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Painting 3/6 Color DCUs & Woodland BDUs
There are several techniques to use when it comes to painting camouflage uniforms on scale figures. Several key factors come in to mind. Number one is, what scale? What type of uniform? What is the setting that the figure is supposed to be in? Scale has a major play in deciding what colors to use. For example, the “chocolate chip” DCU’s that I will discuss later, has actually six colors in it. At 1:35 scale, in my opinion, is too small to represent all six colors. There are two shades of brown and tan in the uniform, that from a distance, you cannot tell the differences between the different shades. So at a smaller scale, there is no reason to represent the subtle difference between the colors. With a few basic colors and some newly learned techniques, will try to get you through painting some modern U.S. Army uniforms.
The first thing I do when I paint figures is to go ahead and paint the skin tones. I like to use artist oils for this step because oils have a longer working time and blend easier than other paints. Before the oils go down, I use Polly Scale Israeli early Tan for a base coat. All other facial details such as hair and eyes are painted last. Once the skin tones are finished, I spray on a clear coat of Modal Master Clear Flat to seal in the oils. Once this is done, its time to paint the uniforms. Another key thing to remember when painting U.S. DCU’s and BDU’s, are the sleeves. Sleeves, you ask? What about the sleeves? Well, it’s the way the U.S. Army and the Marines roll up their sleeves. I have seen this little tid bit missed when it comes to painting figures. Marines roll their sleeves up; I guess you can say like a normal person would (Figure 1). You start at the bottom and simply roll it up to a certain distance away from the shoulder. The material inside the shirt is exposed. A U.S. Army soldier rolls up the sleeve by taking the cuff and rolling all the way up to the shoulder essentially making half a sleeve. Then you roll the sleeve 2 or 3 times and roll the cuff back over the sleeve exposing the outside of the cuff again (Figure 2).