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JournalThe British Flat Figure Society

No 110 Autumn 2013

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BFFS Journal No 110 - AUTUMN 2013

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Front Cover: Parade of the SikhsSuperb set by Eric Gruber von Arni, taken at Knowle. 4. Gladiators - Hoplomachus versus Provocator.Painting technique by Rafael Cebrián6. 2-D Figurines.By Brian Keywood.8. What's New.Figures from the pages of Die Zinnfigur.10. The Figures of Alfred RetterPart three of the Editor's survey of the flats edited by Alfred Retter. 14. Kulmbach 2013.Nick Ball's account of the event.16. The First Schleswig-Holstein War 1848-51 depicted in flat figures.Part 1 by Roger Newsome. 18. What's New Too.Western Miniatures and Mil-Mart.20. Back to Basics.First steps by Graham Dixey.22. Knowle meeting and AGM.Notes from Martin Sutor.23. Committee Meeting October 2012.Report from Ian Parkinson.Rear cover: Knowle 2013.Flats by:Ken Acton, Henry VIIGeoff Barnes, ToadKen Acton (I think!); Confederate InfantryMike Timson; Sobieski's Sleigh ride.

The opinions expressed within this Journal are not necessarily those of the

Editor, the Committee, other officials, or the British Flat Figure Society.

of The British Flat Figure

SocietyJournal No 110 Autumn 2013

Journal

So, Knowle and Kulmbach have happened. There will be colour photos from Kulmbach in the Winter edition of the Journal. Very sad to miss Kulmbach, but there you are. Can't do everything on a pension....Enjoyed Knowle as always. Some very nice flats on display, especially liked Mike Timson's Sobieski set, and Eric Gruber von Arni's set of the Parade of the Sikhs was very impressive.Next up is Euromilitaire, hope to see you there.Visited Lanhydrock House in Cornwall on holiday. A box of very old flats was on display in the children's playroom.

Society ContactsPlease send all information to be published in the Journal to Jerry Mortimore. All other correspondence with the Society should be addressed to Martin Sutor. Member-ship applications and renewals go to Ed Humphreys. All addresses can be found on this page.

The next JournalThe copy deadline for the next Journal is 5th October 2013 for the Winter edition.Contributions to the Journal can be typed, handwritten or digital. Images need to be high resolution; 300dpi with the long side about 1500 pixels or larger.

Annual SubscriptionsU.K. members: £22.00, European mem-bers: £25.00 Overseas members: £27.00 (by air mail). Subscriptions are due for renewal in January every year.

Payment of subscriptions can be made by cheque, postal order, or Paypal.We cannot accept foreign currency cheques unless drawn on a British bank.

Paypal payments should be made in Sterling to [email protected]. Add £1 to cover Paypal fees.

Cheques must be made payable to The British Flat Figure Society, not to the Membership Secretary or any individual person.

Contact The committee and Area Representatives of the Society

Hon. Secretary:Martin Sutor, 26,Thellusson RoadRendlesham, Woodbridge, SuffolkIP12 2TDTel: 01394 461535.E-mail: [email protected]

Membership Secretary:Ed Humphreys, 11 Oakely Terrace, TalwaenyddBlaennau FfestiniogGwynedd, LL41 3LYEmail: [email protected]

Treasurer:Dr Bob Williams, 14,Samuel Vince Road,Fressingfield, Eye, Suffolk IP21 5SP

Editor:Jeremy Mortimore, 17 Redwood Drive, Wing, Leighton Buzzard, Beds LU7 0TATel: 01296 688455E-mail: [email protected]

Additional Committee Members:Ian Parkinson, Ashton House, Main Street, Heming-brough, Selby, North Yorks YO8 6QE

Journal Distribution & Printing:Jeremy Mortimore, 17 Redwood Drive, Wing, Leighton Buzzard, Beds LU7 0TATel: 01296 688455E-mail: [email protected]

Journal Back Numbers:Mike Taylor, Stonechat House,8 Ferndell Close, Cannock, StaffsWS11 1HR

Archivist:Richard Hyne, 23 Letchworth Road,Baldock, Herts. SG7 6AA

Webmaster:Mark KirkbrideE-mail:[email protected]

BFFS Figure Co-ordinator:Brian Keywood 32 Junction Road Gillingham, Kent, ME7 4EH

Tel:01634 581823Email: [email protected]

Area RepresentativesLONDON: Situation vacant.

HAMPSHIRE: Situation vacant.

SOUTH-WEST: Tony Du-Vall,4 Pixie Dell, Braunton,North Devon EX33 1DP

SOUTH-EAST: Situation vacant.

BRISTOL & AVON: Dick Jenkins,51 Tregarth Road, Bristol, BS3 2QR.

MIDLANDS: Jon Redley, 64 York Avenue, Finch-field, Wolverhampton, West Midlands WV3 9BU. Tel: 01902 423732

NORTH-EAST: M.G.Wardle, 96 WestEnd Drive, Horsforth, Leeds LS18 5JXTel: 0113 258 1508

NORTH-WEST: Malcolm Collins,16 Tithe Barn Street, Currock, Carlisle,Cumbria CA2 4EL. Tel: 01228 46444

WALES: Situation vacant.

EAST ANGLIA: Michael Creese, ‘Nutwood’, Great Glemham Road,Stratford St Andrew, Saxmundham, Suffolk IP17 1LL Tel: 01728 602746

SCOTLAND: John Russell,2 Marcus Crescent, Aberdeen AB21 0SZTel: 01224 790680

EUROPE & OVERSEAS: Situation vacant.

NORTHERN IRELAND:Situation vacant.

