When you pick up a Trumpeter model kit and admire the stunning box art, there's a good chance you're looking at the work of Randall Wilson. As Australia's most prolific naval artist and one of the world's leading box art painters, Randall's journey from Navy radar operator to internationally acclaimed artist is as fascinating as the warships he brings to life on canvas.

We recently sat down with Randall at his studio for an in-depth conversation about his career, his artistic process, and his unique perspective on naval design. What emerged was a candid portrait of an artist who's been quietly shaping the hobby industry for decades, one brushstroke at a time.

From his early days sketching on John Sands card stock to creating artwork for Steven Spielberg and seeing his paintings on model boxes worldwide, Randall's story offers rare insights into the intersection of fine art, scale modelling, and naval history. His frank opinions on everything from Russian ship design to abstract art make this interview essential reading for anyone interested in maritime art or the stories behind their favourite model kits.

From Navy Service to Naval Art

Randall's connection to naval subjects runs deeper than paint on canvas. Eight years in the Royal Australian Navy aboard HMAS Hobart as a radar operator gave him an intimate understanding of warships that few artists possess. But his artistic journey began much earlier, in a household without television where drawing became both entertainment and escape.

"My father Ken worked for John Sands card and games company," Randall recalls. "I used to open up the cards – it was great drawing paper. We didn't have a telly until 1967, so I did a lot of drawing." This early foundation in draughtsmanship would prove invaluable, though young Randall had no inkling he'd become a professional artist.

The seeds of his naval fascination were planted during childhood trips to Hobart's working docks with his father. "Dad used to take me down to the ships all the time. P&O Orient lines – Orsova, Orion – they'd come to Hobart, offload passengers, load up apples." One memory stands out with crystalline clarity: standing at Victoria Pier as a five-year-old, holding his father's hand while HMS Melbourne loomed above. "I can still smell today the diesel fumes, aviation gas. The noise, the hum of the ventilators – I stood there for hours apparently, just in awe."

This early exposure to ships coincided with a growing interest in scale model ships. Like many kids in the 1960s, Randall spent his caddy earnings on Airfix and Frog kits from the Elizabeth Street newsagent. But it was the box art that truly captured his imagination. "I used to love Roy and Ron Huxley's artwork from Airfix. That's what got me inspired – I'd look at their ships and think 'wow.'"

The Artistic Journey Begins

Despite his natural talent and love of drawing, Randall's path to professional artistry wasn't straightforward. During his Navy years, art took a backseat to service life. "I didn't have an inkling of doing artwork. I used to do the fancy artwork on board the ship – the pennant numbers, hang off the bow on a plank in Sydney Harbour. But I didn't have an interest at all back then. Too young, into drinking."

It wasn't until after leaving the Navy that Randall made the conscious decision to pursue art seriously. His first painting was deeply personal – a portrait of his parents. "My first warship was the Bismarck. Roy Hakim owns that now." But transforming from hobbyist to professional required sacrifice and creative problem-solving.

To support himself while developing his skills during the day, Randall took an unexpected turn into Melbourne's nightlife scene. "In the very late '70s, I opened up the first reggae bar in Melbourne – in Frankston behind the Pancake Parlour, called Club 448. Very cool bar for its day." The venue even featured a mural Randall painted in the adjoining Pancake Parlour, an Alice in Wonderland-themed piece that survived long after the building's demolition.

Self-taught by choice after briefly attending art school ("I had to travel from Frankston to Prahran Art School and I couldn't be bothered"), Randall developed his technique through relentless practice and observation. This period of intense learning would lay the groundwork for the distinctive style that would eventually catch the eye of international collectors and model companies.

Breaking into Box Art

Randall's breakthrough into international recognition came through a combination of talent, timing, and smart networking. A trip to the States with mate Graeme Malcolm to the Oshkosh air show proved pivotal. There, they met Ed Kaminsky of the US Military Gallery, who purchased Randall's paintings and prints, opening doors to the American market.

The real game-changer came when David Higgins from Cranston Fine Arts – Europe's largest print house gallery – discovered Randall's work. "He bought everything off me, flew me over, printed everything. For 10 years I'd go over there and do all the signings. That's what got my name around the planet." This exposure during his still-developing years as an artist proved invaluable, even if Randall now looks back at some early work with a critical eye.

The connection with Trumpeter came through social media – a platform Randall embraced early. "Trumpeter got hold of me through Facebook. Jackson Shen contacted me, and yeah, never looked back." This partnership would define much of Randall's career, making him one of the most recognisable names in box art.

What makes Randall's success particularly satisfying is how it connects to his childhood. "I get more enjoyment walking into a hobby shop and seeing my artwork on box-top kits, taking me back to when I was a kid looking at Roy and Ron Huxley's work. It's a great thrill." While he's sold paintings to collectors like Paul Little (former owner of Toll) and received commissions from Steven Spielberg for Star Wars artwork, seeing his art on model boxes remains his greatest professional satisfaction.

The Painting Process

Creating box art differs significantly from painting for private commissions. Trumpeter typically contacts Randall late in the production process, providing CAD drawings and reference images. "Sometimes it's been a real rush job, but I'm fortunate that I can be up at 5 and work till wee hours." The tight deadlines demand both efficiency and quality – a balance Randall has mastered over decades.

His approach to each painting is methodical yet intuitive. "Planning a painting is very much like building a model. You start with the background and work forward. When painting the ship, you start at one end and visualise it like it's a model. You can see the curvature and understand what it's like." This three-dimensional thinking, honed through years of model building, gives his paintings their distinctive realism.

