Musings from a full time painter.

 I've been sitting with my second coffee of the day, watching a show on TV, where crafters are getting assistance in turning their hobby into a business. 

And I have to say that I am amazed that it is reasonable to charge £50 for 4 coasters, created by using pouring mediums onto a pre-made wooden disc, and giving a flick or two with a cocktail stick in a fashion akin to the icing on a bakewell tart.

This is reasonable, but people baulk at paying a miniature painter a living wage for long and genuinely hard days where I can guarantee from personal experience there is more skill and knowledge required.

Now, don't get me wrong, I personally make a comfortable living, but were I to charge what my work is really worth as an artist and craftsman, I'd be very comfortable indeed. The problem is that the client only sees toy soldiers n their table, rather than the processes undertaken for one model alone, and the terrific outlay for tools and materials - assuming that the artist in question, like myself, insists on the best for his clients and not fast fixes and 'pound shop' standard materials which will in the end, cause problems down the line for the owner of the models thay've been used on - I guarantee it.

 A few years ago, I looked into membership of the Guild Of Master Craftsmen, until I saw what a con it actually is, combining true craftsmen with TV aerial installers... Seriously. But I actually think I can show that my own standards are much higher.

A client last year questioned me on the process to paint a single piece of microarmour, so I broke it down thus:

Taking for example a single truck, the process is as follows:

1. I spray the vehicle with a suitable base colour from a pretty wide selection available.

2. The model is then stuck down to a baton with several others, to facilitate easier handling without getting fingers all over the primed models.

3. I then apply a filter layer which defines the lines and recesses and tones the primer to the correct shade.

4. I wetbrush a smooth layer to match the raw primer colour,

5. I do the same with a lighter shade for a smooth and subtle finish.

6. Wheels and or tracks are then re-done in black for tyres and gunmetal for the tracks.

7. Tyres are then individually highlighted - yep I highlight the tyres even though they will get weathered.

8 . Any camo pattern is then painted on. This can be a VERY long job on some of the modern or WW2 ambush pattern camos.

9. The camo is highlighted to make it stand out and add depth to the model. Again, this can be time consuming.

10. Spades, tools, cables etc are painted black before being painted in the final colours

11. Windows and lights are blacked in and two shades used to create the look of glass. Windscreen wipers are then re-painted in

12. Canvas tarpaulin s are then either painted in and highlighted if they are a lot different to the vehicle shade, or if they are similarly coloured I use a mix of wetbrushing and drybrushing to give a little variety to the similar shades, but also to convey textural differences.

That is standard…

12A. Crew, stowage and draped tarps etc are blacked in, along with the cargo beds.

12B.They are then all individually picked out with highlights where warranted. The flatbeds have the planking lined in. This takes a long time particularly when the stuff is already in situ.

(Decals (not often required) are aded at this stage - generally to a group of models)

13. A suitable weathering filter is added around the wheels, tracks and sides of the vehicle and then left to dry thoroughly.

14. Weathering highlights are drybrushed on

15. A high gloss anti U.V acrylic varnish is sprayed on

16. The final professional art restoration alchohol-based matt varnish is applied.

And to that you need to add skill, and knowledge. Follow those steps with no skill and you will not get the same results. I also reckon that you'll not have a consistent finish. That takes time and experience.

Now times that by 15 and you can see that I earn my day's bread. Do that for 12 years straight, 250+ days per year and see how you feel.

Now I must be doing something right because other self styled professional painters ask me for tips and and one cheeky bastard actually asked me to send him some of my orders. 

I told him to fuck off with no room for misinterpretation. Not only would that be taking money from my own pocket, but I pride myself on never subcontacting work out. That is anathema to me as an artist and I think a consumate professional.

For me, this is my job, and one which I take very seriously indeed. I have a style and a methodology which has served me well for the last 40+ years, and which I have used continuously and consistetly for over 30. 

If I change a material. it's because it allows me to do my job better, not as a short cut or a fashion statement. If it costs more, then I have to absorb it. Last year I saw a real terms rise of 35% in materials and for the first time in five years, passed on a price increase in real terms of 8.42% to my clients, working out a way to work which did not involve them paying me more per month. 

That, is what being a professional is about. It's not about You Tube monetization, workshops or fashions. It's about getting your head down, delivering regular and consistent work, on time, to specification and at the same time looking after your clients. If you screw up - and you will sometimes,   - you put your hand up, and you put it right, no matter what. 

You have Covid? - Tough. 

Mother died? - Get over it.

Arthritic hands? - Quit or adapt.

Well, if you will excuse me, I have to go and do a day's work to put the stuffed peppers on the table for tea tonight.

TTFN

http://www.conflictincolour.com