CANADA & USA:Patrick J. Deluhery18 Morningside TerraceWest Springfield, MA 01089Tel: [email protected]

AUSTRALIA & NEW ZEALAND:John Brewer, P.O. Box 5250,Turramurra, Sydney, Australia [email protected]

ITALY:Gianpaolo Bistulfi, Via Alberti 10,20149 Milano, ItalyTel: 02 33106690E-mail: [email protected]

Euromilitaire. Leas Cliff Hall, Folkestone on 21st-22nd September. BFSS stand.

Scale Model Challenge, Eindhoven. 13th October. NH Conference Centre `Koningshof'' Locht 117, 5504 RM Veldhoven (near Eindhoven), The Netherlands. BFFS display, contact Brian Keywood.

SHOWCASE 2013, 20th October 2013.The Broadway Hotel, Letchworth.

Bugle Call, BMSS Bristol will be held at The Pavilion, North Parade Bath, BA2 4EU on 24th November. BFSS stand.

From Graham Dixey:With regard to my recent article in the Journal and with particular reference to my painting stand, I am now able to say that I have located a source for the magnetic plastic sheet required. Sheets, of both polarities, roughly A4 in size, can be bought from MDP (Model Display Products). They

frequently appear at model shows but they can be contacted on their web-site www.modeldisplayproducts.co.uk or by email [email protected] or even by old-fashioned telephone on 07795 957854. These sheets cost only a couple of pounds or so each.From Dick Jenkins:Dick has sold the molds for the Garter Knights and the Tabard Inn to Frank Dittmar.

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For some time it was in my schedule to make a figure in semi-ronde of these gladiators, based on a fine drawing by Angus McBride, one of the leaders in military illustration, who collaborated extensively with the publisher Osprey. McBride's artworks I like especially because they simply present a soldier or character with their equipment, but always bring something more, are expressive and tell a little story, which I also like to see in the figures.

In this case, although the faces of the two gladiators are not seen, one can sense the anguish and tension beneath their oppressive helmets. That's the story I'd like to be appreciated in this figure.

For modeling I use Feroca. The process is the same as I have followed on other occasions, it is modeled directly on the film, which has previously been adjusted to the desired scale, in this case 70mm. A silicone mould was made from the finished model and got the first resin copies.

For the painting I used acrylic. There are two important points in the paint in this figure: the flesh tones and metallic. For flesh to be represented parts are in shadow and the counterpoint is found in the areas of maximum light. For metallic, complexity lies in the use of non-metallic colors, that show the shine and reflective effect in metals.

The first thing I do is apply a spray primer of Tamiya grey. It is a fundamental step to achieve a homogeneous layer before starting painting. The acrylic painting is based on the superposition of layers with different degrees of dilution to get the lights and shadows. This applies a base color on which lighter colours are added to the lay-ers of light and dark colours for shadows. The colour variation between layers should be small. The more layers applied gives a smoother color transition.

When finished, the application of light and shadow light washes applied with very dilute paint to give uniformity to the whole.

This figure belongs to my Arcabuz catalog is in resin and its scale is 70mm. I enjoyed modeling and painting and I hope the result is to your liking.

Color ReferenceBody: For all flesh tones I used a base coat, which depending on the painting have changed slightly.• Base: Brown Orange + Burnt Umber + Cadmium Red + Yellow Matte + Light flesh• Lights: Base + light flesh + Ivory (only sometimes)• Shadows: Base + Umber + Cadmium Red + Black (only sometimes)Padded protection:• Base: Brown Cover + Umber + Black• Lights: Base + Brown Cover + Ivory• Shadows: Base + Umber + BlackMetal Gold:• Base: Brown Orange + Yellow Matte + English Uniform + Umber• Lights: Base + White (in finishing touches pure white)• Shadows: Base + Umber + BlackMetal Silver:• Base: Black + White + Burnt Umber + Blue Middle• Lights: Base + White• Shadows: Base + Black + Umber

Loincloth Blue Hoplomacus:• Base: Medium Blue + Black + English Uniform• Lights: Base + Royal Blue + Light Blue• Shadows: Base + BlackPants Blue Hoplomacus:• Base: Royal Blue + Black + English Uniform• Lights: Base + Medium Blue + Light Blue• Shadows: Base + BlackFor more information on the figures of Rafael Cebrián (Arcabuz) see:http://rafacebrian.blogspot.com.es/The figures are available in the UK from:Hawk Miniatures The Office 4 Kingshill Drive Hoo Rochester ME3 9JPPhone: +44 7768 693748www.hawkminiatures.co.uk

Stages in painting the gladiators in Rafa's article

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Professionally painted 30mm Napoleonic Flats, French Imperial Guard comprising of;2 No Cavalry Commanders22 No Red Lancers25 No Chasseur a Cheval16 No Empress Dragoons14 No Grenadier a Cheval3 No Horse Artillery/crew3 No Foot Artillery/crew32 No Old Guard 36 No Fusilier Grenadiers36 No Fusilier Chasseurs16 No Fusilier Voltigeurs SkirmishersGeneral/ADc

£675 plus P&P For further Info ring 07792766994 or email [email protected] (Somerset)

When at shows it became clear that there was an interest in the flat figure but availability was putting people off having a go.

Our members were winning big time at shows and a decision was made to have a few figures to sell but which ones? At this time Nick Ball was doing very well with his set of Fairies, so that was it, I ap-proached Dick Jenkins and an arrangement was made; a few sets of Dick’s figures were sold at shows, discretely of course, but sold by us from the BFFS table. Show organisers generously turned a blind eye to our actions. It soon became clear that there was a market for the flat if the painter could get them so it was time to expand and more Producers were approached and to my amazement all agreed to help!

2D figurines was formed and the idea was just to sell at shows, no postal sales but that soon changed!! The first show was at Welling and to say I had a few sleepless nights is an understatement: what if it flops, no one interested, all this stock to return, the Producers I would let down, scary !!!!!!

