Ashigaru

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Hey Guy,

Nice work. Just a thought, you can do the same thing with the patterns on figures as you did the stripes, that is sealing it with the acrylics and then paint the patterns in the oils but I am sure you had already figured that one out. ;)

Joe
 
Hey Guy,

Nice work. Just a thought, you can do the same thing with the patterns on figures as you did the stripes, that is sealing it with the acrylics and then paint the patterns in the oils but I am sure you had already figured that one out. ;)

Joe
 
Thanks for the kind comments guys,

Jim,
The flesh is a "right out of the book" technique verlinden published years ago and I have only modified it when seeking a real fair skinned figure. I use a loose leaf page protector for a pallette and mix 20% burnt Sienna with 40% yellow Ochre with 40% raw umber. This is applied over a Humbrol base coat of #121. It is then drybrushed off while wet where the base color humbrol shows through on the highlight areas (nose, chin, brows, cheeks, etc.) next yellow is added to all the highlighted areas and sets for an hour. It is then lightly drybrushed off (again with a clean dry brush) over the highlighted areas. Next i add white to the same areas I used yellow and this sets for an hour. I then drybrush tis off ( using dry flat brushes) . My final touch is red to the lower lip and possibley to cheek areas and muscles of the body. (The red is used at a minimum). I then let the figure dry under a 60watt bulb, while under a dome to keep dust off.

Chart for flesh
 
Thanks for the kind comments guys,

Jim,
The flesh is a "right out of the book" technique verlinden published years ago and I have only modified it when seeking a real fair skinned figure. I use a loose leaf page protector for a pallette and mix 20% burnt Sienna with 40% yellow Ochre with 40% raw umber. This is applied over a Humbrol base coat of #121. It is then drybrushed off while wet where the base color humbrol shows through on the highlight areas (nose, chin, brows, cheeks, etc.) next yellow is added to all the highlighted areas and sets for an hour. It is then lightly drybrushed off (again with a clean dry brush) over the highlighted areas. Next i add white to the same areas I used yellow and this sets for an hour. I then drybrush tis off ( using dry flat brushes) . My final touch is red to the lower lip and possibley to cheek areas and muscles of the body. (The red is used at a minimum). I then let the figure dry under a 60watt bulb, while under a dome to keep dust off.

Chart for flesh
 
This shows the mix on the pallette after applying to the Celt Warrior and the next step here would be to drybrush it off with clean dry brushes while the paint is wet. The yellow is for the next step.
 
This shows the mix on the pallette after applying to the Celt Warrior and the next step here would be to drybrush it off with clean dry brushes while the paint is wet. The yellow is for the next step.
 
This shows the yellow being added and then it sets for an hour. The same is done with white over the same areas.
 
This shows the yellow being added and then it sets for an hour. The same is done with white over the same areas.
 
Thanks Guy. That is very interesting!

Do you know where I can get a copy of that verlinden resource? I'd like to take a closer look at it. It sounds intriguing. I like the way you use the disposable clear cover over a sample palette as well. Very practical and efficient. (y)

-jim cox
 
Thanks Guy. That is very interesting!

Do you know where I can get a copy of that verlinden resource? I'd like to take a closer look at it. It sounds intriguing. I like the way you use the disposable clear cover over a sample palette as well. Very practical and efficient. (y)

-jim cox
 
Hello Jim,
I will look for the publication and let you know which issue it was published in. If it is not available, I would be willing to make you a copy of my article and send you by mail. The page protector is the original one and I haven't had to replace it as yet.......but its getting yucky from use over the years. (y)
 
Hello Jim,
I will look for the publication and let you know which issue it was published in. If it is not available, I would be willing to make you a copy of my article and send you by mail. The page protector is the original one and I haven't had to replace it as yet.......but its getting yucky from use over the years. (y)
 
I have swung back to the Ashigaru and blended and shaded the violet and have given it the first drybrushing.
The card on the left is the first drybrush and the middle one is the second. The blue mix was the 1st drybrushing on the lower leg wraps.
 

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Here is the second violet drybrushing and the 1st drybrushing on the leg wraps.
 

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Thanks for the kind words guys, I print the mix number down and keep the card until I mix up the next drybrush so I can get the mix lighter than the previous one....then they get trashed
 
Looking good, Guy. I like the colors. I hope to pick up a paintbrush (figure paintbrush, that is ) soon. I've been busy with domestic projects and "honey do's" since before Christmas.
 
Beautiful work,Guy (y) Must try your technique vis-a-vis organizing the colours used for painting.Very systematic.Cheers. Kenneth.
 

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