So for my second foray into the dark art of figure painting I am using a 54mm master figure I sculpted back in 1992. I still have it because the company sent it back saying the finish was not good enough. I disagreed so I kept the figure and they didn’t pay me.
I have to say that now I use an optivisor I can see what they meant………(literally, ha ha!)
I found him when I was re-organising my 1-32 scale spares box.
Believe me, re-organising the spares box is NOT my idea of time well spent, but the old one broke apart and in transferring the stuff to the new one I found a lot of old friends from my adolescence, some of whom might well get a revamp on this very forum.
I had obviously returned the reference material I had used to sculpt him (and it probably wasn’t in colour anyway), so of course I had to spend money to find out what colours to paint him.
As this coincided with Peter Day’s excellent painting masterclass SBS I thought I would experiment with Peter’s approach. I would like to point out that in no way will I be holding Peter responsible for the poor outcome of this project…
This is going to be a real “warts and all” affair, as I really don’t know what I’m doing, so don’t expect any words of wisdom, I’m just inviting you all along for the craic!
Apart from a little bit of filler on the arm joint I didn’t do any tweaking this time, I just want to get on with the painting and see how I get on.
In the spares box were many examples of my adolescent painting, and I should also say that seeing them now I realise I was nothing like as good as I thought I was at the time (the arrogance of youth, eh?)
So now my expectations are low, and I’ll just be happy to finish another project. At least with individual 54mm figures they don’t go on for years like my aeroplane builds-although strictly speaking this one WAS started in 1992…..
I primed him with Halfords grey rattle can and pre-shaded with dark tones of the final colours
For the breeches and gaiters and waistcoat I used white with a little yellow mixed in as I don’t believe the white fabrics were so bright in the 19th century.
And I blocked in the blue and the red in the expectation that the tones will change a bit as I work into them.
So this is where I am, who knows where we will end up?
Thanks for watching
Neil
I have to say that now I use an optivisor I can see what they meant………(literally, ha ha!)
I found him when I was re-organising my 1-32 scale spares box.
Believe me, re-organising the spares box is NOT my idea of time well spent, but the old one broke apart and in transferring the stuff to the new one I found a lot of old friends from my adolescence, some of whom might well get a revamp on this very forum.
I had obviously returned the reference material I had used to sculpt him (and it probably wasn’t in colour anyway), so of course I had to spend money to find out what colours to paint him.
As this coincided with Peter Day’s excellent painting masterclass SBS I thought I would experiment with Peter’s approach. I would like to point out that in no way will I be holding Peter responsible for the poor outcome of this project…
This is going to be a real “warts and all” affair, as I really don’t know what I’m doing, so don’t expect any words of wisdom, I’m just inviting you all along for the craic!
Apart from a little bit of filler on the arm joint I didn’t do any tweaking this time, I just want to get on with the painting and see how I get on.
In the spares box were many examples of my adolescent painting, and I should also say that seeing them now I realise I was nothing like as good as I thought I was at the time (the arrogance of youth, eh?)
So now my expectations are low, and I’ll just be happy to finish another project. At least with individual 54mm figures they don’t go on for years like my aeroplane builds-although strictly speaking this one WAS started in 1992…..
I primed him with Halfords grey rattle can and pre-shaded with dark tones of the final colours
For the breeches and gaiters and waistcoat I used white with a little yellow mixed in as I don’t believe the white fabrics were so bright in the 19th century.
And I blocked in the blue and the red in the expectation that the tones will change a bit as I work into them.
So this is where I am, who knows where we will end up?
Thanks for watching
Neil
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