We get to the Welling show and make sure that the BFFS table is OK with Chris and Nick and find the 2D table and get ready to set up. Guys are already ask-ing what flats we have and are we selling!! We suggested that they let us set up first and then come and have a look at what we had got, they were like vultures as they had never seen so many flats for sale before. A successful day was had, lots of figures sold and information on flats given out including BFFS Flyers.

Since then 2D seems to have gone from strength to strength, being at many shows always selling many figures and now an Agent for 7 Producers and also selling second hand stock. 2D now also produce their own figures and have taken over some of the BFFS Consortium Figures, new stock is always being added.

A Big Thanks goes out to all the Producers, but without the encouragement and guidance from Dick Jenkins of Western

Miniatures it would never have happened, and I must not forget the guys that pick me up when I’m down - Chris Seeley and Nick

Ball for all their help with 2D Figurines. The future I don’t know but more figures will be sold and produced under the 2D flag.

2-D Figurines stand

2-D Figurines biker

2-D Figurines chopper

2-D Figurines Friends

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To start with, a fabulous set of figures of Louis XIV and staff interrogating prisoners. According to the text the series was drawn and engraved in the 1950’s by Friedbert Staar from Jena. The moulds were then long in the possession of Kolbitz and were subsequently taken over by Graefe in Berlin. For decades they have not been cast. The series was then broken apart and sold to different collectors. The first 25 moulds have now been reunited and figures can be purchased from:Dr. Eberhard Dau, Strandstrasse 2a, 17213 Malchow, Germany.www.zinnfiguren-fleesensee.de email: [email protected]: 04939932/13342 (after 19:00)A must for lovers of the age of lace.

Figures from the pages of Die Zinn-figur. All figures 30mm unless otherwise

stated.

Previous page, bottom left is a 54mm figure of a trapper and a bear. Designed by Max Häring and engraved by Daniel Lepeltier the figure is available from:G. u. H. Maier, Berghausstrasse 1a, 67373 Dudenhofen, Germany.www.zinnfiguren-maier.de.There are three more superb large figures with a French theme.Firstly, a Senegalese Spahi kettledrummer in 45mm. A nice figure with a red uniform and drum banners and blue trousers. Available from:Mattieu Marnay, 3 bis route de Rouffach, 68127 Niderentzen, France.Tel: +33 3 69 28 41 65.Secondly a 54mm French Cuirrassier of 1680 designed and engraved by Werner Otto. Available from:Felix Baret, 18 rue du Corcon, 25240 Mouthe, France.Thirdly, François Antoine Kirmann in Mameluke uniform in 54mm. Produced by A.F.C.F.E.F. and available from:Reinhold E. Pfandzelter, Panoramaweg 3, 56317 Urbach, Germany.Email: [email protected]: 02684/5445.Finally, two 85mm figures from the series 'Festaufzug mit Ringelrennen aus dem

Jahre 1596'. These are Luna and Venus. These were the festivals arranged by Landgrave Moritz of Hesse (1572–1632) celebrating the christening of his daughter, Elisabeth von Hessen-Kassel (1596–1625). See http://www.wdl.org/en/item/8911/.Available from Julia Kehle.www.atelier-pferdestube.chemail: [email protected].

Not shown - more US ACW cavalry attacking on foot from Michael Mischko, a rock band from Erhardt Strassburg and more in the series of the 'Duchess of Richmond's Ball before Waterloo' by Reiner and Helga Mischko, includes 6 Scottish dancers.

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Series 13: Ekkehard.23 figs and groups, engraved by Mohr. Set around the year 1000 A.D. the Duchess Hadwig of Swabia, a young and beautiful widow, visits the monastery of St Gall in Switzerland. She has with her some courtiers and her beautiful Greek slave Praxetelis. She asks for admittance but Abbot Craloh, mindful of the rules of their order, refuses admittance on the grounds that no woman is allowed to set foot within the Abbey. The problem is solved by the handsome young monk Ekkehard, who picks the comely Duchess up in his arms and carries her over the threshold, to the general consternation of the monks.Series 14: The Women of Weinsberg. 23 figs and groups, engraved by Frank. In the year 1140, Weinsberg was besieged by the army of Konrad III. An army under Welf VI was unable to raise the siege and Weinsberg was forced to surrender. Konrad allowed the women of the city to leave only with what they could carry on their backs, so the women left the city carrying their husbands on their backs.

Series 15: The Valiant Swabian. 12 figures, engraved by Frank. After the poem by Ludwig Uhland, founded on an incident supposed to have taken place during Barbarossa's Crusade.

The army of the Emperor had suf-fered greatly in consequence of want of forage, or, as the ballad quaintly says, the knights had nearly to carry their horses, when a Swabian knight, dragging his horse along, was left behind the main body of the army, and attacked by fifty Turks. He is, however, not afraid, as they only shoot at him from a distance and he has covered his back with his shield. One of them, bolder than the rest, rides close up to the knight and attacks him sword in hand, but the Swabian, losing all patience, cuts off with one stroke both fore-feet of the Turk's horse, and finishes with cleaving the Turk completely in two, so that the sword, penetrating even the saddle, sticks in the horse's back. The other Turks ran like chaff before the wind when they saw the deed. The Emperor hearing from another troop of Christians an account of this, asks the knight who had taught him such a feat and the knight coolly replies, they were well known under the name of Swabian tricks.Series 16: The Story of Snow White. 62 figs and groups, engraved by Frank. In High German Gothic costumes of around 1470, the whole course of the story may be retold in various scenes. A truly magnificent set.

