dowel. Now you can secure the strips to the dowel . Its a good idea to spread the strip before fixing this enables you to get around the figure much better (see Fig 3).
Once you've got the strips stuck on you can keep the figures upright by leaning them against something or if you want to be flash make a stand.
All you need is a bit of 1 1/z" timber and a '/2" drill bit. Just drill a series of holes into which the ends of the dowel can fit.
Never try to paint too many figures at a time, personally I never try more than about 30 strips at a time. Mainly this is because I like to see results (i.e. a whole Rgt painted) as fast as possible (if you paint say a Division at a time it's a long time before you see anything finished) but keeping the numbers down also alleviates the problem of the paint drying up as outlined above.
Now that we have the strip securely held we can begin the real job of painting! However before we go on in one last point needs discussion, to prime or not to prime? Personally I never bother with this for a number of reasons.
Firstly its not really necessary. In the old days, when any old metal was used to manufacture figures a coat of primer was necessary to seal the metal from the paint and the air, not to do so was to risk a reaction called lead rot. With the up to date metals now in use this is no longer a problem.
The second reason is that an extra layer of paint just helps to clog up the detail. However when painting horses and using water based paints its necessary to use a primer. Of this more later. Now in order to illustrate the technique I'll describe the various stages of painting FN 3C.

STAGE l: Blocking in the basic colours

As I mentioned above the key thing is to figure out the correct sequence of colours to eliminate (as much as is possible) the need to touch up later. So the first colour we're going to use is white. With a No 2 brush paint in the whole of the front of the figure. Don't worry about getting the colour on the arms, face etc. At the same time we can paint in a broad band the shako cords and turnbacks. Don't forget at this stage we are not worried about accuracy. When you're painting the cords you'll end up getting a lot of paint on the shako as well, don't worry!
Next we can paint in the tunic colour. If you've got the paint consistency right the paint will find the edge of the lapels of its own accord. Now we turn to some black to paint the feet. Then it's to brown for the backpack.
After giving this a little drying time (10 mins or so) we can paint the trousers, again if the paint's right it will find the junction between the tunic turnbacks, waistcoat and feet of its own accord.
Now it's back to black to paint the cartridge box, the shako and hair. This is a good place to point out the importance of sequence. When you're painting the shako see how much paint you get on the blanket roll! Again if you've got the consistency of the paint right it will flow along the junction of cords and shako, leaving the cords standing white and proud. Now we paint the musket's woodwork (never use metallics BEFORE you wash, washes often reactivate silver and gold etc so you end up washing in metallic dark brown!) and the blanket roll.
Now its time to paint the flesh in. Note how much easier it is to paint the hands after the musket rather than the other way round.

At this stage you'll have something that looks truly awful! Don't worry this is the painting equivalent of the marathon's `wall'. Everybody's - and I do mean everybody's - figures look like this about now! Just grit your teeth and be assured it will be all right in the end.

STAGE 2: The wash

This is where the magic begins! Now the exact colour of wash you use depends on the basic colour of the uniform. If the uniform is largely white for instance its best to use a light brown or blue wash. If the uniform say, is British then a dark red brown is best. Experiment and you'll be amazed at the effects you can get!
Anyway for our sample French infantry we will use a dark brown wash. Firstly take your jar and squeeze into it a little black oil and a rather larger quantity of burnt sienna or mars brown. Add just a very little thinners to lubricate the mixing. Mix thoroughly until you've got the colour you desire. Then add thinners until you get a thin ink like consistency. Don't forget use proper thinners, white spirit doesn't break down the oil pigment properly.
Before throwing your alchemy at the figures its a good idea to test it out on some spare castings to check colour and flow. Using a large No 2 or 3 brush `dab' the figures, the wash will flow around the figures settling into the creases, outlining belts and shading the figure.
Don't panic if the wash is way to dark. Clean the brush out load with clean thinners and `dab' again; the thinners will lift the wash. Dab with a piece of kitchen towel (don't scrub) and away it goes. Thin the wash and try again.
If the wash is too light again don't worry, just let it dry and give it a repeat coat until the desired result is obtained.
It's at this point that the importance of being able to keep the figures upright comes out. If you let the figures rest on their fronts or backs the wash will collect on the down side, giving uneven coverage. , ,

STAGE 3: Fiddly bits

Well that should have improved things a little, the figures should now have a little `depth'. It's now time to add a few touches to liven things up a bit. Firstly its back to white to touch up the waistcoat, turnbacks and to paint the cockade in.
Then we have to paint the cross belts in across the shoulders and across the bayonet scabbard. If you like you can paint a thinnish line of red on the upper margin of the turnbacks. Don't worry if its not accurate just concentrate on not getting the red on the tunic. Once dry it's pretty easy to repaint the turnback reducing the red to a very thin line. Now paint in the scabbard and the base. You'll find painting the base makes a great difference, setting the whole figure off.
As the final touches paint in any collar colour (this is where the 000 brush comes in) and cuffs. Then paint the pom pom and there's only one thing left (assuming I haven't missed anything out!) the cockade. The best way to do this is to use a felt tip pen, Art and Technical drawing shops sell lots of different types, the Edding 1800 profipen, size 0.1 being my favouite.
A quick dot of blue and there you have it. You can also try these for collars and the turnback edges.
After going back to do any tidying up neccessary (as you become familiar with the figures and the technique you'll find this less and less common) you should have a perfectly good standard wargames paint job.

