The assembly of the elements of Historex figures should present no problem to the novice. It is not until the detailing stage with minute buckles, badges, chinscales and other impedimenta that difficulties arise. The main problem and perhaps the easiest to overcome, is the handling of the model during construction. Some type of aid must be used and the sketch shows a very simple 'extra hand'. An offcut of wood, not less than 12mm thick and about 75mm square is a convenient size. To one edge cement or screw a com-mon clothes peg. Set another on the top of the square flush with the side. Add a couple of strong rubber bands and you have a really useful clamp that will hold figures and pieces in a variety of positions.

Always use good cements and adhesives. Tube cement for larger pieces and liquid cement for the small buckles and badges. Replace the cap or lid to save wastage as often as possible during a modelling session. Tube cement becomes very stringy and dries into an untidy mess around the nozzle unless you recap immediately. A small pair of tweezers are very useful. Opinions vary as to the best style to use and it is really a matter of taste. 1 find the square ended type used by ladies for plucking their eyebrows the best.

Hold small items in position and touch the point of contact with a fine brush or pointed stick which has been dipped in liquid cement. This works with a capillary action and will flow under the piece. Hold for a second or two to enable the cement to act.

Liquid cement, unlike tube cement, has to soften the plastic of both elements before it has substance enough to dry into a strong weld. This action takes a very few seconds. Impatience will only result in a poor joint. Tube cement, on the other hand, is thick and will hold the piece in place with its own viscosity until dry. It is advisable to set aside to harden in any case.

A neat little holder for really minute pieces can easily be made from a cock ail stick, matchstick or an odd piece of sprue. Cut the end to a square sec-tion about a millimetre across. To this end a very small amount of Plasticine should be added. You will find this will hold tiny pieces long enough for them to be positioned on the figure and for the cement to act.

However well pieces are moulded there will always be seam lines to remove and sometimes a fine web of plastic in the angles. A sharp scalpel will easily clean these away but do take care not to obliterate adjacent detail. Haphazard rubbing with a file is not to be recommended.

The fitting of small pieces should be carefully attended to. As perfect as Historex parts are there must be some applied skill by the modeller to achieve high class results. It is not good enough to add pieces with a dab of cement. Always try each piece in its position on the figure and adjust the thickness or size to make it a perfect fit. This is necessary on such items as shoulder straps, buckles, chinstraps, epaulettes, etc. For this purpose a small square of fine abrasive paper, cemented down onto the corner of the worktable or other flat surface, will prove invaluable. Dust lightly with talc and it will not clog.

Concave surfaces can be reduced by scraping with a sharp craft blade or by a piece of fine abrasive paper wrapped round a mandrel. A short piece of dowelling is suitable for this purpose. Specially made riffiers are available from jewellers' suppliers ideal for this purpose. They are similar to needle files but with hooked and curved ends admirable for those awkward corners.

Adding straps and belts is not an easy task as you have the problem of a hard material (plastic card) simulating a soft pliable material such as leather. It is best to secure the figure leaving both hands free.

Waistbelts are straightforward but remember to remove any edges, but-tons or projections from underneath before cementing in place. These belts are usually tight fitting so will pull into the body. The body can be built up a little to bulge over the top to good effect.

Cross belts are a little more difficult and should be 'tailored' to fit the figure. Cut a piece of stiff paper four times the width required. Hold it in position over the shoulder. Mark lightly with a sharp pencil the edge nearest to the collar. Scribe a curve onto the paper and trim to the rough shape. Take off a little at a time making adjustments by trial and error until the paper lays nicely on the shoulder and curves to the opposite hip. Cut the outside edge parallel. This shape will be the pattern for both shoulders with very little fur-ther adjustment. It is a good policy to make a pattern template for future models once you have established the perfect shape.

Cement the crossbelts into position before adding the shoulder straps, taking care to remove unwanted detail from the figure. It is sometimes necessary to shave a little of the shoulder away before attaching the belts. Refer to reference material so the correct belt is put on first.

Add the shoulder straps or epaulettes making sure they 'look' correct. If the strap does not fit nicely on the shoulder allow the cement on the crossbelt to harden off and then cut away the exact size to allow the shoulder straps to fit in.

It may be necessary to paint certain pieces before completing the assem-bly. This is because some areas become inaccessible after the pieces are joined together. Under the pelisse, for example, or a horse and shabraque before at-taching the rider. For the same reason some pieces should be assembled in a way that makes it easier to complete the model. It is a good policy to offer the various pieces together before cementing so that you can determine a sequence of assembly. For example, do not cement on the arms until the straps, passing under the arms, are in position. Because polystyrene is a hard material it is necessary to carve away some areas so that pieces appear to press into others. An arm, resting on a pouch, squashes in under very little pressure. Musket butts in shoulders, even hands on hips show this same tendency. Valises, knapsacks and pouches should have some of the plastic removed from the back where the piece touches the body. It will then fit into rather than sit on the figure.

Fit shoulder and breast straps onto the figure before attaching packs and pouches using the principle of 'tailoring' to ensure good fit. Remember that equipment is usually heavy and will pull the straps into the body. Cement off the ends under the knapsack and adjust the back of the item that it fits close to the body. When you add the head-dress to the head and the head to the body take care in fitting the pieces together. As with all types of plastic modelling each part should be tried in position before cementing so that adjustments can be made to give the model an authentic appearance. This is specially important with the head-dress.