The dwarves appear in four scenes but there are not enough dwarves supplied in the set for seven in each scene, but as the dwarves are all combination figures, generally with sufficient variations of arms, legs, tools, etc to provide several different variations, they can be added to by purchasing extra figures.Scene 1: In the King’s Hall. 35 figures.The King is receiving gifts from Turkish Emissaries watched by members of the Court. In an antechamber the Queen looks in her magic mirror. In the garden Snow White ponders on the grave of her mother.

I think the jester capering in his motley is a superb figure.

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Scene 2: The compassionate Huntsman. In the forest the Huntsman has been told to kill Snow White but cannot bring himself to do the deed.

Scene 3: In the Dwarves House. Snow White asleep in a dwarf bed, Dwarves look on in surprise.

Scene 4: The Apple Seller. As Snow White waves goodbye to the dwarves, her stepmother, the wicked Queen, watches disguised as an apple seller.Scene 5: The Hunters Find Snow White.

Snow White lies in her Crystal casket in an enchanted sleep, watched over by the sorrowing dwarves, where they have been found by the Prince and his Huntsmen. 9 figures plus Snow White and the dwarves.

Scene 6: Wedding Feast: The Prince and Snow White at their wedding feast. This comprises just the one figure. This can be enhanced by the addition of a few cheering dwarves and Retter suggests this can be combined with his Knight's Salon (series 19) to create a wedding feast.Series 16b: The Dwarf House. 13 figs and the house, engraved by HW. The house comprises three main parts; front, side and chimney, plus shutters, door and porch with fences, gate, and sunflowers.Series 17: The Seven Swabians.30mm Group, engraved by Mohr.Series 18: The Seven Swabians.80mm Group, engraved by Mohr. The seven heroes from Swabia go hunting, from the story by the Brothers Grimm.Series 19: Praising with many fine words. (aka The Knight's Salon)32 figs and groups, engraved by Frank. Princely table around 1490, after the poem by Justinus Kerner. (Can also be used with Snow White series.). Includes some wall mountings and a fireplace.

Series 20: Gotz von Berlichingen. 5 figures, engraved by Frank. Offers the negotiator the "Swabian" greeting, which can be roughly translated as "Kiss my Arse".

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This year was the BIG one, the Zinnfigurenbörse at Kulmbach, and so along with the 3 Musketeers there would be a few of their motley companions!Joining Brian, Chris and me, we had Gerry Larkin, Martin Sutor and Frank Collins, a friend from our local club, (or Ken as he was renamed by Martin). This made six of us, flying out from Heathrow and then hiring a car, once we got to Frankfurt to drive the rest of the way.Five of us decided to stay at The Ibis hotel, the night before as we needed to check in at 6.00 AM, and so at 5 PM on the Wednesday, we all met up (Gerry lived nearby so stayed at home).Things were now getting exciting, but first we needed to take Chris’s car to the Purple parking. Handy enough as there were 2 opposite the hotel. HOWEVER!!! If you leave a Musketeer to do a Man’s job, you know full well to expect the worst!!How was I to know that Purple parking had over 20 sites dotted around Heathrow, and how was I to know the one I had booked into was on the far side of the airfield!!! Having left Martin and Frank in the hotel, it then took us over an hour to get there and back again.As it was now Beer time, we decided in our best interest to eat in (OK I had also booked the Hotel and the nearest pub was five miles away - - - - in fact not to put too fine a point on it, it was five miles from bleeding anywhere!!!!)Actually the food was quite good, and so with full bellies, it was time to sample the nightlife!!! As the only thing in the area was a Bowling Rink, and as we hadn’t brought along our sparkly tight trousers, we decided to head there. It was now time to make fools of ourselves, so we thought it might pass the time to play a few games.After plying the OAP’s in the group with a couple of XXXX pints, (well we got to beat them somehow!) we got our COCO the clown bowling shoes and headed out.Frank (Ken) decided that as he was too old and as he had never played before, would sit this one out and just watch. Well, that

was until Brian decided that the ball was far too heavy for his poor little short arms and needed to be helped out.NEVER PLAYED IN HIS LIFE!! STRIKE, STRIKE, STRIKE - - - - Brian needed a ringer more like!!!Well Brian WON!!!! And I got beaten by the 5 year old on the next aisle. (Stuuupid game!)Happy as Larry, we all set off back to the hotel for a little nightcap.The next morning we were up bright and early, and on the bus heading to the Airport.Having met up with Gerry we had our coffee and before long we were in the Skies.Having reached Frankfurt, we went to collect the people carrier.Surprisingly we all fitted in, though Martin did volunteer to sit in the pop up child seat in the boot amongst all the luggage.Our driver, Brian then had his first problem as he didn’t know how to start the car. Electronics, I ask you who thinks of these bright ideas?With your left arm behind your back, and with your passenger holding your right ear, press the brake pedal, turn on the right indicator, and at the same time shout "Go you ******" whilst pressing the start button.Half an hour later, we were still there!!

Now you may rightly ask yourself “HOLD ON!! Who’s the Navigator in charge?” Well I will tell you; due to past heroic and failed experiences, Chris had decided to bring SHARON the SAT NAV.Once we got on the road, the main route was easy enough and Sharon was pretty quiet. Kulmbach is a pretty little town, and it‘s only once you get to the heart of it that you get to see the impressive castle of Plassenburg on the hilltop. Whilst Brian and Chris took items to the Marquee, we were sent to the Castle. As it was a nice day, Gerry, Frank, Martin and I decided to walk up the 100:1 gradient as it would be good for us!!! Frank nearly died of over exertion, and Gerry started to have problems with a re-occurring war wound to the Knee (at the age of 6 he fell off his rocking horse whilst singing along to Rolf Harris and his two little boys). When we got there, IT WAS SHUT!!!!! (Though we did get there the next day - by Bus)TIME FOR BEER.Once Brian and Chris had done all they needed too, it was time to head for the Hotel and a good meal.It was now Sharon’s turn to do her stuff, and quite frankly she was worse than I!!!! Now whether it was because Chris was ignoring her, or because she was just grumpy, I don’t

