G
Great Job Paul! keep up at those builds
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G
cheers guys. still a way to go.
Harry it stands for Step By Step.and im afraid youll have to be patient. as soon as i can ill put some of it together so you can see how it looks
Paul
Harry it stands for Step By Step.and im afraid youll have to be patient. as soon as i can ill put some of it together so you can see how it looks
Paul
Step by step. Harry. Also known as BBB....Blow by blow...\ said:
( I see that Paul got there first...)
Thank you for taking the time to do this Paul, It really makes good reading/viewing.
Ian M
G
Ian not a problem mate, im really enjoying it as well
Paul
Paul
G
I'm in a bit of a dilemma ...
On the one hand, i quite like to see SBS piccies of the whole process, this info is stored in the remaining working grey matter.
On the other hand .. i wish you'd not stop what you're doing to take the photos cos it's wasting build time and i'm impatient to see it all finished
On the one hand, i quite like to see SBS piccies of the whole process, this info is stored in the remaining working grey matter.
On the other hand .. i wish you'd not stop what you're doing to take the photos cos it's wasting build time and i'm impatient to see it all finished
G
Colin about January time, can you wait that long 
Paul
Paul
G
I'm running out of popcorn, and i daren't go to the toilet in case i miss anything ... but yep i'm good
Superb work paul and a totally excellent guide to shading for us useless figure painters . The 'oss looks fantastic too , im just gobsmacked at the skills being shown , cheers tony
G
Colin Tanker load of popcorn heading your way, oh and a portaloo
Tony glad you like it, practice, practice, practice
Paul
Tony glad you like it, practice, practice, practice
Paul
G
Absolutely amazing work
G
Cheers Graham glad you like it
OK guys part 2, possibly the last part, After leaving it over night you will see that the paints have dried hard and they often change in appearance. So nows the time to have another look at it and see what needs changing. The first thing i noticed was the black bindings were tooooo black and needed lightening and also most of the shading and highlighting needed pushing, that is to say needed more adding to it.
First of all i went over the bindings in burnt umber and then highlighted them by adding a bit of white
I then went over the underneath painting it straight burnt umber, what i am doing now is pushing all of the colours to the extreme of light and shadow,
As you can see, the burnt umber is painted into all of the deep creases and then the further up you go towards the top the lighter it gets.
I then went over the bindings again adding slightly more white to the top most parts and then black at the extreme edges to make them pop.I always use a dark colour where parts meet, if you look at your own clothing say where a shirt cuff sits against your flesh, you will see a very dark and very thin shadow, and thats the effect i want, it also makes different parts pop out.
On this pic you can see where i have run the burnt umber from the underneath into the deepest creases and then graduated it up to the highest highlight and the black edging around the binding makes it stand out.
On this pic ive gone over some of the creases that are further down towards the bottom and taken off some of the highlights
So this is just about done now and ready for the other leg. What i will do now is wrap the top half in clingfilm so that i can hold it whilst i paint the other leg.
Ill do another SBS when i paint the tartan cloak specially for Ian
Paul
OK guys part 2, possibly the last part, After leaving it over night you will see that the paints have dried hard and they often change in appearance. So nows the time to have another look at it and see what needs changing. The first thing i noticed was the black bindings were tooooo black and needed lightening and also most of the shading and highlighting needed pushing, that is to say needed more adding to it.
First of all i went over the bindings in burnt umber and then highlighted them by adding a bit of white
I then went over the underneath painting it straight burnt umber, what i am doing now is pushing all of the colours to the extreme of light and shadow,
As you can see, the burnt umber is painted into all of the deep creases and then the further up you go towards the top the lighter it gets.
I then went over the bindings again adding slightly more white to the top most parts and then black at the extreme edges to make them pop.I always use a dark colour where parts meet, if you look at your own clothing say where a shirt cuff sits against your flesh, you will see a very dark and very thin shadow, and thats the effect i want, it also makes different parts pop out.
On this pic you can see where i have run the burnt umber from the underneath into the deepest creases and then graduated it up to the highest highlight and the black edging around the binding makes it stand out.
On this pic ive gone over some of the creases that are further down towards the bottom and taken off some of the highlights
So this is just about done now and ready for the other leg. What i will do now is wrap the top half in clingfilm so that i can hold it whilst i paint the other leg.
Ill do another SBS when i paint the tartan cloak specially for Ian
Paul
Gob smacked!!
A fascinating process which I am enjoying seeing so well explained.
Ian M
A fascinating process which I am enjoying seeing so well explained.
Ian M
G
Si many thanks, as to your question, ive never sculpted her but i have painted her a few times over the years, unfortunately i cant show them here for various reasons
Thanks Ian i had hoped that i had explained it well enough, its much easier to demonstrate it rather than trying to spell out what you are doing, but if anyone has any questions please fire away
Paul
Thanks Ian i had hoped that i had explained it well enough, its much easier to demonstrate it rather than trying to spell out what you are doing, but if anyone has any questions please fire away
Paul
G
I like the way you have shown the brutality of the day and the constant conflict between the Iceni and the Romans.
And the way you depicted an armless charioteer.
Joking aside,
Im more intrigued by your method of painting only half a piece at a time like the horse and the leggings ,I think most of us would slap the paint on as much as we could, so we maintained the shade of colour across the piece.
I take it that's the artist eye at work and that you detail in small areas for maximum result.
Where you taught or is it self development and endless experience.
Cling film who would have thought it.
Im really enjoying the journey.
And the way you depicted an armless charioteer.
Joking aside,
Im more intrigued by your method of painting only half a piece at a time like the horse and the leggings ,I think most of us would slap the paint on as much as we could, so we maintained the shade of colour across the piece.
I take it that's the artist eye at work and that you detail in small areas for maximum result.
Where you taught or is it self development and endless experience.
Cling film who would have thought it.
Im really enjoying the journey.
G
Excellent work and excellent tutorial.
Now that we know the trick we have no justification if our figures are not the same level of quality.
Francesco
Now that we know the trick we have no justification if our figures are not the same level of quality.
Francesco
G
Thanks for the kind words Harry, as for the painting, because this is such a large piece it has enabled me to flit from one bit to another and keep the interest up. Matching the colours isn't too much of a problem as you can mix it then compare it to the original colour and adjust it as required, I suppose it is just my eye, ive always been arty, but a lot of what I do is from practice and experimentation. I think its very important to try new things, I always experiment with colours to try to get different effects, and try to use different techniques like pointalism, rubbing, and sponging. I certainly have loads to pick up on sculpting and that's something I try to learn by having a go, and forums like this are a great source of feedback on how to improve my figure sculpting.
As for clingfilm, brilliant stuff to protect what you have painted if you need to hold it, just remember that the paint has to be at 48hrs dry or it can stick and pull it off.
Francesco thanks for the comments mate glad you like it
Paul
As for clingfilm, brilliant stuff to protect what you have painted if you need to hold it, just remember that the paint has to be at 48hrs dry or it can stick and pull it off.
Francesco thanks for the comments mate glad you like it
Paul
G
Hi all just one update pic today and thats his other leg, done the same way as the other one
Works been pretty busy at the mo so i havnt had as much bench time as id have liked but hopefully i should get some more done at the weekend
Paul
Works been pretty busy at the mo so i havnt had as much bench time as id have liked but hopefully i should get some more done at the weekend
Paul
WOW. I still sit and study this build with wonderment!
Ian M
Ian M
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