The wonderful thing about our North Star 1672 range is that the figures will do for many different nations armies in the period 1665-1680. This isbecause it is a time just before uniforms, and the figures are all dressed in the fashions common amongst soldiers throughout Western Europe.
This of course includes Britain.The years covered by our range is called the Restoration Period inBritain as it was the time the monarchy, represented by Charles II, was restored after the English Civil War. It was also the genesis of the British Army. Britain, tired of soldiersand war, had disbanded much of it’s forces after the Civil War andOliver Cromwell’s reign. With the return of Charles II to England in1660, the units still under arms swore allegiance to the King andbecame the senior units of the British Army.Some of the infantry regiments:Coldstream GuardsGrenadier GuardsScots Guards1st Regiment (Royal Scots)2nd Regiment (The Queen’s)3rd Regiment (The Buffs)
Colour.
PAINTING THE ILA
SpearsWhile I was cleaning the warriors up, I was deciding whatand how many spears to give them. The Ila carry no shieldsbut are often seen carrying numerous of their very long thinspears, at least two and sometime more! So it thought I wouldgive them as many as looked good, and that was three formost of the models. Now that is more spears than comes inthe pack so you will need to buy a pack of extra spears(NSS101 - 50mm long Wire Spears), but they will be usefulfor other project in the future. Fitting the spears proved less problematic that I expected, asall the models have good sized, well formed, hands and thespears are quite fine, so even carrying two in one handwouldn’t be a problem for the diminutive Ila. I drilled out thehands with closed fists with a 0.5mm bit to receive a spear,and for the open hands I trimmed away the inside palm of thehand to give enough room for two spears. Once I wassatisfied I had enough room I placed two spears in the handand then carefully closed the fingers around the spears. Thistakes some practice; I use a blunt bladed sculpting tool togently push the fingers into place. I then secured the spears in place with superglue. When you are gluing the two spears inplace make sure you don’t get to much glue running betweenthem and forming an unconvincing web of glue, removeexcess glue with some toilet tissue. Where I could manage it Iattached the spear to another point on the model, like the kilt,again using superglue. The models were then put aside for the glue to harden; I don’t use accelerators as they can make thesuperglue brittle. I then glued the models to a piece of scrap card ready forpainting. UNDERCOATINGUndercoating is essential as it provides a consistent surfaceon which to apply the next coats of paint, and it shows up thedetail on a model much more clearly than shiny bare metal.
BACKGROUNDThe first thing I did was take a good long look at the Ila. Theyare a fairly obscure tribe but quite a lot of very usefulinformation does exist, mostly written by Chris Peers. In factwe also have a companion article detailing their history andbackground by Chris and even more information can befoundry in his book CENTRAL AFRICA, Tribal and ColonialArmies in the Congo, Gabon, Rwanda, Burundi, NorthernRhodesia and Nyasaland, 1800 to 1900. The other goodthing about them is that they are very distinctive; your Ilatroops won’t be mistaken for anything else on the field ofbattle!The second thing you notice about the Ila is that they carryvery long spears, but the first thing you notice is inevitably the hair! Both these things add up to unique looking troops andmake them a worthy addition to any African collection. Theother good thing from a painting point of view is that thesenior warriors would often wear colourful cloth instead of theanimal skins of the rank and file warriors. PREPARATIONThe first task with any model is to have a good look at it, seewhat you are going to have to do to it. For this article I ampainting the pack of models NSA3002 (Senior Ila warriors),which has four noble models in good haughty poses. CleaningThese models required some “cleaning up” before painting.Using a scalpel and needle files I removed all the visiblemould lines – these are the thin lines that run right around themodel. Scraping the knife blade carefully along the mouldline, as if you are peeling the skin from a potato, holding theblade at roughly ninety degrees to the surface. Finishing offthe scraped surface with a small file to ensure that the area isall nice and smooth. As a final word on preparing models,please be careful when using any sharp modelling tools.