know, but on most journeys in mid travel she would decide to turn herself off, and then when she came back on, she didn’t know where she was? The Cul-de-Sac was rather nice, pretty little bungalows they were too (both times!!) and the farm track was really exciting, I didn’t know a car could bounce so much!! let alone Chris.At 9.00 PM we arrived outside a smart little hotel and we were just pleased to get there.Dinner finished at 8.30!! but unlike in Britain where they just say go away at 8.31, this was a family run hotel, and although we just asked if they could make us a sandwich, they immediately thrust the menu our way and said, no problem, the chef will cook whatever. Now that’s what I call great service and a good Hotel.At breakfast, we were asked if we would like to have dinner there, as they would prepare us a speciality of the region. This then happened for both nights. In two years’ time, it’s already agreed, we’re coming back here!And so on to Kulmbach. As a first timer, you’ve got to be impressed. The large Marquee covers one whole square, and is laid out in rows and blocks. Where ever you look you can see flat figures and unlike some British shows, it’s packed full with enthusiastic traders and Modellers. Don’t speak German? No problem, even the nearest stranger will step up and help out if they see you struggling.We met up with Eric (d’Artagnan) and his French Society, who, on seeing us, charged around the table to say hello; that was warm and extremely welcoming. We met up with many BFFS members, and it’s good to put names to faces. Mike Timson and Charles King stayed at the same hotel, and after seeing them sitting together in their little Fiat 500, have now been renamed the Timson Twins (a play on the Thomson twins in Tintin) a pair of Bowler hats and Bob’s your uncle!! Ed had the table very well organised (as usual) and even our networker Brian could be spotted on it for quite a while throughout the days.The only let down - - - - time flies by too fast, and there’s not enough hours in the day.In the main Hall, they hold the Competitions; Beginner, Standard and Master, though quite frankly, there isn’t much between them. There are some fantastic painters

out there, and such a great bunch, no pre-madonnas here, just enthusiasts always ready to hand out good advice.I will let Brian’s photos speak for themselves. Oh yes, and I was lucky enough to win a Gold. And so to conclude:-If you can only make one show in every two years, then this IS the one.G e r m a n b e e r a n d hospitality cannot be bettered. A great weekend amongst good friends and some of the finest flat figures I’ve ever seen.Having travelled around to quite a few foreign shows, I must say they do leave the English ones in their wake. Their overall enthusiasm and effort in getting to places to attend a model show is amazing, and perhaps this is why when the BFFS attend these continental shows, we are given an extremely warm welcome. And the only trouble coming home? Well at Frankfurt Airport the ‘Man’ in the rear child car seat decided to wander off aimlessly, so next time it’s the toddler reins for him as well!

I would like to thank the Organisers and our fellow German hosts for looking after us so well, we look forward to 2015.And finally: yes, we are looking for another Navigator as, as expected, --------

SHARON WAS FIRED!

Nick with his Gold medal and certificate. (Photo courtesy of Rod Johnson)

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Part 1.

A short historical background to the war.This is a very brief background to quite a complicated situation, readers who wish to know more about the historical causes of the war are advised to consult the list in the suggested reading section at the end of this article. The Duchies of Schleswig and Holstein had been part of the Kingdom of Denmark since the middle ages and the population of both were a mixture of Danish and German speakers. The majority of people who considered themselves Danes living in the northern part of Schleswig. The two duchies had their own parliaments but came under overall control of the Danish government in Copenhagen. Following the Napoleonic wars there was an increase in German nationalism and the German speakers of Schleswig and Holstein increasingly considered themselves to be German rather than Danish. (The Duchy of Holstein was already a member of the German Confederation which had been set up in 1815 to look after the interests of all German states.) Many of the German

speaking inhabitants of Schleswig-Holstein wanted to see the duchies joined together under their own ruler as a member of the German Confederation and independent of Denmark.

In 1848 the “Year of Revolutions” in Europe on 24th March the Duchies of Schleswig and Holstein declared a pro-visional government free of Copenhagen under the leadership of Prince Frederick of Schleswig-Holstein-Sonderborg-Au-gustenburg-Noer. The new government of Schleswig-Holstein was able to enlist military aid from Prussia and other states of the German Confederation. It was not long before the Danish army were sent to crush the revolt.Suggested reading.

I have not found much in the way of printed material in English apart from the two books below: The Armies of the First Schleswig-Holstein war 1848-51. Ralph Weaver. Isbn 978-1-85818-499-9The First Schleswig-Holstein War 1848-50. Nick Svendsen. Isbn 978-906033-44-6

Both are readily available and

contain some nice uniform plates of the armies involved.

During my research into the uniforms of the armies involved I have collected a few digital copies of uniform plates online and from other collectors, if anyone would like copies themselves please feel free to contact me via the BFFS forum or my personal email address. [email protected] figures.

I have quite a selection of figures from The First Schleswig-Holstein War from the catalogue of Karl-Werner Rieger. As as lot of readers probably already know for the quality of figures, the ease of ordering from his web shop and the speed of delivery this is an editor I cannot recommend enough.

For my first project and the subject of this article I have selected some Jagers from the Schleswig-Holstein Army.

Below left is an example of some of the Schleswig-Holstein Jager from Karl-Werner Rieger's catalogue.

Pictured right top are the figures I have selected to paint.Uniform.

At the beginning of the war the Schleswig-Holstein (S-H from now) bat-talions were formerly part of the Danish army but were renumbered. The old Danish 4th and 5th Jaeger battalions becoming 1st and 2nd Jaeger battalions of the new S-H army. Uniforms, arms and equipment were initially the Danish model but soon a new uniform based on the Prussian model was introduced.

