Wednesday, January 4, 2017

Celt Part 2

I'm a bit slow in posting the update here, sorry!  I've made some decent progress on the Celt.  Since last time I've been working on the body, mostly the front of his torso and one of the arms.  Haven't had many long painting sessions due the family obligations and the holidays, so easier to work in small chunks I can actually finish in a short sitting.  The back and other arm still need work, but I'll get there.  As with the face, I'm placing spot highlights in places to try to give him a satin-like finish.  One of the keys to these that I've found are making sure you are consistent with how you're placing them.  In this case, I imagine the light is above but slightly to his left.  So the reflection point on each shape has to match that location for the light.  Easy to forget if you're not careful and I've had to make a few corrections as I go where things aren't quite matching up.

I thought I'd show a side by side progression on the face.  The first image is the work from last time.  The middle image has the hair added in and details like the lips (skin shadow + red, then skin highlight added in).  The final image looks similar, but has subtle variations added with glazes.  There's red in the cheeks, on the tip of the nose, and bottom of the ears.  I did a very subtle blue glaze on the chin and jaw to hint at stubble (but didn't want to overdo that).  It takes more layers for the glazes to show up against this darker skin (as opposed the light skin I normally paint), but that can be addressed.  In the end, I was happy keeping it subtle because that felt right for this subject (rather than exaggerated red on the nose/cheeks).  But more layers of glaze would have increased the color had I wanted to.

Tuesday, November 15, 2016

Celt Part 1

I'm still hopping from project to project.  A while back I agreed to do a figure exchange with a friend.  I didn't want to take forever to finish (or even start) this, so I'm putting my personal projects on hold for a bit to make some progress on this guy.

The figure we chose was a 70mm Celt from Art Girona.  It's a neat sculpt, though the casting leaves something to be desired.  A bunch of pitting that I had to fix.  I've got a couple figures from Art Girona and they've all had one issue or another.  I like some of their sculpts, but the quality of the casting on the ones I've received means I probably won't buy from them again.

Anyway, this is a cool sculpt of a barbarian holding a severed head, presumably a Roman's head.  I gave the figure a quick base coat and then started shading and highlighting the face.  I wanted to try a different skin mix than I typically use.  I thought this would work better for a barbarian.  Instead of my normal base of Rosy Shadow, I used a 50/50 mix of Rosy Shadow and Bronzed Shadow.  For the shadows I used a 60/40 mix of Chestnut Brown and Basic Dirt along with maybe 10% of the base color.  For the deepest shadows I added some Walnut Brown.  The highlights were a 50/50 mix of Fair Skin and Bronzed Highlight, then some Pure White for the final shine on the skin.

Here's a close up of the face.  I included another face I did with my old skin mix for comparison.  I'm not done with this new face yet, will probably make a few tweaks and then apply a number of glazes.  But I like how the new mix looks.  I'll definitely keep it as an option for future projects.

Wednesday, October 26, 2016

Germanic Knight Part 1

Sorry for the long gap in posts, I haven't had much time to work on figures recently.  It will probably continue to be like that for the next few months, so updates will be sporadic.  Since I'm having a hard time finding more than an hour at a time to paint (sometimes less than that), the Count Melenth project is getting put on hold.  The OSL on the body is tough and I really need 3-4 hours to just sit and work through it until I figure it out.  I just can't make much progress on that piece with these short painting sessions.  So, I decided to start on something else that would work better for the time I've got.  I decided to go with a knight from FER miniatures.  It's a great sculpt and cast, so should be fun to work on.  This should give me a chance to work on metals, leathers, and freehand (for the clothing and shield).  I started with the freehand and I thought I'd show you my process.  Hopefully the amount of information in the write up will make up for the lack in frequency in posting them!

A while ago I'd ordered a table mounted vice. Normally when I do design work I'll start by adding little dots as guides. Unfortunately I need one hand to hold the ruler, one hand to the hold the brush, and one hand to hold the figure... that's one hand too many. This was a huge paint when I tried to paint the samurai. But, with the table mounted vice I can free up a hand and that makes this early step so much easier! I was able to reposition the figure at different angles and work my way around it. I used a scrap of paper with the spacing marked on it and added dots around the figure (second image). When that was done, I connected the dots to form the borders for the edge design (third image).

I needed a design for the chest.  I decided to use a double headed eagle.  I like that image and haven't done it before.  I looked around online for references and found quite a few different versions of the eagle.  I settled on this one since it's a neat one with plenty of detail

To transfer it to the knight, I created a simplified version to start.  I had previously drawn a vertical line down the center of his chest.  This served as a guide for where to place the eagle.  Measured the height of the shoulders of the eagle (roughly halfway between the top of the heads and the top of the tail) and place a horizontal line on the knight where I thought those should fall.  I placed dots for the location of each eagle head (measuring the distance from the center line so they're spaced properly).  I did the same for the wing tips.  I then created a very rough version of the eagle design.