In some instances a small amount of packing may be necessary inside to hold the head-dress at the right height on the head. A slight tilt to one side can give a rakish effect. Build up the hair at the juncture of hat and head. It is best to leave the hair treatment until after the chin-scales have been fitted.
Secure the figure so that both hands are free. Gradually reduce the thickness of the chin-scales and try against the face. The chin-scales are fitted to head-dress to hold it to the head. They would therefore fit close to the cheeks and tie tight under the chin. When adjustments have been made with file and blade cement into position. Facial hair can then be added to the cheeks to curl about the chin-scales.

Liquid sprue (sprue dissolved in WINSOL) or milliput are quite suitable for simulating hair as they can be worked up after they have set off. A Pyrogravure a sophisticated hot needle invaluable to plastic modellers, is also ideal for this purpose. Add a little liquid sprue to the join line. Allow to set off then tease with the pyrogravure. The surface will string out as you dab with the tool. Remove the tool then the long ends of the stringing may be nipped off producing a very realistic simulation of curled -hair. This technique is used to perfection by Max Longhurst.

A simple waterproof cover for headdress can be made from dressmakers' tissue. This is smooth and of finer quality than the usual loose woven tissue. Cut a circle of tissue of sufficient size to cover the headdress. Dampen the paper and drape it over the piece. Gently stroke it down all the way round. Coat liberally with liquid cement. Take care not to tear the paper. Allow the cement to dry off. Dissolve a little sprue in Winsol and paint all over. Again allow it to set. Trim off the surplus paper and fit the headdress to the figure.
It is impertinent, perhaps, to suggest that improvements can be made to Historex figures. However, because of technical limitations in the manufac-ture of the pieces, there are some small adjustments that should be made which will add a touch of the 'master' to your figures. You will need a sharp scalpel or craft tool and a steady hand.

With the point of the blade gently lift the edges of lapels, pocket flaps, turnbacks and the bottoms of waistcoats, etc. It does need care as a slip can remove an essential part of the detail. It is not necessary to overdo this refinement. If you do not trust the steadiness of your hand you can achieve a similar result by adding a little Milliput or liquid sprue to the edges of the items mentioned.

Small detail may be added to the figure with nothing more sophisticated than ordinary Humbrol paint. Buttons and small badges, monograms, rivets and buckles can all be added using this method.
Put out a little paint onto the palette and add a small amount of talc. The colour of the paint and scent of the talc is of no consequence. The talc acts as an inert filler to the paint. With a reasonably fine brush pick up a little paint and paint on the detail to the figure. Buttons are merely a dab but other items may need a little more care in application. Gesso powder is also suitable but tends to set off the paint rather more rapidly than talcum powder. Allow to dry thoroughly before overpainting.

You have observed before the mirror that all accentuated gestures lead to a displacement of balance. Do not hesitate to displace the poise of your figure as a consequence of this. Such a displacement should either be by inclination or by compensatory movement.
In the same way, a slight adjustment to your figures will give you life in a relaxed pose. Place yourself in this position and observe! The taut leg which supports the body crosses the normal supporting line thus causing an inclination of the pelvis and the shoulders, and causing the median line of the body to twist. We are not able to take this fully into account for the shoulders but you can shew this sinuosity by inclining the head slightly to the right or left. Do not say, 'It is so small that it will not be seen'. Make a trial by completing one figure in the standard form and another following these suggestions and compare the two.

The angle of the riding arm is very important in relation to the horse's mouth. Adjust the left arm so that the forearm, from elbow to wrist, is in a straight line with the horse's mouth.

The wrist should be bent slightly inward with the thumb over the pommel of the saddle. The thumb should never point upwards.

Cement both arms in position. The right arm, of course, has little to do with the reins and is used for carrying and manipulating weapons, etc.

The illustration shows a standing horse but this rule applies whatever the stance or pace of the horse. The arm joints at shoulder and elbow act as a fulcrum to maintain the straight line of the bit rein giving the rider full control of the horse. The bridoon rein should have a little less tension than the bit rein and hangs on the outside of this on either side.

Although a matter of opinion and preference 1 feel it is better to add the reins after the three elements of the model have been painted and permanently united.

Most of the headstall straps have been cast on the horse's head but there are still some straps to add. (See Bridles and Furniture page of this catalogue and refer to your reference material). Take the trouble to see that all hanging straps do hang downwards and do not stand out from the horse's sides like spring steel. (I have for years used the old-fashioned copper scouring pad for reins. These pads unravel into yards of thin strip material just the right size for our purpose. It needs to be annealed before use and this is easily done by heating to an orange colour over a flame and immediately plunging into cold water. It becomes soft and pliable. The act of bending it about tempers it but it is the work of a moment to anneal it again.) Lead foil is another alternative to copper strip and plasticard although it is a little less robust.

After the straps have been added to the horse's head (do not forget the bit) you should add forelock, mane and tail. Now is the time to paint, separately, the horse, the saddle and the rider. After the paint has dried add the three elements together permanently. Complete the model by adding the reins and touch up any areas that may have been missed or marked.