The new uniform worn by the Jaeger battalions was a dark green tunic with red facings and piping, dark grey trousers with red piping and a tall black shako with front and back peaks. The shako plate was a yel-low metal double headed eagle and above it was a long black drooping horsehair plume.Clean up and painting.

Clean up of the figures was done with a set of needle files only taking a few minutes for each figure and then they were given a coat of grey aerosol primer, the type intended for use on cars,

The primed figures were allowed to dry for 24 hours before a couple of thinned coats of Andrea matt white were applied and then mounted on some scrap pieces of wood.

Because I am going to paint sev-eral figures wearing the same uniform I am going to try a different technique than I usually adopt. The idea is to plan ahead during my time away and work out exactly what colours will be required for each item of equipment, uniform and flesh

tones so giving a uniform appearance. My usual method is pretty haphazard, i.e. opening random tubes and mixing as I go without taking notes. This is prob-ably okay for stand alone figures but not for the purpose of painting a squad of uniformly attired troops. I will also try to keep the mixes as simple as possible so as to easily replicate them. Another new approach for me will be the painting of the weapons first. Rifles and muskets are my least favourite things to paint and I usu-ally leave them until last. I usually end up rushing them to get the figure completed and this shows in the

finished result, it will be interesting to see if this new method makes a difference. It also helps that I am writing this and plan-ning the project during my month at sea working.Intended palette.Flesh tones: Base, Yellow Ochre + White. Shadow, Base + Burnt Sienna + Viridian. Highlight, Base + White.

Rifles/muskets.Steel parts: Base, Paynes Grey Highlight, Base + White.Wooden parts: Base, Burnt Sienna Shade, Base + French Ultramarine + Cadmium Lemon.Shako.Felt body: Base, Lamp Black + Naples Yellow. Highlight, Base + White.Leather reinforcement and peaks: Base, Black. Highlight, Base + White Shade, Base + Purple.Plume: Base, Ivory Black. Highlight, White.Shako plate: Base, Yellow Ochre. Shade, Burnt Umber. Highlight, Naples Yellow Highest high, White.Tunic. Base, Viridian Shade, Base + Alzarin Crimson Highlight, Base + Naples Yellow.Collar and cuffs: Base, Cadmium Red Shade, Base + Viridian. Highlight, Base + Cadmium Orange.Trousers: Base, Viridian + Cadmium Red (deep Highlight, Gradually lighten base colour with white.Shoes & belts: Base, Lamp Black Shade, Base + Dioxazine Purple Highlight, Naples Yellow + White.

So that is the plan. In Part 2, I will show the the finished figures, or perhaps the progress so far depending on how I get on. I will also include any changes that I have made to the painting plan, I'm sure there will be some.

Catalogue reproductions with kind permission of karl-Werner Rieger.

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New from Dick Jenkins at Western Miniatures, more wonderful figures in his 'Finishing School For Young Ladies' series in the style of Ronald Searle:1st year £3Nerd £3New Girl £3Love's Young Dream £9Also new is a set of four 'Ole Bill' character figures:Home by Christmas £12Postage and packing £2.00 per order.

New from Mil-Mart are two attractive figures of the Imperial Russian Grand Duchesses Olga Nikolaevna and Tatiana Nikolaevna in their uniforms as Colonels-in-Chief of the 3rd Hussar Yelizavetgradsky Regiment and the 2nd Kubansky Platustunsky Regiment respectively.Grand Duchess Olga wears a sky blue dolman with a crimson riding skirt. Her black busby has a white bag and a gold death's head badge. She has a corded belt in the Russian red, white and blue colours. All lace and trimmings are gold.Grand Duchess Tatiana has a dark blue lancer jacket with yellow plastron, collar and cuffs. Her riding skirt is also dark blue. Her Czapska has yellow panels. All lace and braiding is silver.The Grand Duchesses are 120mm resin semi-round flats and they cost £7 each. Mil-Mart Miniatures are on the web at:www.milmartminiatures.co.ukAddress:Mil-Mart Miniatures 101 Stanley Park Grange Chelford Road Handforth SK9 3SFTelephone: 01625 527550

Wolf-Peter Sander 'Vom Erz zur Zinnfigur. Aus der Geschichte der Zinnfiguren in Südwest-Sachsen' ISBN 978-3-940819-17-8. A review of flat figures of Southwest Saxony. €24.90. Edition Bohemica, [email protected] long awaited Mignot book by Jacques Vullinghs is now available. Plublished by Edition Krannich, ISBN 3-933-20-4. A seperate booklet with translations into English and French is also available.Lots of colour pictures and a good review of the many beautiful figures produced by Mignot.

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The Challenge of the Flat FigureThe essential challenge with painting flat figures is to make them appear as if they aren’t actually flat at all. In other words, we are trying to deceive the eye of the viewer into seeing something that has the appearance of solidity. There is nothing new in this, and it is not exclusive to painting flats. Any form of representational painting faces the same challenge – and the solutions are essentially the same whatever the medium. In this short article I just want to look at the ways in which we try to make our flats look three-dimensional.The importance of light and shade

In our first approach to the problem we make use of the ‘modelling’ effect of light falling on a subject. To illustrate this we can consider a simple shape, such as a cube (Figure 1.) Imagine that there is just one light source and that it is located to the top right of the subject. Our cube has three visible planes on which the light falls. These are: the top surface, which catches the full light; the right-hand side, which catches rather less light and the left-hand surface, which catches the least amount of light. We don’t need to use colour at the moment to show this: it works just as well in monochrome. We assume for the moment that, if the cube was of a particular colour, it would be of that colour all over. However, the point that I am making is that the ‘tonal value’ of the colour (whatever it is) is quite different for all three surfaces. This makes the ‘colour’ of the three sur-faces appear different, but really the two sides are just deeper tones of the same (top surface) colour. You can achieve a deeper tone of any colour just by adding black (and, conversely, a lighter tone of a given colour by mixing it with white). Deeper and lighter tones of a given colour are

known as ‘shades’ and ‘tints’ respectively. However, we may well modify our tone by adding other colours than black or white, although then we will actually modify the colour as well. This is really quite ok since light is often reflected from nearby objects, which may be quite a different colour and this reflected light modifies the object’s colour in the shadows and highlights. My advice is to look closely at the work of Old Masters and try to work out what they did.

