Welcome to our paintings in progress page for artist Ivan Berryman.  This page features the artwork that is being worked on right now by Ivan, and will soon be available to purchase.  Whenever Ivan can afford the time to supply us with photos of his work in progress, we will post them on this page.

Ivan working in his studio, researching for his next painting.  On the wall is his painting of WW1 German Ace Josef Jacobs, now sold.

As I write these words, in October 2008, this painting is my very latest – and the 66^th in my World War 1 Aces collection. After so many paintings, it’s always refreshing to try something a bit different now and then, so I decided to go for an ultra close-up this time and chose the Pfalz D.III because it has never featured as the main aircraft in any of my pictures before now.

I looked at some other paintings of this lovely little aircraft and decided to opt for a pilot that, as far as I can see, hasn’t been painted before. Von Boenigk opened his score in July 1917, shooting down a Sopwith Camel and, by the end of that year, had added another five ‘kills’. He scored seven of his twenty six victories in the Pfalz D.III, so it seemed a good subject to pick. I sourced some reliable photographs and found a good one of von Boenigk in this aircraft (1396/17). It showed a lot of detail and gave some indication of the state of the aircraft and was especially useful in showing the black ribbon motif of Jasta 4.

Picture 1. 

Using some contemporary photographs as a guide, I drew the aircraft onto the canvas, but such was the angle and perspective of the photographs, no undercarriage was visible. I instead had to make another small drawing and work out exactly where the undercarriage would appear in my painting. It’s not a difficult process and, as I always say, if it looks right, it probably is right. Some of you might have a different opinion! As it turned out, only the furthest wheel was included in my final composition, but I had to draw the whole thing to work out where it would be anyway.

Pictures 2 and 3. 

Using a bit of masking to preserve my drawing, I blocked in the sky tones first, then began working up a cloudscape. I knew that there wouldn’t be a lot of sky visible when the main aircraft was painted in, but I tend to paint most of it anyway to keep the perspective in check.

Picture 4. 

This shows the sky more or less complete and the masking removed. I have given quite a lot of thought as to where the light will be coming from because this, in turn, dictates where and how the shadows will fall across various surfaces. The two distant aircraft are banked at slightly different angles and the main subject not banked at all, so the light and shadows will strike all three aircraft differently. Great fun

Pictures 5 and 6. 

Here I am working on the smallest, most distant aircraft, first blocking in the basic colour, then adding the ribbon and then some light running along the upper decking of the fuselage. I have painted in a shadow on the lower wing.

Picture 7. 

Using the same order and technique, I now get busy on the aircraft in the middle distance. Most Pfalz D.IIIs left the factory in this silver / grey colour and it was up to the various units and pilots to add whatever colours and markings they desired. But it is important to remember that the colour was more grey than silver (Silbergrau) with a small amount of aluminium powder added to the mix for a more robust finish, so it wasn’t going to be a matter of these aircraft gleaming brightly in the clear sun.

Picture 8. 

Picture 9. 

Picture 10. 

The logical place to start for me is the upper wing and I decided early on that it would be almost burned out white on top and very dark underneath, leaving just enough tone to show some details and reflections.

Picture 11. 

This is also a good moment to get the undercarriage painted in. After all my efforts earlier, it seems a bit of a shame that this is all we’ll see of it!

Pictures 12. 

Picture 13. 

After a lot of rounding and softening and blending on the fuselage itself, it’s soon time to start adding some of the markings, making sure that they key in nicely with the curves of the aircraft. Very often, painting a spiral ribbon on a fuselage completely confuses the eye, leaving the fuselage looking flat again, despite your best efforts. I think it’s called compound curves, where the curved shape of, say, a roundel, is cancelled out by the roundness of the fuselage that it’s painted on. Again, this is correctable by getting the lighting right so that light, reflections and shadow keep the form of the subject true to the eye.

Picture 14. 

The top of the Mercedes engine is now added (most of it was beautifully contained within the lovely slender nose of the D.III) and then the gun muzzle is painted in. The D.III’s guns were buried into the fuselage to aid streamlining and only the muzzles were visible externally, just either side of the engine. This wasn’t popular with its pilots, however, who could do little or nothing if the guns jammed. The later D.IIIa had the guns moved forward and mounted externally so that the unfortunate pilot could at least give them a clout if they jammed!

Picture 15. 

The yellow identification panel on the wing has now been blocked in and I’m starting to do a bit of weathering on the fuselage. Also getting some attention at this stage is the fairing between the fuselage and lower wing.

Pictures 16. 

Picture 17. 

All sorts of detailing takes place now. The yellow wing panel is given ribs, details and a lot of staining and scuffing and a slight reflection of the yellow is dusted into the fuselage, just to pull it all together. Some of the stenciling and panels are put in and, all the time, more weathering and wear is added.

Picture 18. 

Picture 19. 

After a host of tiny details and highlights, rigging wires, turnbuckles, control lines and yet more weathering, this is the finished item.

Pictures 20. 

Now complete - click here for the full W.I.P. report

All the WW1 originals are produced in oils on 20"x30" canvas, primed with four coats of Gesso primer. The picture is roughly marked up in pencil, then given another thin coat of primer to seal it. When dry, each painting is given a lick of retouching varnish before being photographed using polarised light, ready for reproduction. The painting is then left to harden before delivery.