Guard Grenadier

Folks...
Just wanted to share a couple in progress pictures of the 120mm Guard Grenadier from Verlinden that I have started...

I have the lower torso complete as well as the turnbacks and flesh tones. I have to lay in a couple more applications of acrylic undercoat for the white...I haven't even started the blue color of the coat since I plan to do that after everything else is pretty much finished...

Look forward to your thoughts...


PS No eye decals here...

Here's another shot...

Patrick-

Another nice start for you on a nice VL piece. Is the plume molded to the shako?

Keith

More please

Keith and John,
Thanks for the kind words...
I promise to post news pics as I progress, John...
Thanks for the encouragement...
All the best

Patrick

excellent flesh tones!

Looking good Patrick

I am looking forward to seeing the hair done to finish the face

Robin

Patrick,
Your fleshtones look a whole lot better - way to go! What mix are you using?

Keith,
No the plume is a seperate piece, but fits snugly in the bearskin shako...If there was one thing I would like to see with the Verlinden Nappy figgers, that would be more detail in their plumes...I really like the Post Militare plumes, and think from now on, I will use them since they are more realistic...
Hope all is well

Patrick

Thanks Robin...
For this piece, I will blend in the grey a little more and deepen the shadows to bring out the contrast...I sorta like the greyish tone...what do you think?

All the best

Patrick

You know me and my flesh tones I am fast becoming a fan of grey in flesh, maybe its because it washes out the colour in the flesh, it certainly did in the winged hussar I did.

Robin

Petey,
Thanks for the compliment on the flesh tones...
I talked with Bob and he recommended that I add a little flesh straight from the tube to compliment the burnt sienna, yellow ochre, cadimum red and titanium white...I have to admit, I really like the effect, and it seems to "wash out" the "ruddy" tone...I am still playing with the ratio of flesh to add, but so far I sorta like the effect...
Can't wait for MFCA baby!
All the best amigo!

Patrick

The flesh is very well done.

If I may, I would just add more highlights to the silver lace on the bearskin. Even though you are using metallics, you can still make them "pop" by touching the very highest points with a tiny dot of white. It gives it a reflection look. Be carefull not to over do it though. Just literally a touch with the tip of the brush.

Lou,
Really appreciate your kind words...thanks!
I'll add those highlights as you have suggested; do I mix an acrylic white to the metalic color or can I get away with touching the highest highlights with an oil application of snowflake white?
I really want to have those highlights just "pop" Lou...
Thanks for the help...
All the best

Patrick

Patrick--

Would you pls share your flesh base, highlight and shadow combinations?
Also, acrylic base?

I agree that this flesh tone is really excellent.

Keith

Patrick,

Don't mix it. Just literally touch the very highest points of the lace with the tip of your brush (#0-#1) using white. It shouldn't be immediately noticable, just enough to trick the eye. also don't do it on every highlight area, just the very highest ones, like the knots in the lace starting at about 2/3rds the way up the bearskin.

Does that make sense?

Lou

Lou,
I am tracking...I'll give it a go and shoot you a picture; how's that?
Thanks for the help...
All the best

Patrick

I poked around with Photoshop to see if graphically I could explain it clearer.

See if this works.....and it assumes that the light source is on the upper right.

PS-Use a very opaque white

Excellent Lou, thanks!
Understand much better now...
I can't wait to try this...
Thanks again!

All the best

Patrick

Keith,
Sorry it took me so long to respond... I am going through 6th and 9th grade all over again!
Hope this helps...here is the flesh mix that I am using:

acrylic undercoat

sunny flesh and flesh (both Vallejo colors)

oil base

burnt sienna
cadmium red medium
yellow ochre
flesh

oil highlights

oil base + flesh
titanium white
naples yellow

oil shadows

oil base + raw umber

I'll mix the burnt sienna, yellow ochre and a touch of the cadmium red to get a warm brown (dunno the ratios Keith, I just sorta play with it till I feel like I have the tone I like)...this becomes my oil base that I mix the highlights and shadows from. I'll apply this mix to the acrylic undercoat and let it soak in for a little while, maybe 10mins and then pull off the excess with a clean brush

I take a blob of that and place it on the corner of my palette (I'll later add a touch of raw umber to that for the shadows and deepen it with the raw umber for the deepest shadow) for the base for the shadow mix. Once I have a nice brown shade, I'll add just a little cadmium red to it and place this aside for the "rosey" shade for the checks.

I'll take just a little of the flesh from the tube and let the oil soak out on a 3x5 card and then scrap the pigment from the card and work a little in at time with the original base until I have a tone that matches the color of my thumbnail...that is the highlight. I'll add a little bit of titanium white and naples yellow as I go to get the dramatic highlights on the checks, chin, nose tip.

For the shadows, I'll take the base I set aside, and work in some raw umber and depending on the depth of the shadow, I'll either add a little more raw umber to get the contrast...

Does this help? I haven't had any coffee yet...
If I confused you, please let me know or just shoot me a note at the house and I'll try to explain it better...
By the way, I use the wet on wet technique
All the best!

Patrick