Let us take two more examples of objects of common and important shapes and see how their shapes are modelled by light falling on them. In Figure 2 we see a circular shape and, in Figure 3, we see a cone. I have drawn these as outlines and as solid objects. In both cases you can’t tell what they actually are from the either 2(a) or 3(a). The figure in 2(a) could be just a flat disc: there is nothing to say otherwise and, in 3(a), we see a sort of triangle with a curved base. However, in 2(b) and 3(b) it is quite clear that one is a sphere and the other an upright cone. This information is contained in the shadows and highlights.The effective use of colour

Let’s move on to the use of colour. This gets more complex because we now have to consider the colours we use for painting the object as well as the shades and tints of those colours. To illustrate this, let’s take another important shape, the cylinder. This crops up time and time again, in various guises, sometimes upright and sometimes horizontal or inclined. Let’s look at an upright one (Figure 4). But first let us introduce an important maxim that is of universal importance. It is this: Light Colours Advance: Dark Colours Retreat

The truth of this can be verified

just by looking at paintings in art galler-ies, for example. But maybe the following demonstration will also help. Let’s return to the cylinder of Figure 4. I have treated this as a column that is gilded, so we want a rich golden colour but one that looks like a solid object and not just a rectangle (the latter is shown in 4(a)). The classical ap-proach to painting in oils is to work from dark to light but I prefer for this illustration to break the rules and work the other way round. So, in 4(b) I have started with the lightest tone (a pale yellow) of the main colour (leaving a band of white down the centre for the highlight). Next, in 4(c) I have added two bands of a deeper yellow e.g. Yellow Ochre, blending them into the pale yellow. Finally, I have added the deepest shade at the outer edges, blending those in as well (4(d)). In this case I have used Burnt Sienna. You can use more bands of other colours if you like. I am just illustrating a principle here.

Now, if you want to be really tricky with this method, don’t paint the dark tone right up the edge but leave a fine line of the lighter tone. This simulates reflected light from behind catching the edges of the cylinder.

The cylinder, cone and sphere are important because the human body is composed of these basic forms. The head is an elongated sphere; the upper arms and upper legs can be seen as conical cylinders; the lower arms and legs are cylinders, as are also the fingers.

Before any of the above construc-tive effort can be applied, it is necessary to fix the position of the light source. With a single figure it is usually quite easy to decide whether it is to the right or the left. After all, we want to illuminate the face not the back of the head! If you are

painting a group the light source must be consistent for all figures in the group. If they are facing in different directions it doesn’t necessarily mean that some faces are in deep shadow: we can imagine that light is reflected into the group from some external surface e.g. walls.The value of cast shadows

Now a word about cast shadows. Any object coming between the light source and any other object will cast a shadow on the latter. Always examine your figure carefully for such objects, as the addition of cast shadows plays an important part in creating the 3D image. For example, the scabbard of a sword may cast a shadow onto the uniform, as will other accoutrements. The peak of a cap may cast a shadow onto the face, though subtlety will be needed here to render this effectively. A horse’s reins will often cast a shadow onto the neck of the horse. If you are painting a wheeled vehicle such as an artillery carriage or war chariot, a shadow will be cast onto the farthest wheels.

I have included a photograph of a large scale Croat that I painted many years ago. I include it here because it shows some of the points that I have tried to make. Look at how the painting of the cloak with its extremes of light and dark creates the rounded shape of the cloak as it billows behind the figure. Look also for cast shadows: the musket sling and the

sword especially. But there are other cast shadows to be found, as well as the shadows created by the shapes of various parts of the figure.

You can see, I hope, from the above

discussion that painting flats is an art form but one that can be learned by practising some basic rules. I hope it helps you with your painting and offers some degree of inspiration as well as practical guidance.

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Present Bob Williams (BW) Martin Sutor (MS) Jerry Mortimore (JM) Ed Humphreys (EH) Mike Taylor (MT) Jon Redley (JR) Apologies: Charles KingTreasurer’s ReportCurrent position as of end of Autumn 2012 Edition: Account stands at £2197.84. The account has been much lower and is the best for 3- 4 years. No case to increase subscriptions.Jerry has managed a good deal on journal, and has reported that the printers are local and helpful. The journal is the major expense to the Society, which has saved money. The latest Journal cost just over £600. The Committee thanks to Jerry for his efforts. Membership Message from Charles King, presented by Martin Sutor :Membership currently stands at 112:68 in UK 31 in Europe 13 RotW (most USA & Australia)This is fewer than the 2011 total of 126Discussion about the reason for the drop in numbers:• Mixed profile• Some in USA who have come and

gone, now flats are available in USANoted that the 112 were mostly long standing Secretary’s ReportKnowle meeting & AGM set for 9th June 2013 at the usual venue.Society figuresFee of £142.06 has been paid, but no bill from designer. MS has obtained figures for the Society, with 3 figures in the pipeline.110 of the first one has arrived – Shakespeare.