Once I was happy with the roughed in version (the size, proportion, location, etc), I started to fill it in and add a few more details.  While doing that, I rough in the shadows on the design as well (following the locations of what I'd previously roughed in).
And then the wings...

The design is by no means finished, but I've got the main idea of what I want to paint on his chest.  At this point I start to paint and shade the background (the bulk of his clothing).  This figure will have a black design on top of a white surcoat, so I started with the white.  Right now I'm just focusing on this chest.  Normally I'd do all the white together, but with the limited amount of time I'm breaking it up into small pieces which work better for those short painting sessions.
You'll notice that the white background made the design fuzzy, obscuring the clean edges from before.  That's fine.  The next steps will have me going back over the design to do the full shading and highlighting on it as well as adding further details and refinements.  What I've got here is meant to be a guide for the next step and not the final design.

An important question: why did I rough in the design before shading the background?  Well, I could certainly have done that first and then painted the design on top of it.  The reason I didn't is that I planned to use white with a high level of contrast for the background.  Getting smooth blends takes time and lots of work (layers).  Why waste time getting a nice smooth blend in an area that will be covered up with another color?  By roughing in the design first, I save time and effort by only painting/shading the background areas I need to.  I will have to go back and clean up the edges of the design, but that's a much quicker task than shading all of that white.

Sunday, September 18, 2016

Count Melenth Part 3

I'm continuing to refine the face on Melenth.  I did some more work on the skin under regular lighting, painting the back left of the head and his neck.  I also tweaked the shadow on the right of his forehead.  There was a section that was a sharp line which just didn't look right, so I smeared it out.  Then I painted the teeth (nice and yellowish).  And finally I did some work on the OSL.  I adjusted some of the placement and upped the brightness of the highlights (leaving the rest pretty dark so you get a more dramatic transition).  There are a few very minor things I want to tweak, but mostly I'm very happy with the OSL.  Oh, and the OSL on the neck is still unfinished, I need to bring up the brightness there to match the work on the face.

Here's a look at an earlier version and then the most recent one.  You can easily see the change in brightness and some of the other adjustments I made.

Sunday, September 11, 2016

Count Melenth Part 2

I've taken my sketch on Count Melenth and started to smooth it out.  The OSL section is still in the early stages, but I have been working on the skin under normal lighting (along with some of the shadows on the dark side).  Of course even that is still a work in progress.  I'm still making tweaks to the shadows and highlights as there are a few parts I feel aren't quite right.  When that's done (along with the OSL sections), I'll go back in to add further detail with glazes (and maybe a few other things I want to try out).

Monday, September 5, 2016

Count Melenth Part 1

I got this fantasy bust from a new company, Polaris Minor.  They've got several sculpts for sale and they all look quite nice, but this one in particular caught my eye.  It's an evil looking fantasy character, so there are tons of possibilities for the painting.  I decided to try something new with this figure and make this a bit of a learning project.  In addition to the fantasy stuff I have planned (unnatural skin, fun with colors, etc), I'm going to try to play around with lighting effects (OSL).  The main light source will be above the figure and slightly to his left.  The secondary light source will be below and to his right.  To help me in the planning, I took pictures of the figure under each of these lighting conditions.
This will provide a (hopefully) useful reference as I work on the painting.  Speaking of painting, I began that by just sketching on the colors.  Using the pictures as a guide, I placed the main shadows and highlights without worrying about blending.  This will help me get see how it should look in the end and whether or not the effects are working as I planned.  Sure, I've done OSL before on the hobbit piece... but I really don't feel like come close to mastering the technique.  I still find it very challenging, so getting a bit more practice is a good thing.  Everything is still rough and, as I begin to blend, I'm sure I'll continue to tweak the OSL.
In general I like where this is headed, though I feel like it's not entirely right.  Hopefully I'll figure out what's bugging me as I go!

Monday, August 22, 2016

Redghar, Pirate Orc - Part 4

I've been using what little free time I've got to keep working on Redghar.  With the skin almost finished, I decided to base coat the rest of the figure.  I wanted to see how the various colors would look together.  I'm still trying to decide on a few spots, like the patch on his knee, but the rest I more or less know what I want to do.  The rest of him will be mostly brown, grey, and black.  The main exception will be the red cloth around his waist and some reds and yellows coming in as rust on the weathered anchor.  This will hopefully provide a nice contrast to the skin without over powering it or distracting from it.  For the pants, I decided to go with a stripe pattern.  Right now I've just roughed that in.  I'll clean it up when I start shading and highlighting there.

With that done, I went on to finish off the hands and paint the cloth wraps on his forearms.

As with the elbows, I switched the purple on the knuckles.  On human skin, I'd just add some red with glazes, but purple glazes over dark green would take ages (and kill the highlights on the knuckles).  So I just painted them on directly with opaque layers and then blended in the edges to the surrounding green.  I also did the palms in a different color (mix of khaki and purple).  Unfortunately, because of the way they're turned, it's not really something you can see in the photos.  Guess they'll just be for the people who look at this in person!