Brush technique plays a crucial role in achieving authenticity. "The hull – you don't brush the hull sideways when you're painting. It's downwards. The hull is down, and it starts taking shape. These brush strokes go this way, not that way." This attention to directional flow helps create the illusion of massive steel structures cutting through water.

Research varies depending on the subject and client. For box art, Randall relies on his extensive knowledge and the power of social media. "Time's money. I'm on deadlines most of the time. The beauty of Instagram and Facebook, particularly Facebook – you have lots of ship enthusiasts. I just punch in a question and within minutes I'll have an answer that I assume is 90% correct. I haven't bought a book in 30 years."

Materials and Techniques

Despite his professional success, Randall remains refreshingly pragmatic about materials. "I'm not fussy because I'm always bucking for a dollar. I don't buy expensive brushes – I think it's crap. I buy cheap brushes, modelling brushes, Teflon disposable. Three paintings, four paintings and throw them away. $3, $4." This practical approach extends to his paint selection, though he doesn't compromise on quality where it matters.

For oils, he primarily uses Winsor & Newton and Rowney paints, though he's recently discovered cost-effective Chinese oils for base coating. "I wouldn't use them on top of the painting. I use them particularly with ship work doing the oceans. I'll base coat with the cheaper ones." With premium tubes costing upwards of $110 for 150ml, this strategic approach to materials makes economic sense without sacrificing quality.

Colour mixing is entirely intuitive for Randall. "I mix up my own. I always mix my own paints. I could go back to any painting I've done 30 years ago, 40 years ago – I could tell you exactly what oil paints I used. Look at the colour. If there was any damage, I know up here exactly how to repair it." This mental catalogue of colour recipes speaks to decades of hands-on experience.

One technique Randall emphasises is the importance of working wet-on-wet for certain effects. "When you're painting, you've got to learn how to create a fog or a mist or spray from a wave. You don't cheat by using an airbrush. It's all got to be done in the wet when the paint's wet. It's a process. You've got to think ahead."

Scale Modelling as Art

For Randall, painting and model building are inseparable arts that feed off each other. "They both feed off each other. I've got to model occasionally, otherwise I go nutty. If I spend more than a week away from the canvas, I go nutty. Time's money, I've got bills to pay, so when the artwork comes, I've got to put everything down."

His approach to model building reflects his artistic philosophy – it's about enjoyment, not obsessive accuracy. "I get too keen, I just want to build the mother. I'm not a nut and bolt counter. I build for fun, for me, not for the public." This refreshing attitude extends to his paint choices for modelling, where he's equally opinionated about quality.

"There's way too much choice nowadays. Most of these paints that come out now are crap. In my opinion, you cannot beat Gunze and Tamiya. When they built those paints, they did a lot of research. The liquid Tamiya glue doesn't ruffle its feathers. They're extremely workable both with airbrush and brush."

Scratch building represents the pinnacle of modelling art for Randall. His Long Beach build, documented on his social media, showcases this passion. "I love scratch building. It comes about from, damn, they don't have a kit available of this. Nowadays you've got so much aftermarket material available – 3D printing, photo etching, sheet plastics. It's cheap and it's great."

Perspectives on Ship Design

Randall's opinions on naval architecture are as colourful as his paintings, particularly when discussing modern versus traditional designs. "Modern subjects – they're like homogenised, pasteurised milk nowadays. Warships aren't looking like warships. They look like slab-sided bloody affairs. This so-called stealth crap? Bollocks. You'll never be stealth. Ever. So why worry about it?"

His admiration for Russian naval design stems from both aesthetic and technical considerations. "The Russians – now there's a good-looking warship. If you want to get really technical, I can tell you now that the Russian shipbuilding industry is far more advanced than the West." He backs this controversial stance with specifics: "They were the first to use vertical launch. First with 3D radars. First with acoustic streamlined hulls. They've never used aluminium – always high tensile steel."

This appreciation extends beyond mere aesthetics. Randall recalls observing Russian ships during his Navy days: "Russian ships always had double radar systems, fairly distanced away from each other. We were told it's because they're valve operated, not as good. Well, valves don't get affected by electromagnetic pulse. The reason for double radar systems? If one gets shot up, you're not totally blinded."

An encounter at his bar years later reinforced this fascination. A Russian submarine captain became a regular, eventually gifting Randall a genuine mink captain's hat and offering his issued watch. "Beautiful watch, issued to the captain and XO only. Too big for my wrist, heavy as. I didn't accept it, but yeah, he brought back this genuine mink hat which I've still got."

Future Projects and Reflections

At this stage of his career, Randall remains driven by passion rather than commercial success. His latest personal project – a head-on view of a Nimitz-class carrier – demonstrates his continued evolution as an artist. "I call it lounge art. During their global tour in the '60s, but it's got Spock, McCoy, James T. Kirk on the bow." This playful integration of pop culture with naval subjects shows an artist still willing to experiment.

Looking ahead, Randall has visions beyond traditional naval art. "I've got another line of artwork I really want to do – hot girls on scooters in Vietnam, but anime style. Steampunk style. Not scooters on the ground – scooters airborne." This unexpected direction reveals an artist unafraid to challenge himself and explore new territories.

Despite his success with major model companies, Randall remains refreshingly humble about his achievements. "Have I made it? No, I haven't made it. I'm always hustling for a dollar. When you're not hustling for a dollar and you've got oodles in the bank, that's when you've made it. My kids might do better out of my artwork than I will."

His advice for aspiring artists is characteristically straightforward: embrace digital if you're young ("If I was in my 20s, I'd be right into this digital stuff"), but more importantly, paint what moves you. For Randall, that's been a lifetime of ships, from childhood visits to Hobart's docks to creating artwork that graces model kits worldwide.