Provided free to members who subscribe.See what reaction is.Potentially could be used as a starting point for a number of themed series: could stick to Shakespearean theme or other literary figures or prominent people. Needs to have some Europeans. JR reported that Frenzel issues some Shakespearean characters, and he had already designed some figures for Elizabeth I’s court.The Society owns the mould and it is held by the engraver.EH suggested some spare castings would be a good idea. Consortium led by Brian Keyward.First two “roll call” and “Friends” both sold wellThought that Charles I & Cromwell not much attraction in USABecket best so far. MS to write Journal article on Thomas Becket. JournalJM reported he was about half way through the next Journal, which is a “mono” one.Needed to revise the Names & addresses inside the JournalEH volunteered to take over as membership secretaryChange Journal distribution to JM Requests for back numbers still to be MTRemove Joe Melvin Thanks to Jon for all the articlesAlways glad to have articlesGraham Dixey has been approached as some valuable articles previously published could be revised and re-issued. One on painting armour was thought especially significant.At present everyone was getting a printed journal.

WebsiteCurrently not functioning correctly.The website has been run on a friendly basis by Simon, apparently free of charge, but needs to be on more formal footing. In June 2010, Softlinx Ltd was paid £44.85Mark Kirkbride has offered to set up the website at cost of $200-250 per year, updated and protected.Three members need to be able to make amendments: Mark Kirkbride, Brian Keyward and MS.The website is now considered an important element of the community of the society. Members only areas, eg galleries, with tasters in open access areas.Electronic versions of past issues of the Journal in the members only area.There are to be interactive areas, broadly as previously, structured in themes eg collecting, painting, dioramas, figure information, links. Also non-interactive areas for the Secretary and for the Journal Editor, giving details eg photo formats Any Other BusinessJon Redley reported he had prepared architectural scenery for the Becket figure to be sent out with February- March 2013 issue of the Journal. Would need a layman’s guide to Norman architecture; it was noted that Church walls would have been decorated and painted at that date. Discussions about possible journal articles took place, with the following suggestions:Painting guides How people paint figures Different painting media “The basics”- cleaning, washing, undercoatingKulmbach –EH has arranged the stall. For renewals there back issues for the year would be provided, and standard rate charged.Theme for Knowle is to be “Unlucky 13”The committee thanked Mike Taylor for his kind hospitality.

Jerry has suggested that I write a short piece on my perspective of the AGM. Hopefully the official record will be appearing elsewhere in this Edition/

Well, first off, I thought the AGM went well and more than that the Society has had a good year and ,I hope, made progress.

We have over £2000 in our ac-count and just over 100 members, but as the membership Secretary pointed, out membership is continually changing. Ed thought the Pay Pal system had been a success but we needed to do a little more work because we were charged for some people to use the system but not for others. There is also the question of people who join during the year and what should they be charged. The Society Year runs from 1st Jan and Charles King was emphatic that we must stick to that otherwise the bookwork, with people joining at various times, gets out of control. Ed put forward two suggestions. Any late joiners pay the whole fee and are sent any Journal Issues, or figures sent out in the past 6 months. Or late joiners are offered an 18 month subscription to bring them back into line the year after joining. The Meeting left this to the Committee.

There were some questions regard-ing who has access to the online Journals. Only paid up members have access to them. Following on from this was a question about the status of Associate Members. There is no such thing as an associate member of the Society. It is simply a term used on the website to differentiate those who have ac-cess and use the “Open” portion of the site but are not paid up members. They cannot access The Journal.

The really big success of the year

is the new Website and I am personally incredibly grateful to Mark Kirkbride not only for setting it up in record time but for all his comments and suggestions for improvement. Of course, one person can’t run a site like ours and my thanks are also due to Chris, Pat, Eric and Brian who keep it going. If you have not been on the site please, please have a look and join in. Also read Mark’s notes on the site in the Journal. There is no doubt from the numbers looking that it is attracting interest and Mark tells me that advertisers are quietly keeping a check on our numbers.

The question of Society Figures was raised, by me, and all those present said they liked Shakespeare and would like some more. There was some discussion on a follow on helped by Dick Jefferies who explained that there was room for one more figure on our Shakespeare bloc but usually a block held 3 foot figures. The decision was to produce another Shakespeare fig to fill the block and then a different set of 3 figures for future blocks. The choice of Figure was left to the Secretary and after some online discussion by far the most favourite was Hamlet. So Hamlet it is. Hopefully this will be ready for the first Journal of 2014. I say hopefully because there is some sort of gathering at a little town in Germany in August which seems to be taking up all the engravers energies.

Which leads me on to another deci-sion. Merely to tidy things up the Society formally agreed to pay the costs of the Society Table at Kulmbach. I know that people have painted and sold models in the past but this is The Show and all the members should contribute.

Another excellent suggestion to

come from the floor was for a Society meeting nearer London date and time to be arranged. Hopefully there will be an article on this in the Journal but anything which gets us noticed is good.

That really concluded a good AGM,I was really delighted that so many people said what they thought and joined in.

The next bit happened after the AGM during a conversation on the website with Mark and some honest talk from our US and European members concerning the level of the membership fee. Basically there are a lot of people looking at the site but it is difficult to persuade them to join because of the fees. These are between £25 and £27 for overseas and £22 for UK and I was not intending to raise them. At 4 Journals per year this is over £5 per Journal and Military Modelling is £4.40 in the UK. There has been a lively on line discussion, as you might expect, but I am going to propose to the Management Committee that as from Jan 2014 the membership fee will be for online membership and downloading your own Journal I am hoping we can get this down to about $15 but no promises. I must also stress that The Journal will still be available as a printed copy but there will be an extra charge for postage. There are some advantages in that every Journal could be in colour . If most people also used PayPal the problem of different joining dates would be easier to control.

The purpose of all this is to help you enjoy and get the most from our great hobby, any suggestions will be gratefully received so please communicate. And with that I will conclude, the Postman having just delivered a suspicious Dick Jenkins type package which may just contain Old Bill!!Happy painting,

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Knowle 2013

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