STAGE 4: Going that little bit further
If you're still with me up to now you've got a pretty smart looking figure which is maybe all you want and you can proceed to the Finishing stage. However why not go that little bit further? I can assure you its worth the extra effort!
Firstly comes highlighting. To do this it's best to use a technique called `dry brushing'. Personally I use acrylics for this, the colours are brighter giving a more dramatic result. Using a lighter shade of blue load the brush and then gently, using a tissue, wipe off most of the paint. Try drawing the brush across your finger. If the brush leaves only a light trace of colour then it's about right; it is trial and error really, after a while you get to know by instinct when its right.
In our example FN 3C we will start with highlighting the tunic. Gently draw the brush down the shoulders and arms of the figure. The light coating of paint should attach itself to raised highlights. This (using different colours of course!) should be repeated for the trousers, backpack and the blanket roll.
Next we come to hardening up the lining of belts etc. You can do this in two ways. Firstly you can re-wash those areas needing emphasis, on our figure the cross belts in particular. It's the same technique as before though using a darker wash. Using a 000 brush load lightly and draw the brush along the cross belts. This should leave a thin trace to harden up the shading.
The second way of doing this requires a little expenditure. What you need is a Technical or Drafting pen. The best ones I've found are the Pental Ceranomatic. For lining you need the 0.13 size if you want to use them for collars etc you'll need the 0.18 size. You use them just as you would a brush but they are much more accurate.
Well there we have it. I hope you've found the technique works well and speedily. You may not get it right first time but a little practise should pay dividends.

STAGE 5: Finishing

Varnishing the figures is very important, both to enhance the paint job and above all to protect it!
The first coat should be gloss. This brings out the colours and provides a really tough protective layer. This should then be toned down by coats of matt varnish to the desired finish.
I prefer to use a spray varnish, they coat more evenly and faster. I've found the model types too unreliable. I use Olevia Colours varnishes. Their designed to protect porcelain dolls heads, a little pricey but great stuff. Check shops that sell dolls house stuff (you know the sort of stuff destined never to go near a kid!).

Horses and other matters

The easiest and most effective way I've found to paint horses is with artist oils. Firstly its necessary to prime the horse with enamel white. You need a really good covering on the high points, like the rear haunches, so it might well be to give these parts a second coat. Leave this to dry very thoroughly, at least overnight.
Having chosen your colour mix it with a little thinners, you're looking for a smooth texture. Using a No 2 brush apply this to the horse. Leave it to dry for 30 mins or so and then using a slightly thinners dampened brush gently brush over the horse. The brush will catch the highlights, thinning the cover of the oils, allowing the white to come through giving you a sort of marble effect.
It is difficult to describe but when you get it right you'll see what I mean. You can use an artists sponge rather than a brush. If there is a build up of oil paint at the juncture with the saddle cloth you can remove it with a slightly dampened brush.
The mane, tail and socks can be painted in after the base coat has dried overnight. Its a good idea to get a book on horse colours to avoid making mistakes. The riders of course can be painted as normal. If your unhappy with the definition an the horse you can harden it up with darker oil washes, particularly around the head.

If you're using water based paints you will of course have to prime all the figures. See your particular make of paint for details on this. '

Basing the figures

This is not the place to go into the much vexed question of base sizes but I will outline the methods I use in the hope you'll find it of interest.
Having sorted out the size of bases you want cut the card (I use 0.8mm card bought at an art shop) to the appropiate size. As I magnetise my bases it's at this stage that I glue to the base's bottom a small piece of thin sheet steel. Its best done now so that you push down really firmly. Use Bostick contact or similar adhesive.

If you can its preferable to use 'steel paper' as it is called available from magnetic displays. Its basicly a sheet of ordinary looking thick paper buts its got a layer of steel sandwiched in it so its magnetic. It comes with a self adhesive backing so the easiest thing to do is to glue a whole sheet to your card before you cut the bases out.

Now cut up the strips (fine wire cutters are useful here) and glue the figures to the base. I try to get the effect of a three deep line, see FIG 6.
Once the figures are fully dry we can start to texture the base. Take some PVA wood glue add some water (about one part glue to two water) and then add some green scatter flock. Mix until it's a thick, milky paste (don't worry it dries perfectly clear!) and spread this amongst the figures covering the base.
When this has gone dry it will be a fairly dark green, and hard. You can now add a little colour to liven it up. Basically just use the dry brush technique outlined above.
With the steel on the bottom you are able to make shelves with magnetised rubber strips to hold the figures firmly in transit. Also you can produce movement trays by taking transparent acetate sheet, cutting to the right size and gluing on strips of magnetised rubber or using the self adhesive stuff.. Magnetised rubber can be bought in self adhesive rolls of varying width or in large sheets. See the hobby press for details. The steel on the bases will `stick' to the rubber so you have wonderfully secure movement trays. You can cut them to reflect various formations, you can have a movement tray for column, line and square or even skirmish line.

Well that about wraps it up. Let us have your comments, good or bad, any ideas you might have will be very welcome.

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